Fall Pumpkins Acrylic Painting Tutorial for Beginners | Amanda Rinaldi | Skillshare

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Fall Pumpkins Acrylic Painting Tutorial for Beginners

teacher avatar Amanda Rinaldi, Teaching you to Art with Confidence

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

9 Lessons (1h 37m)
    • 1. Welcome! What to Expect from this Course

      1:29
    • 2. Materials Needed for This Course

      4:55
    • 3. Step 1: Painting the Background

      5:11
    • 4. Step 2: Painting the White Pumpkins

      20:58
    • 5. Step 3: Adding the Highlights & Shadows to the White Pumpkins

      28:33
    • 6. Step 4: Painting in the Orange Pumpkin

      17:30
    • 7. Step 5: Painting the Pumpkin Stems

      12:01
    • 8. Step 6: Adding the Details

      5:30
    • 9. Concluding Thoughts

      0:45
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About This Class

The Fall Pumpkins Acrylic Painting Course is designed for beginner and novice artists with a desire to learn how to paint and gain more confidence in their work.

In the Fall Pumpkins Acrylic Painting course, you will learn how to get started with composing, creating tonal values and painting an entire Halloween-inspired theme, featuring a white pumpkins and a central orange pumpkin.

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By following along with what you learn you will complete a painting at the end of the course that you will be proud to hang on the wall or give as a gift.

The Acrylic Painting course is designed for beginners who have never picked up a brush before, through to intermediate level artists who are looking to try their hand in painting an entire scene with acrylics, and learn crucial mixing, tonal values, composition, and brush techniques along the way.

The course covers some of the key things you need to know about painting with Acrylic paint including:

  • How to Properly Load and Mix Colors
  • How to create beautiful blended backgrounds
  • How to Create Realism with Tonal Values
  • How to Compose your Drawing
  • How to Look at Your Image with an Artist's eye
  • How to Properly Handle Brushes
  • Proper Brush Application Techniques
  • The basic equipment to use for acrylic painting

This course also includes the following downloadable resources:

  • High Resolution Photo of the completed Painting
  • Helpful Bonus videos to better hone your painting skills

By the time you have completed this Fall Pumpkins Acrylic Painting course you will have developed the skills and knowledge to continue on in your learning of how to paint and absolutely fall in love with the process.

Join us today for the Fall Pumpkins Acrylic Painting course and let's have some fun doing your first (or bajillionth) Halloween painting today!

Who this course is for:

  • Beginners who have never painted or drawn before
  • Intermediate level painters who want to learn other styles of painting
  • Artists interested in expanding their art skills and trying a whole new style of art

Meet Your Teacher

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Amanda Rinaldi

Teaching you to Art with Confidence

Teacher

Hi, I'm the Buzzed Artist, but you can call me Amanda!

I am a self-taught pencil and acrylic artist, dedicated to teaching people to art with confidence for over 3 years on my Youtube channel and blog, The Buzzed Artist.com. 

On those platforms, I do step-by-step art tutorials, courses, crazy, zany painting and drawing challenges to CHALLENGE YOU to let go of your creative anxieties and just make art!

 

 

Painting, drawing, and creating art was always a beautiful escape for me. It was my place to just be without fear of judgement or the need to always be perfect.

Firstly, I believe in providing you fun, practical, and educational art content aimed at helping you flex your creative muscle while loving yours... See full profile

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Transcripts

1. Welcome! What to Expect from this Course: Are you ready for a spectacular painting adventure with a variety of cute little pumpkins? Get ready to make your own harvest inspired seen in this pumpkin painting class. Hey there, my name is Amanda from the bus artist.com, and I am a self-taught acrylic artist, ready to show you the colorful, fun world of acrylic painting that'll fill you with that delicious creative artists competence that you deserve. Welcome to the pumpkins painting class, if you love Halloween, fall and adorable little pumpkins. This is the painting class for you. This class will show you my entire step-by-step process of creating an iconic fall themed seen within the assortment of little white pumpkins and one orange pumpkin arranged in a very pleasing aesthetic weight. In this class, you'll learn how to choose colors and expertly mix those colors to get the right shade for your painting. How to create realistic looking pumpkins with eye pleasing depths and shadows. How to paint those twisty pumpkin stems or that added sense of whimsy and how to develop your own unique artist's style all the while using acrylic paint. And this class is for beginners who love acrylic painting, Halloween or both, and want to try their hand at it. Or for anyone who wants to learn to create stunning acrylic painting masterpieces. Even if they've never touched a brush before or have no idea what to actually paint. Each lesson within this class, we'll go through all the specific techniques that I use in the process of making this pumpkin scene. And by the end of this class, you'll have the know-how and most importantly, the confidence to create gorgeously crazy cool paintings at a leave you feeling proud and an odd your new found skills. So head to the next video and I'll see you there. 2. Materials Needed for This Course: so to start off, you can either go ahead and use a canvas like an 11 by 14. Or you can go ahead and also use an acrylic pad like I have here from our Tessa. Thes pads are awesome because it's seeing a lot of space for your paintings. You can do a lot of them and store them very, very easily. And I'm a big fan. And now we're gonna go ahead and take this down. Gonna have this in the portrait position meeting. It's not gonna be sideways like this is what you're gonna be up and down. Kind of like this. All right, canvas secured down. Now, a big thing when it comes to your painting is your palate choice. And I just wanted to go over some of the different options that you have for your palate. If you don't know what a palette is, it's basically just a holding spot for your paints so that when you're mixing with your acrylics, it can hold all that together. So you want to make sure when you pick a palette that it can be durable and that it could withstand the friction of using your brush when you're mixing your colors. But not only that, you want to make sure that your palate does not absorb the paint. You want to make sure your powers made with some sort of material, like glass, plastic or a sort of compound that will ensure the paint will not absorb right through. And here, just a few examples that I've that I actually have a pallets. One is an actual plastic pallet. You could find this basically at any hobby store, but these have. This is all made out of plastic, and you condemn directly. Place a paint right on here really great for mixing. I will not absorb your paint. However, The surface is a little bit on the smaller side, so you don't care about that. That's that's a whole good. You can also use a glass palette. So this is a pal that I actually made myself very easy, actually, but basically it's got a glass surface so that you can properly mix your pains that can withstand the friction of your brush, and paint will not absorb through. You can also use tracing paper, or you can even go a step further and do aluminum foil plastic wrap, even place right on top of your plastic pellet. Or what? One of my favorites that I like to use his palate paper. This palette paper is made with smooth poly coated surface, so whatever you put on top of this will not absorb through. And it's got a huge surface area for mixing, which is why I usually go with this and it's disposable, so you can just rip it out, tear it up, throw it out, and that's pretty much all you have to do with this palette. And if you want to go even more simple, you can always use a Styrofoam plate or even a plate that you have in your house. My one recommendation. If you have to choose a pallet, try not to use paper plates. Paper plates will tend to disintegrate with the use of paint pigments, animal warp, and you won't be able to use it for very long. So if you're trying to be a little more serious about your acrylic painting, you may want to stick away from the paper plates and maybe explore one of these options here. So for this course, I'm actually going to go ahead and to use palette paper. So I just gave you a little bit more insight into what palette options are available to you already. And the colors we're going to using today will be a little bit of ultra marine blue. Cerulean blue amid yellow is scarlet, red and some titanium white. Now, of course, I just kind of went with the primary colors of as well as, like, a bit of ultramarine brute blue to get more of like a violet. But if you guys don't have all these paint varieties, that's okay, too. I don't want you to freak out and think that you've had these exact pain to get the job done. Your colors may not come out exactly the same as mine do, but it gets the general just across if you just have these basic primaries. And as for brushes, these are the types were going to be using. This one is going to be 1/2 inch flat wash brush. This one is a number one flat brush a number zero or two or zero detail round brush. If you don't happen to have something that's smaller than number zero, that's fine. just as long as you have a smaller type of round brush to do details, and then this is totally optional as well. A toothbrush. This is going to help us at the very end, but if you don't have a toothbrush, are like a spare one on hand. You can always just go ahead and use your flat brush, and you're just going to need a glass of water as well as some sort of towable to mop up. And the mess is any messes that you do make in this which you will You will be making messes. And it's always good to admit that before going in and a list of all the supplies that we actually use in this course you could find in the lesson notes below, so be sure to check that out. OK, so with that being said, let's go ahead and get started 3. Step 1: Painting the Background: Okay, So to go ahead and get started, we're going to be doing our background first. Now, the background is kind of like this, like, muddy brown color. It's super pretty, actually. And I think would be really nice at that in first before we go in and adding are details of our pumpkin. So I'm just gonna grab my 1/2 inch flat wash brush we had dip into my water, get it nice and lubricated this tapping on the towel to get any of the excess paint off. And then what? I'm going to dio we're gonna make the color around. Now, you may be wondering, How do we make brown Amanda Very easy, So I'm just gonna grab some red. I don't want a lot. Do you wanna grab yellow notice? I don't grab it right in the middle of the globe. I get it at the edge. Okay, So I make a good, nice orange color, and then I add a little bit of blue. So I was gonna grab teeny, tiny bit of the cerulean blue that makes it. Here we go. So if ever you are familiar with the color wheel, the opposite color of orange is kind of like a like a blue and that it helps you get this nice brown color. How cool is that? Right. Okay. And then once you have that, we're just gonna dipper rush back in some water, and then I'm just gonna added into the mix here. I really want to make this watery so we can get more of, like a wash effect. All right, which is very, so much water colors. And then I'm just gonna go ahead and add in my color. Now, um, there really isn't a rhyme or reason to how I'm covering this, but it's going to get some good ground going here. And I'm kind of doing side strokes. Some kind of I'm kind of just like moving my brush up and down, up and down like this, just so I can get, like, decent coverage. Now I kind of go back and forth between putting my brush into the water to refill it with water and just going back into the paint and refilling That's up to you. Just how much flow do you want with your brush? Now, when I said a wash, what I mean by that is, if ever you've seen watercolors, Usually the first layers or so are like a washy color, meaning it's like a transparent layer of pain that goes on top. Basically, it kind of looks like it's water down, and it just helps to cover a lot of space all at once. So that's really like the point of a wash. It's just to kind of help you cover a lot of ground and what Not now, I'm just trying cover, like, mostly the middle ground here, and I'm not too concerned about too much of the outside. But I'm gonna add a little bit more just so we can have that. You know, it really is crazy how you know you really don't need to have like a ba jillion different paint colors to get like a good variety toe work with. Honestly, I tell this So a lot of people, especially to beginners, you know, don't end up buying like a ton of paint when you're first starting because it's it's a lot , you know, it's it can get very overwhelming, and, uh, well, you're learning, right? So you don't want to be learning with like a ton of options before you. You wanna learn ideally with a limited palate, and that's kind of what we're doing here. A limited palate helps you first understand the basics of color mixing why certain colors go together. Well, what makes colors, you know, brighter or less vibrant, depending on how you mix it. And you really won't be able to understand that unless you kind of limit your palate options and just play and observe what's going on. Now if he shoes, you can cover all of the canvas with Brown. If you'd like, I think I might becoming near to the end for my coverage of Brown, actually. So for now, I'm good. So I'm gonna let this part dry for a couple of minutes, and then we're gonna go in and out in our pumpkins 4. Step 2: Painting the White Pumpkins: Now that our background is pretty dry, we're gonna move on to making our pumpkins. So the first part of making our pumpkins here is the White Pumpkins. The White Pumpkins pretty much shaped the entire background of our painting here. Now, one thing I do want to note is that this could be a little bit of a challenge because you have pumpkins that are overlapping one another, right? There's some pumpkins that are want better on the bottom versus pumpkins that are kind of stacked on top. So those, um, total values are going to slightly differ. So we have to keep that in mind as we're going ahead and painting the pumpkins how it's all gonna look in the long run. So we're gonna start with our 1/2 inch flat wash brush once again, OK? And now I'm taking a look at the pumpkin and what I see is a undervalue of like a purple lee blue. Um, even though they are white pumpkins, the shadows that I do see, they tend to be a bit more like purple blue. So that's where ultra Marine is gonna come into play here. So I'm gonna grab a little bit of ultra marine blue going to come over here and then I'm gonna grab a lot of white. Karina is gonna mix it until I get, like, a nice It's like, uh, it's almost like a lavender blue color. And you may be thinking like, Wow, this is like, this is way to dark, right? Like this is a way to dark color for White Pumpkins. Don't worry about it, because what we're gonna end up doing later is adding our highlights to the pumpkins. So right now we want establish of that more of like, the bid tone is what we like to call it here in the art world. Good. So I have my brush loaded. I'm gonna be by loaded Is that I don't have a lot of paint on my brush. That's very, very key. When you're painting, you do not want to go out paint on your brush because it is completely unpredictable and uncontrollable when you have a lot to deal with. Okay, so what we're gonna do is we're just gonna start painting in pumpkins. So when you look at a pumpkin, it's pretty much got a like a lot of ridges, right? That's how you always want to think about pumpkins. If I were a drop picture of a pumpkin, basically, I would draw in sections kind of like this. That's pretty much what a pumpkin shape is gonna look like in the brush strokes you're gonna be doing. It's a lot of, like, see shapes, See, shape a round in the middle, C shape, C shape. Right. So that's the general gist of the shape of the brushstrokes you're gonna be making. So with that being said, let's go to our first punk in here. And what I'm gonna do is I'm gonna start with my brush on the tip just like that, and then I'm gonna bring it down, kind of like a C shape and then bring it in. Okay, Now, don't worry. This is like, not entirely perfect or the way you like it. There's plenty of opportunities later on to fix this part, but you're gonna make a C shape. I made mine about three inches long, and that's going to the smaller of the sea shapes. And then we're going to another one a little bit bigger this time. Okay, so that's like the second ridge of our pumpkin. See that? Okay, I stood again. So now we're getting getting more towards the center of the pumpkin. So now I'm just gonna kind of do a straight line going down. It's gonna have curves on the edges. And, of course, it's gonna be a little bigger than the previous ridge. Okay, so it's kind of the pumpkin is growing as it reaches the center, and then it always decreases as it goes away from the center. Ok, that's a little tidbit for you. Okay, We just keep on going. So we're now we're gonna reverse this. So now this is the middle of the pumpkin. So now it's going to get smaller. So I'm gonna do another reverse C shape than another one. Get smaller. Now, don't worry. If you don't, if you don't really see the variations in the ridges, that's okay. Right now you're just establishing form and shape. That's all there is to it. All right. Okay. Congrats. He just made your first little pumpkin. All right, so let's continue on and do some more and all follows the same rules. The same rules apply when making pumpkins, no matter what perspective. You're looking at them in, really? They always follow a ridge shape to them. So let's do another one over here. This time, let's make the pumpkin kind of tilting a little to the left. So what we're gonna do is render the first rich and brush, do you see? Okay? Very simple, pretty easy. And then we're going to another see, but it's going to start like on, almost like halfway from the previous C. It comes in. So it's making, like another little bum just like that. See that? Then you got a very small see next to that one then and then it's gonna start curving in the other way. So I'm gonna make another. It turns. It's like basically a C. But it's or enough so dying you, however, where you want to look at it. But I was starting from the center. Mind you, the center here, always at the center. Let's do another C shape just like that. Another C shape, remember, gets bigger and he goes towards the center. Another C shape. This one's a lot bigger because of the perspective is your eye gets closer. You see the shapes bigger and bigger, and then we'll do another one right here. That's all there is to it. Okay, this will. This may take a little bit of practice, and that's that's off. That's okay. Don't worry if your, like, freaking out that this is not coming out the way you want it. Um, pumpkin's really? They're just It's just how you look at them all about the sea shapes and how they all kind of emanate from the center of the pumpkin of that, like, center point that you make. Okay, let's do another one su one over here about that. Okay. So C shape. Now we have another C shape. It's a little bigger the middle line, because this is more direct mercy. Shape the reverse. And in other rivers, you can keep just adding more and more to it. Are you simple? Now let's do another one right over right over here. Why not? So c shape c shape the bigger always starting and ending at the same points as the previous one. University. Now, this pumpkin's gonna cross with this pumpkin, so I'm not worried. I'm just gonna paint right over. It's like that. So easy. Okay. And, uh, Let's do another. Let's another pumpkin right around here, actually. And this time I want to create the illusion at this Pumpkin is in front of the problem for about about the pain. But it's in front of this pumpkin. Basically, it's gonna make a C shape. I'm not gonna paint over this form. Okay, then I'm into another C shape. Okay, then. Another center one here, there said oil. And it reverses the answers to plumb about this way. The reverse e shapes. Now, of course, if you're, you know, still struggling with pumpkin shades and what they kind of look like, You know, you can always refer to the reference picture that I have in the lesson here. This is a really great way to observe the shapes and see kind of like what they're doing in the picture, right? It's always a good learning tool toe. Have this. Okay. Now, of course, if you really want to help create that illusion that this pumpkins in front of this one, it was always go back in Philip that shape in the front. So what kind of enforces that this is in front of this now? I wanted to another pumpkin that looks like it's like, turned over. So, like the bottom is showing. So you see a bit more of the the bottom exposed. So let's let's represent that somehow, let's do that. Let's do that right around here, actually. So what, we're gonna do it to it. Basically, you're going to do the same exact thing we've been doing over and over again, which is figuring out where the pumpkin face is gonna be. So let's assume the pumpkin face is gonna be turning this way. So we're going to start with the C shape at an angle that don't like we did with this pumpkin over here. Okay, so you got that C shape, then you got another one. On top of that, it's, like, half way, do you another hump there, Another home right there. Okay. And then you can always come back to this way and fix and go. So in a C shape that's bigger. Okay, I'm the one. Then it's going trying. Then in the world, another one so that cool, right? All right, let's get going. There's a lot of pumpkins in this, so this is basically like me repeating myself over and over again. But this is all part of learning, right? You gotta do this multiple times in order to get good at it. Okay, Now let's go, pumpkin. That's here. That's behind this one. And this one is gonna tilt this way, showing more of the bottom portion of the pumpkin, which is really not that hard to accomplish. Let's be really So we're gonna take the brush, Go down here. Now, I want to make this pumpkin in front of that big pumpkin, so I'm just going to stop the burst stroke right around here. Then I was gonna continue it, making that C shape, and it's gonna go in like this. So notice how When I do, my see shapes the direction of how that C is curved. So I didn't If I make the c shape and it's like from the middle to the middle, the pumpkin is basically going to be facing directly towards us versus if it's tilted. Um, that indicates a pumpkin is turned over in some way. Right? Little trick of the trade there. So I got the first. See? Now, considering that this pumpkin is turned upwards, you're not going to see much of the top portion the pumpkin. But the bottom, definitely. You're gonna have another, another rich another. See if you will another see another. See there. See? Well, this is more like a lot of straight line at this point is the center of the pumpkin. Then comes Herman outwards again. Okay, possum again. We're gonna be going in with shot with the highlights later on. So I wouldn't worry or be concerned to too much about making this part perfect, because right now you're just laying down shapes. You're just trying to get the gist. And also, you're just trying to get the, uh, you know, a steady hand and making pumpkin shapes. Okay, of course, you can always go back in. Fix up your previous pumpkins. Enforce the relationship between the two. You know, one is more covered, covering the other so you can just go in with your paint established that no big deal. Nothing says you can't do that. Right. So we fixing that pumpkin here. Okay, I sell. Cool. Is that so? You already are starting to see relationships being established among all these pumpkins. That's awesome. Okay. And, ah, once again, keep going. So we got we got several pumpkins here. Let's add some on this side over here. So I want to do a pumpkin. That's kind of leaning a bit more to the side, uh, facing the left. And again, it's gonna be kind of like this pumpkin where them or the bottom is exposed. But this time it's just going to be facing the other direction. And I want to make it covering slightly covering this pumpkin. So tilt that. See till that. See, baby, just like that. Okay. They want. Make sure the ridge shorter another one. This time, the ridge is a little bit thicker and bigger, and here and then it kind of gets cut off, which is totally fine. That's injury, baby. Don't have to have the whole thing to work to show that it is in fact, a function. I was gonna more paint on this side here. Lovely. Okay, so then let's do another pumpkin. Let's do one where it's kind of facing like more. The top portion of the pumpkin is exposed. Let's show that. So we're gonna start with the Versi like this, so it's gonna be kind of facing a little bit this way. All right, then we got another one. They're Half Ridge, Have C. You're not. When they were coming up behind that other one growing behind that one meet, of course, this pumpkin's gonna be in front of that pumpkin. So I was gonna make sure I don't and uplink much beside. Well, that pumpkin side he turned over this way. Okay, Another pumpkin shape. Love it. You know what? Let's make make this a little bit. It's been just a little bit thicker and longer. You can change the shape, your pumpkin. You can do anything. Honestly, you really can keep in mind the relationships between these pumpkins. Make sure that you still maintain what's in front of the other than what's behind. Okay? And, uh, it's going in tweaking, having a bit more here in there. And let's dio So a few more. Maybe we could do, like, one or two extras down around here somewhere. So let's do a pumpkin that most of the top is exposed. They were doing every sort of orientation today, which is great. Great learning tool. Let's start with a smaller See? Okay, Go like that, then I heard that in a bit more. When you get another, see you gonna Is she coming up this way? And now this pumpkin is gonna be on top of this pumpkin. We just established that there. See? Where is she? You never see. So you can You can pretty much see where all those sees converge. That's how you know that's the top of the punk it And that's how you know you did it right . You can make side a little bit bigger if you want. Talk to you Feeling good? This to let's do one more One more little pumpkin and we'll be good with, uh, least adding form pumpkin. All right, So this one that's when we established was on top of this guy. So let's do another one. That, um, may be behind this guy here. So we're going to a C another see straight C or a straight line. Rather. So we're just basically creating illusion that this pumpkin is behind these guys over here . We're underneath. Rather. All right, then you can just go ahead once again. I want to keep adding a bit more form to your pumpkins with that same color. Go for it. But this is the basic jest. You've now established the general shapes in the flow of these white pumpkins. So you just finished that up, let it dry, and then we're gonna move on to putting the highlights on our pumpkins. 5. Step 3: Adding the Highlights & Shadows to the White Pumpkins: So now we're going to start working on adding in some highlights to our white pumpkins as well as perhaps a little bit of shadow here and there to really bring her pumpkins toe life at that hinder realism. So let's get started. What I like to do first is gonna grab a little bit of white with my once again half inch, uh, flat wash brush. And I'm just going to not take I don't want a lot of paint on my brush, so I'm just gonna kind of squeegee off a good deal of them now, this is where we learn about ridges, and where they come into play really becomes pretty important for us. So let's ah, let's just reiterate what we talked about when they came to the riches of our pumpkin. Right? The ridges, Basically, they all have see shapes there, either reverse or actual sheet see shapes. And where I'm gonna put the white is going to be on the highest point of those ridges because that's where the light is gonna hit most of it. So starting at the center is gonna make breastroke just going down. I kind of start with the tip at the center. And then I, with my broad stroke, kind of go down. I don't go down all the way. Just a little like that. Still cool. That looks so it's rich number one. Then we're gonna go back to the center here, then with the tip and and down with the broads. End of the brush Ridge number two. So you can start to see the punk in the start to take shape. Now, it's vitally important that you do not have a lot of white on your brush, because again, it just becomes very, very hard to control. Okay, so now we go back to the center here, go down. Because this is more like a straight line. I just use mostly the flat part of the brush. Okay, so we're kind of doing like a dry brush. Technique has what we call it in the industry. Um, but that's really what we're doing. We're trying to do here. Been one, and you can You can kind of decide how many bridges you want. You can always expand the actual thickness of the band itself just so that you can control me. Bridges is pumpkin. Actually has its up to you. You don't have to have that many ridges. Okay, That's the general just of doing these highlights. You just added highlights to your pumpkins, right? It's basically the highlight of where the light is going to hit the pumpkin. Mostly. All right, So you're you're establishing that by putting in the white here. Okay, Pretty easy and straightforward. So let's just continue doing that with the rest of these pumpkins. So did this one. This one's a straight on pumpkin, meaning we don't really see the top of it as much. So it's gonna do flat, broad brim to the center at Pumpkin Ridge. Then tip toe broadside of the brush can tip to broadside the brush. And I I kind of do like a nice, very light sweeping motion to spread out that dry brush technique so it looks a bit more natural and defused. You don't want your pumpkin to have, like, these actual, like, distinct white broad lines because it totally ruins the illusion. So you want to make sure that again, you don't have a lot of paint on your brush and that you're kind of feathering those colors in once you late. The first layer of down. So another one like that. Here's another one, Trey. Pretty simple and easy. Okay, so? Well, he Ellis's keep on going. So I think this pumpkin, the top part, is a bit more exposed than the others. So we're just going to make sure that those ridges are accounted for when we start the rituals in the middle of the shape of the pumpkin here that highlight in another one one, and you see how you can see those distinct lines. I'm just gonna feather it ever so slightly. So it doesn't look as obvious. And And of course, I'm kind of following the same shape that we established when we first made the forms here . Because you're already you already have the bridges semi formed already when you were laying down your original shapes. So this kind of does you a lot of favors. Okay, so you can see that this part here, like little dimple, is much more exposed. And say this one. This pumpkin here now something. Keep in mind as well. This pumpkin is on top of this pumpkin, so therefore you're going to see a bit more shadow along this side of the pumpkin here, so I'm not going to really fill it with as much white. So I'm going to avoid that for now. And this is kind of where when we made our initial, uh, painting color of that blue, that's really where it's gonna kind of work in our favor. It starts to make that shadow for us. So basically, you're kind of like working smart you're trying to do at the least amount of work. It's possible, um, to get that shape and those tonal values conveyed. Okay, what's so let's move on. And you can move on to whatever pumpkin, you know, you're feeling you're feeling good to do. So do this one. Start the center down, center down. Now, remember to what riches are in front of what so like, for example, this ridge is behind this ridge, so therefore, the white line is going to be mostly covering the previous ridge. OK, that's another thing to remember. And don't worry if you mess up or, you know something doesn't look quite right, and you're freaking out about it. You know it's acrylic paint. Acrylic paint is very well known for drying and then you can just add a layer on top. So if you mess up, you know something. This is doesn't look quite right. You always could go back and make that that pale blue with the ultra marine and white. And then you're back on track. Really? It's not a big deal. Great. Cool is just keep on. Keep on trucking, Senator. Keep in mind the relationships of these pumpkins to one another. This one is on top of this one, so I don't want to cover all of it. And white or most of it. And why? I want to still reveal some of that blue underneath, and we'll be adding a little bit of shadows to help us convey that a little bit more. So not to worry. We just keep that in mind. Okay? In here, sir. And again refer to your reference picture for how these thes highlights and shadows play against one another. That really help you along. And, of course, like I say with everything, do not expect yourself to be perfect, but especially when it comes to pumpkins. Oh, my gosh. You know, it's funny because pumpkins are especially when you're doing this with with acrylics, you can kind of be a little bit more like Messi with the actual texture of pumpkins, and they come out looking really nice. So you don't don't feel like you have to be absolutely perfect with your brush stroke on this. It's totally not required. So as you can see, these pumpkins air really starting to show, they're they're white, they're white characteristic right. They're starting to look more. Let more and more like the actual white pumpkins that we're trying to go for, right? That's the overall point, Really? Okay, always starting at the center or wherever. I feel like the center of the pumpkin is kind of like flourish it out from there. You start to get really fast at this, the more and more you do it. So really, it's just a matter of practice and then thinking about where your shadows and your highlights are going to be. Honestly, that is really the name of the game here. Just think about where shadows and your highlights are. Where is the light hitting on the pumpkin where you think there will be light or the highest ridge of the pumpkin? That's where your lightest tone. We'll go. This is looking nice. Also putting some of the towards the bottom as well just a little bit too much. Okay, so now let's go over here. This is so it's more. You're not really seeing the top part of it as much again . Just we're just playing with dry brush here, meaning I'm not. I don't have a lot of water on my brush. It's mainly just paint a little bit of paint at that and just letting the tiny bits and I actually do have glide over so it doesn't completely cover the previous layer. That's really what I mean by dry brush. - I'm gonna try to concentrate a bit more white. Where is the centre? Here and then it usually just separates out into those ridges. - Thank you, Yeah, And then once you've done your first layer of highlights, you just always go back in and keep adding some more so you can keep enhancing that white so it shows up more and more and more Now , as for this pumpkin, the one that's like pretty much directly underneath all the other ones, I'm not putting a lot of white on its top ridges, but more on the bottoms of its ridges. Because I'm just trying to think about the shadows that is cast by these other pumpkins here. They're pretty much like dominating him. So we're just going to be doing a bit more white on the bottom here, and then we're coming. It's like basically doing a reverse, Uh, what we usually have been doing when we lay down our highlights here. Okay. But we're still maintaining the shadows, Mrs. We can't anyways. Now, there's something that I do want to comment about. Um, I get a lot of beginners who tell me. Oh, my gosh, you do a lot of layers. Why, Um, why could you just stick with one? That's not the point of curly painting. Acrylic painting is really all about layers. It's about layering colors on top of another. To you really start to get this like beautiful tones, tones of color that will just pop out. And it really helps to make it a lot more realistic. A lot more like interesting. I mean, if you're just doing something that's a flat color that doesn't have much of a blend to it or doesn't have a lot of tonal quality to it. Yet one layer or two is totally fine. But since you're dealing with something that is gonna look a lot more riel or at least has a riel qualities to it, like tonal values on what not that's something that you need toe learn as a non artist is that it requires multiple layers that build on top of another. So, you know, we did that with by, you know, adding in the like that light blue tonal value first. And then we went in with white. Then we know where keepers just constantly layering with white over and over again with the dry brush technique. So it keeps getting more and more interesting to look at, and it seems like pop more and more so that's more like my soapbox PSE announcement. So now it's, um, had a couple of people just complained that like Oh my gosh, why so many layers? Well, if you want me to look something, look more riel or have more tone to it, it's all about the layers and and how you're building the colors up from those layers. Now we're starting to get trying to get somewhere here and long Do I just keep adding, Keep adding, keep adding warm or as you go now there is one other thing I want to show, you know, in terms off shadows. So basically, when we're talking shadows talking about where the light is not being cast right, it's it's completely the opposite of what a highlight is. The shadow is a recess. It basically is where through the light does not hit your area. So there's not that much here that we could do because we already have established that with the mid tone. But if you just wanna add a little bit more of, ah opposition color a bit more of a shadow effect, we can usually do that again with our flat wash brush, you're going to take some of that ultra marine blue. You're not really going to add that much white to it, to be honest with you, just maybe a little bit. So it's a little bit darker in tone than our mid tone that we're working with. And again, you know, you don't want a lot because you can just didn't then going with a dry brush technique and go where you think there will be shadow. Now I'm kind of concentrating this mostly in the areas where there's going to be like an overlap of the pumpkins, more or less. And of course, you can always go back in with your highlight later and fix areas. If you feel like you went a little too far with it, that's totally okay. This is just you again. It's back to players. It's back, Teoh, you know, playing and building. Okay, so just go. I didn't do that, so I'm adding it. In the areas where those creases of the riches are again, using more of a dry brush technique. I don't want a lot which would establish that it's there. And I like doing it more towards the bottoms of the pumpkins as well. Very, very lightly, adding this in you see how interesting that starts looking. Now it starts to look a lot more re a lot more three dimensional thanks the shadows and total values. So really, this is like a crash course in total values. During all there is to know about total values and like how that relates to painting, especially when it comes to riel realistic or like, very interesting looking paintings. So this one definitely has a lot more shadows to it. So they're definitely some over here, cause I've pumpkins covering. Sometimes you just want to add a little bit of water. Just help. Not too much, though, cause water, um, is very powerful. And then you got your paint and see how you can see. It's, like, a lot of more, um, powerful and intense and color. So that's something to keep in mind. Of course. I'm just gonna go back in with the highlight later, but I figured I would establish this first. Okay. Wars don't. Here. It really doesn't let your pumpkin, sir. Most likely coming to life. E kind of start more of the bottoms. So it's kind of like a little bit of the opposite of the highlights themselves. - Okay , E what? You're happy with that? Just go back in with your white Andrew. Highlights, as you see fit Well, relate on top of what you just previously done with your shadows. And you know you'll find out is it really does help break up the shadows so it doesn't look as intense, but it's still there. Do you even break it up a little bit more, you can go into some of the shadow parts. You see why I love acrylic paint? It just gives you that versatility, right? There's really no way you can mess up honestly, because you can paint right on top of it. Not like a watercolor where the paint activates underneath. Of course, I'm dealing with with regular acrylic panes. Not with, like, the activation Carly pains, which are also special type that act more. Um, they have that activation quality so you can work longer with the blends and stuff. But if you're dealing with regular paint, you know, just wait for the layer to dry. Really? In any pains, really, But doesn't take long for you to wait the layer to dry to continue on working with it. Can I look at this? It looks like the shadows or way too concentrated here. Just go back in with the ultra Marine blue. Simple. Very lightly is gonna bring some of those ridges up. So I kind of go back and forth and I play, Okay. Squeezing laid it down once doesn't mean I can't go back and do it again. Okay. Back in with the highlight again, right? That's really all there is to it. So continue playing around with your tonal values of your pumpkins. But basically, once you kinda have something that you like. You're basically ready to go on and add the last component of our pumpkins. Witches are orange pumpkin, so finish up and then we'll see you there. 6. Step 4: Painting in the Orange Pumpkin: Okay, So now that you've completed your white pumpkins, we're gonna go ahead that in our orange pumpkin. Our main, our main dude right in the center here. Right. So to do our pumpkin, we're gonna go ahead and start with the mid tone of our pumpkin, which is going to be that nice orange colors. So all we're gonna do is gonna grab or yellow. And they were gonna grab some red. And I think that's maybe a little too little to break for me. But I'm just gonna start first off by making an orange color here, actually know what I like that. That's a nice brightness. So I'm just gonna wipe off the excess paint. I don't want a lot of my brush. And basically, like we did with our first pumpkins, we're just gonna do the same exact ridge work. Okay, Now we're going to make sure that this pumpkin mawr, the top part, is exposed, That we can see it, and it's gonna be resting on all these pumpkins here, basically more or less. So let us begin. So we got the first we get the first original pumpkin, and it's kind of slanted. Okay, So I was gonna do a slanted line. Kind of like so then let's go like that and kind of like, uh, they just make that kind of shape. Now, this is gonna be the most straight looking bridge that we have. Then do our C could make a see bigger, actually. So that c shape one and again, You know, you can always ADM or body. So I'm probably gonna have a little bit more body to the mill, just, like compensate the size of this. Okay. Won't you got that part when you got this second? See, that comes in, like So, you know, when she got that do another kind of like, uh, they could upside down, Teardrop. It still looks like that. Okay, then we got another. Is she coming in this way? No, but got another. See? Remember, tip to broadside. That's kind of how we make our bridges tipped abroad and then just want more. That's gonna be a little bit bigger. Previous this, like that? Okay. Looking snazzy. Okay, so check the size of this. If you wanted to be a little bit bigger, you know? Go ahead. Ad a bit more body bit more volume to what you just painted. I just might do that. There's a little bit I don't want it too much, but just a little bit. It looks like this is gonna be a fun focal point anyways, so I think we think we pretty much nailed it for the most part. And of course, this is a very intense color of orange, but like we did with the others, we're going to be adding in those highlights to really help, um, toned down the rest of the punkin color here, but also, I don't know. It's just like, this is a really cool effect. I'm just gonna make that center rates go down the furthest. So it kind of looks like a tomato, at least for the shape. So, you know, don't worry too much about making this look perfect again. This is acrylic paint. I really can't feel okay. Okay. So once you got it, that you can put your brush down, take a little break, and then once this is dry, you can come back in and then start doing the highlight. So just take your time now at, in the necessary shapes that you think are nice here. And then we're gonna move on to our highlights. - Okay , So now we're gonna take this large tomato here, and we're gonna turn into a bumpkin. So all we're gonna do is we're gonna grab are once again are her brush. And we're going Teoh, just grab a lot of white here and maybe just a tad of that orange we made, but it's gonna be a very toned version of it. It's going to be like a light highlight. Okay? And then we're just going to have a highlight to it. So we're gonna go back to that first Ridge, remember how it had that slant? No one's gonna go down like this. And I don't have a lot of paint on my brush. It's got that dry brush technique. Then, of course, it's just gonna for at least a good deal of that front ridge there, then go back to the center, Not in another. I like one here. And also there's gonna be a stem that's coming out in the middle here, so I'm not too concerned about making this part Perfect. Which here? I'm just really working with the ridges. Bring it out Doesn't another one. I mean it like so great. Then just going to go in now, keep playing with those highlights. In fact, I think what I'm gonna do is just maybe at a bit more of that orange to the white concoction of me made. But it's still not gonna be exactly that orange like we previously laid down. And I'm just going to just dry brush over this area, kind of going a little bit towards the edges as well. So that really helps us soften this up a little bit more. And then you can always go in with your, um, number one flat brush should be, like, great, that same color to help you get more of those edges. You wish. Basically, I always encourage you. You know, if you have a brush that you like, it gives you a lot more control. You feel comfortable using it, Use it. You know, um, painting is definitely a, um, personal thing. It's a personal journey. Art art in general is a very personal journey. So, you know, take advantage of that. If you feel like there's a brush out there, that just doesn't trick for you every time. Use that brush, right? So I know I used the flat brush for the majority of this just to help me, um, get when I was looking for. But, you know, if there's a brush that you you needed to use that was probably a little smaller. A little bigger, depending on what? You're trying to dio music. Just take my word for it. Okay? Now, using the same number one flat brush, I'm just going to grab a little bit of that orange that we made. Maybe it's got a little bit more yellow to it, A little bit of white, so it's not exactly as dark as that. Well, it's gonna be a little bit darker than our mid tone, but I'm just going to create the edges of our ridge here. Okay, this is gonna serve, as are most like, our shadow, in a way. Okay, so this probably looks a little bit more orangey than our mid tone that we started with, but that's okay. We needed something to start with to kind of work around. So this is what we got. So this is gonna act as our shadow, so I'm just making sure, Teoh, No. Go to the edges. Just bring that color up. And of course not to worry, because we can always get our highlighter. Later, we're gonna be adding another highlight of color to really make this pop. I just want to highlight the ridges over punk in here. It's like that, - right ? This should carry it over. Great. OK, so I'm going Teoh a little bad with flat wash now. And I'm just gonna grab pure white this time. And then this is really good service. The highlight. Okay. Again, it's the same techniques over and over again. I'm just kind of selecting different variations of colors to help me get there. Really? It's all that That same dry brush technique I was making sure emanate from the center. Um, kind of feathering the color is over, just like so. So you can definitely see those ridges showing up underneath, which it just looks so cool. Right? Okay. Okay. And of course, just want to give away a little bit more of the orange. I feel like it's missing something. Hey, you can totally do that. I usually added around the center a little bit just to kind of give it a bit more. That color that needs just be enforcing those shadows on the bottom, enforcing those riches so that for gotten I like it. All right, good. Please, your pumpkin Get that all to the point that you like it, and then we're gonna move on to putting in the stems of all of our public. It's here. 7. Step 5: Painting the Pumpkin Stems: All right, so we're gonna put in our stem. So we have here, we're gonna do our number one flat brush, and, uh, let's start putting in the the main stomach for pumpkin here. Now, the main some of the pumpkin is that nice? Like, green color. So I'm gonna grab some SARU Lee in blue. I'm gonna grab some of that yellow. No, no, It makes it she get this nice looking green here, So I think that's a good mid tone to start with. Then we're just gonna go to the center of our pumpkin. When? Ago. Remember how we have that ridge? It kind of slanted. So I was gonna make sure I represent that here. Then, B, it's gonna be, like, maybe half an inch wide. Then it's gonna go move upwards, words like this and then the side, and I'm just gonna give it a little curly Q just like that. I think it's pretty cute. So I'm just gonna go ahead and out of it. More body to the stem, but it doesn't need a lot just coming. A little hump here, then following the, um, overall shape of that stem upwards and kind of thins out as it reaches that bend in the shape. This time there see so kind of things out and out like that. So that's that's the trick. When it comes with stems, you want to make sure that it's it's thick towards the middle, right? And then they kind of thins out as it goes up. You want to think about the structural integrity of pumpkins, right? Usually you grab it by the stem. So when it's bythe stem, it's thicker towards the center of the pumpkin. So we can actually hold it, hold it better and secure it better. And then it'll outwards that way. Okay. And then once you have that, we're just gonna add a bit more of an intrigue to this. So I'm just gonna grab some white one at a highlight to that green. So I'm taking that green, adding a little bit of white to it. Sure your brushes not loaded with tons of pains. You don't want that? Then I'm just going to add a highlight. Just the middle. With the stem towards thesis, enter the pumpkin. Here, leave another one another stripe, so you'll see that there was like, a green stripe that's left over like so, which looks pretty nice. Maybe to another one over here somewhere. Okay. And then I'm just gonna go. One was straight up white. Just add an even more level of detail. It's more that value. You can barely see it. Honestly, it's very so. But I think that's really all it needs, honestly. Right. So you make your first stem of your pumpkin. Now, let's add a few more stems to the rest of our pumpkins here. And, ah, these stems are slightly different color there. More like that, that, um, brown color. So to make that brown once again, we're just gonna grab red gruesome yellow. Are you making that ridge? Then we're gonna grab some of that blue. Okay, so it's gonna look, maybe this looks a little too to green. So a little bit more red to it, Right. Here we go. Awesome. Then adds a white Do you really lighten this up? Yeah, it's good to me, right? Like the excess paint off. Okay, So once you've got that, then we're just gonna go ahead and add some of our sense. It's kind of the same principles. So let's go to the middle part of our pumpkin here, and you're just going to fill that middle part in, like so Okay, and then we're just gonna prepare to a cylinder. So you got one stem that comes up. It's gonna come up with this. Then we're gonna make a bench just like that so that it looks like it's coming to a point. See how it like comes to a point. You like that, Cause once you have that, we're gonna make it come out of this. Good. I was like, a little trick just to show you how to make, like, a little bend in the stem. Okay. And then now we continue onwards. So let's do a stem. That's right here. So let's, uh the stem is gonna have more like a like a triangle base, like so on the stem, it's gonna go up, you know? So the trick with these pumpkin stents is that they're not straight completely straight lines there. They kind of have, like, a crooked nature to them, which is indicative of a lot of different types of punkin stems. Usually what we see, cartoon pumpkins are always straight. That's hardly the case with real pumpkins there they're crooked and their gnarly. So you know, that's good news for us. Because then we're not expected to be absolutely perfect with these. This one will have one too. So Good Glo base, this one's gonna be been on the smaller side. I think it and still do another one on this. You know what makes one good, gnarly shape like that? And, uh, let's see. We should probably dio We should probably do one more on this side. What do you think? Yeah, so let's do one to your didn't have it kind of bow out that way. Gonna add a few more little details to these stems themselves. So going back to that brown that we made, we're gonna grab some white and just added to the brown. Then I kind of like we did with our pumpkin stem. The 1st 1 that we did. I'm just gonna add a highlight to the top part like there's ah, you want to show that there's some sort of life thickness of the top of the stem like it's been cut. Then couple lines just going down. I gave myself a little bit more weight to work with. Excellent. So it's gonna come up like so. So really, we're always working with highlights, um, and different points. You know, whenever we're working with anything, really, there's always like there's always like a tango dance with, like, highlights in the shadows. Really? So I'm just kind of adding a few lines. Very gentle. Um, I'm always being sure to add, like a white spot at the tip of the stem to show that it's been cut. And, uh, you were gonna do one where it's going to start at the bottom. It occurs you like that so it doesn't, like, come completely out. This way comes up ends at the bend of that stem curve, so it gives the illusion that it's twisting just like that. Then everyone here and again refer to your reference picture. If you ever get stuck. If you're not sure how a particular one is also looked like, just pull that picture up. You'll get a better idea, okay? And usually had to go in again with a bit more just white this time and just add in very slight Wait. A white accent marks. So again, it just again It just adds a little bit more of an intrigue to will. Maybe a little bit more at the bottom of the steps you see here. Very cool. 8. Step 6: Adding the Details: Now, Um, I do want to show that thes stems are incorporated into these pumpkins. So also gonna do is I'm gonna grab our flat wash brush once again, and I'm just going to grab some of that white. And I'm just going to semi cover the base of those stems with white. Just so it's not as like parent, and it doesn't look like it's just completely contrast ing out there. Okay, then began with that same brush I'm gonna grab that brown that we were just using to do the highlights of the stems. And again, I don't want that much of my brush just going to dio. Very slight indications on the top. The pumpkin near the stem itself. Okay, this is very slight. Um, it's almost like a trick of the light. Really? But again, it's just a show. The stones are there in their lake, incorporated into the pumpkins themselves. It's very slight. You can barely really, ever barely see it. But it's just a way, Teoh. Just a tiny bit more that realistic look that we're trying to go for what the's stems. I'm kind of going back and forth something with this main pumpkin here. Gonna grab that orange that we were just working with and some of that weight Scoop it up just a little bit. Not too much, though. Her folks, we are almost done. Okay. Now, lastly, we're going to do a nice little flake sparkle effect on our pumpkins. And, uh, what we're gonna do is we're gonna use a toothbrush or you don't have a toothbrush. You can always just go ahead and use your flat brush here. But the just is we're gonna do a little Sprinkle spray effect here. Okay? So what you're gonna do is you're going to take your flat wash, brush all your toothbrush, dip it in water, and then you're going to add white to that water. Okay, so you want to get your brush nice and lubricated and wet, And then what you're gonna do is you're just going to take your brush, man the bristles back then release and then basically, you just gonna do this really cool sparkle dot Effect over the most of the center of your pumpkin. Now, I'm just going to switch over to my brush my tooth brush, because it's actually a little easier to get those done here, so just going to go ahead and at that. You do not have to add this if you don't want Teoh, but I think this will be a cool effect to have on your pumpkins. You can add as much sparkle or less, however many you feel like you want. And so take the time to just add in your your sparkles around your pumpkins as you see fit with having said, you're pretty much finished with your pumpkin painting. 9. Concluding Thoughts: a queen bee. Congratulations on creating a very own final painting. I hope you are super proud of yourself. Now you're art. Journey does not stop here. I always encourage you to keep on practicing with your paintings. If your first painting didn't come out quite the way you liked it, do it again. Painting is all about practice and getting the hang of your paint and how it feels in your hand. It's all about self discovery. And this is what this course and I hope all future courses that you do with me will teach you if you enjoyed this course or want provide some feedback, please be sure to leave me a review so that I may improve this course as well as future courses for you all. And with that being said, I hope you enjoy this course. And I wish you all a great day