Illustrate: Bunny in Mushroom Patch | Marijanel Knight | Skillshare

Illustrate: Bunny in Mushroom Patch

Marijanel Knight, Illustrator + Online Classes

Illustrate: Bunny in Mushroom Patch

Marijanel Knight, Illustrator + Online Classes

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8 Lessons (1h 56m)
    • 1. Class Intro & Meet MJ

      1:39
    • 2. Supply List Overview

      11:53
    • 3. Demo of Bunny, Mushrooms and Techniques

      33:06
    • 4. Making a Reference Grid

      8:31
    • 5. Sketching with Pencil

      10:54
    • 6. Sketching with Ink

      8:42
    • 7. Watercolor Painting Bunny in Mushroom Patch

      26:52
    • 8. Ink embellishments Bunny Mushroom

      14:14
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About This Class

Learn to illustrate this adorable Bunny in a Mushroom Patch using watercolor and ink. This class is perfect for beginners who want to get started in whimsical art and learn a little about character development. (the bunny)

Marijanel teaches her unique process and approach to watercolor illustration in a detailed way, in real time footage, but keeps it light, fresh, and fun. You will be sure to come away from this class having not only achieved this painting but being inspired like a breath of fresh air.

This class also covers thoughts about lighting, composition, color and texture. You'll learn to embellish using ink and gel pen, which is a great way to loosen up and play with new techniques.

Join this class today and have fun painting this cute Bunny in Mushroom Patch!

Meet Your Teacher

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Marijanel Knight

Illustrator + Online Classes

Teacher

Marijanel (MJ) is illustrator and online class teacher with an online shop at marijanel.com . Marijanel is the creator of whimsical illustration using a hybrid of watercolor and digital, she teaches art skill and encourages confidence. You will find Marijanel to be fun, full of life, and with a fresh approach to art.

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Transcripts

1. Class Intro & Meet MJ: Hey, it's m j. In this class, we're going to illustrate using watercolor and ink. That's right. We're going to create this adorable bunny in a mushroom patch. I'm not only going to teach you my watercolor and ink techniques, but I'm also going to share with you all about arts fundamentals, such as value, composition, lighting, and color. You're going to feel like this class is a breath of fresh air. In my whimsical story book illustration style, I love to mix watercolor with other mediums, such as gel pen and eighth. And today I'm going to show you, well, but before we get started on today's class, I want to tell you a little bit about me. I'm married denial. And they are I, j and e, l like mary jane with an L. But I go by MJ. I'm an illustrator and online art teacher. Before painting, I came from an arts background of photography and clay sculpting. I currently live in BC, Canada with my kids, hubs and cat named Russell. I'm the creator of little missy may hedgehog, who was the star of my greeting card line. You'll find my online art classes to be unique. I want to instill both skill and confidence and empower you not only to make great art, but to come into who you are as a creative individual. So hop on board the class and let's get started together. 2. Supply List Overview: Welcome to my class everyone. I'm going to go over the class supplies with you. And I've provided a downloadable printable PDF for you so that all you have to do is look for that link, download it and print it, and you have my suggested supply list. But here in this video, I'm going to show you the specific supplies and brands that I'll be using in this class. But I want you to know that if you choose not to purchase these items, you can improvise with any supplies you have on hand. It's most important that you get started creating and you don't get hung up on specific supplies. So let's get started. What I'm showing you here are the supplies that I'll be using in the class. I've recommended this secure a coin, a watercolor pocket fields sketchbook. It's a set of 30 that I'll be demonstrating with. I like it because it's very convenient. It has a little portable palette. It has 30 colors that are bright and vivid, which I find really suit my watercolor illustration style very well. I have a vivid, bright, whimsical style. And this particular brand has such a bright luminosity to it. Now, as you proceed in your art, this brand also has what I call the giant smorgasbord set of 72. It has fluorescent colors and I use that for my own artwork. When I teach, I use the set of 30 just to keep it simple and affordable for students starting out. But as you progress, you may want to collect all the secure coil colors. And so I recommend this set for the paint. I also in this class we'll be using three different round brushes, a 2, 4, and 6, and round brushes, just a quick note, it is actually the label, the name of the brush, meaning when you go, for instance and look at, let's say Princeton watercolor brushes, you will look for a brush that says around, it is an actual style of the brush head here. And so it's important that you know that because I have had students say, what is even a round brush? So a round brush is a style of watercolor paintbrush. Actually stop all paint brushes, but you'll look for a water color around size 2, 4, 6. And I also use Micron pens. The beauty of the micron pen, there also be made by secure is that they come in a variety of sizes. I use the tiniest sizes and they are permanent. So when I use them on a watercolor illustration, I can paint right over it almost right away without smearing. And that's what I love about these. I also love the fact that an 005, which I generally use, it's the one that I use the most, is so tiny that I can make the cutest, tiniest little details like little antenna of bugs. It's so cute. So I use those a Micron pens a lot. I also have a collection. Of jelly roll. Jelly Roll pens here I use the white to do a lot of embellishments. Like if I want to go back in after I've water colored and add little tiny highlights, little tiny details that I want to show back up over the watercolor. The white is amazing for that. And then also I collect different colors that I can go back in and make. Little flowers are little extra embellishments on the beauty of these is that they are, they are opaque over top of the watercolor, which means they don't show through. So you can, you can basically go over watercolor, which is great. They do smudge easy, so we're always going to be careful with those not to smudge them before they dry. And then of course I use an fine when I get to the inking, I use a fine tip Sharpie. Also for the same reasons that it doesn't smudge once it's dry. And I also like when it just says ultrafine tip, I like the size of it for some bolder outlines of what I do in my art. For watercolor paper. In the art of watercolor, you can go so far into the subject of paper alone and different kinds of paper. And sometimes you can get pods that are glued here like a block so your paper doesn't buckle when you're painting for what I do and teach in my simple watercolor illustration classes using watercolor and a1 can embellishments with markers. We don't need anything really fancy. What's important is that you have for my classes a 140 pound paper, and that you have it size six by nine or larger. The reason being is that I encouraged my students for these classes to Matt in a five by seven opening so that your outcome will look like this and you can frame and an eight by ten. And so I encouraged to always have on hand and to always have watercolor paper that fits inside the mat. And so I find keeping a six by nine pad of watercolor paper 140 pounds and make sure it is for watercolor. If you're using paper That's not meant for watercolor, you will run into a lot of trouble. Buckling, wrinkling. Now, sometimes I have a little bit of that, but it's minimal. And so, and as you move on professionally and do paintings that are really saturated with wet on wet techniques, you might end up taping your paper down to a board. But as I mentioned for keeping it simple in these classes, I don't do that and I, I put up with a little bit of minimal buckling, but I just recommend just having lots of paper if you mess up. Like this pod here was like $7 at my local Michaels. And so I can afford to mess up, throw it away, and move on because it, what's important is that you get repetition and practice and that is part of what my classes are all about. You will want a pencil and a ruler. And an eraser, of course, the ruler is because most of my illustration classes start with making a grid, and I'll explain that in the next unit. But making a grid is just a way that I am able to help my students get more accurate with the sketching. I'm going to grab an example here. And so you'll want a pencil and a ruler in order to make this grid to transfer over any of the reference material that I give you. Now as you get good enough, you can skip all that and perhaps just sketch by eyeballing it. But I really want my students to be successful. So we make a grid and the beginning of my illustration classes. And in this particular class, you may or may not be asked to use a masking fluid. Masking fluid is sort of a waxy fluid that we paint in areas of an illustration to preserve the white paper. Meaning we can paint right over it and then it repels the paint and then later we take off the masking fluids. So for instance, I used masking fluid in preserving these white spots on this adorable mushroom. And so one of the first steps is that we paint that masking fluid on there with a dedicated paintbrush because the paintbrush does get waxy and you can't use it after that for paint. So I just have like a wax paintbrush. And so I use the WACC, the masking fluid for that in some of my classes. So you'll want to have that on hand. And then I mentioned having the mat. So with the mats, I have one that gets dirty and I hold it up to my paintings as I'm creating to just make sure I'm liking what's happening. So I have one that's sort of like my dirty studio mat. But then I always have a stack of these maps and I just get them at the Dollar Store, but these eight by 10 mats on the outside, five by seven on the inside. And I have them ready to Matt my paintings because I feel that we should as creators be aiming for success and results. And I feel like having the mat on hand ready to sign and Matt, my painting. It urges me to be successful with the painting rather than if I knew I was going to throw this in a storage box. So I like to have a stack of masks on hand in my studio. I also keep Kleenex. I use a technique that I call touched the tissue when I'm painting and I have that little extra bit of water, I always touched the tissue to get that away from my paintbrush and I'll explain that later in another unit, but always have some Kleenex on hand. Generally, I keep a color swatch on hand to for whatever paint I'm using. And if you choose to use the paint, I recommend that. Like you can see here, how I made it a color swatch that matches exactly how the paints in the box are laid so that you can see the numbers and names. And I also lifted a little bit of paint out so you can see like I can tell what it looks like. I'm like lighter, darker, and it just helps me to choose my colors. Now, this is sort of an extra above and beyond for you because I'm going to be coaching you so closely of what colors I'm using. And you can use what you have on hand. But this is handy as you progress in your art, whatever paint you're using, It's really nice to just have the swatch. Sometimes I advance my swatches to the point where all mix colors together on the swatch so that I see, oh, this is what those two greens look like together, or this is what? The red with a little bit more yellow and I will make swatches so that as I paint, I can be referring to my swatch and telling like what I'm doing with my color scheme. So these are all the tools. And of course, last but not least, I keep two jars of large water. The reason two is a swish my brush and one, it gets fairly dirty and then I generally will have another clean water on hand so that I can if I'm doing wet on wet, I have more like cleaner water to work with. So thank you so much for bearing with me through these supplies. Find my suggested supply list printed out. You can shop at ease or improvise. If you see that I'm going to be using, as you see these colors, if you have these colors on hand. But as you progress in the class, if you hear me talk about a red, for instance, it can be any shade of red. We don't have to be that particular. But I am working with cad red hues. So it just kinda helps you to know what I'm using. And then you can build your toolbox from there. Thanks so much for joining me. Have fun with the class and I can't wait to see your finished work. So please post and review how wonderful day. 3. Demo of Bunny, Mushrooms and Techniques: Hey, it's MJ. Before we get started sketching and painting are adorable bunny in a mushroom patch. I went to demonstrate the bunny and the tiny mushrooms up close. I wanted to demo up close because then later when we're painting together, you're going to have a better idea of how it's done. Now, this bunny can appear to be a little complicated, but I'm going to break it down and simplify into the most basic shapes. Because really all art is broken down into simple shapes. And then during the sketching phase with our pencil, we're going to draw the basic shapes and erase the lines that we don't need. So let me demo this bunny larger. Now I have here a six inch height that I'm going to demonstrate. But in fact, during the class, we're going to be making the bunny on a one-inch, sorry, a one inch scale, but it'll be three inches. So it will be a quite a tiny bunny here you'll see this is a five by 705 by seven painting. And that bunny is fairly small, so his little nose and eyes and, and mouth are pretty tiny. And so I wanted to demonstrate and bigger so that you can see. Now, the first thing that we're gonna do getting started is just have a look at the actual reference, the sketch reference that I've created for you. I have to for you to print out. I have the one that includes all the mushrooms, butterflies, bunny, everything is there. And then I had I also made one that's the close-up sketch reference that just shows the bunny bigger and it shows the basic shapes that I work with to create his little cheeks and everything. So that one is just to be more clear, but it's essentially the same thing. It's just little clearer version. So here on this double the size example I'm gonna do for you. We're gonna take a second and just observe what I've created as the reference. And just observe the placement of the bunny within the grid boxes. Now, we're going to start from the bottom up here and notice that the ground that the bunnies standing on comes about midway through the first box and his torso is filling the whole second box like as an oval shape coming into that first box just a little. And then his feet there are meeting the ground. Now. His neck coming off this main oval shape. His neck comes about midway through the third box. Now, his faces, most important am, and I feel that his face is really what brings the character. And a lot of my students have asked me to dive deeper into what makes a cute character in my own illustration work, I do lots of adorable little. Forest characters and they all always have a sweet, tender personality. And this bunny I feel is like the beginning of me teaching not where. First, we start with the basic shape of his little round head that comes off the top of the third box about halfway. And his cheeks then are these little drooping, almost like a half a teardrop coming off from about half of his oval head and then a little bit of a chin in between those, I'm going to call them little half teardrops and little tiny chin, little round snout. This part here is just going to be a different coloring on the bunnies for and then his eyes are big days. We keep a highlight, we keep a white highlight in there, and they're big and we're going to fill that in with black ink when we do the illustration. But his eyes are about halfway through his little round head. They're nice, big and wide. It shows curiosity. One thing about character development, that around things are friendly, at least that's how they're perceived. Roundness is friendly and so big round eyes appear friendly and curious and gentle. So we're going to keep that with this bunnies personality. Now, of course, you are welcome to change up whatever you want in this class. But to follow along with me this and this is what we're doing is nice friendly eyes. And then he's curious. So we're gonna put his ears going right up through to the fourth box here. Now. I'm keeping them pretty straight, but you're going to notice they're not totally straight. There is a little bit of an angle there. And and then of course we're going to have the little pink insides of his ear there. Now we've had time to observe. Those are some good observations. So let's move over to sketching it for ourselves. And so I demonstrated, or I just showed the observation going from the bottom box up. But for me it's actually easier to just start with his oval head. And then I feel like just starting with the oval head there kinda gives me the placement. Like it just gives me the bunny right away. I'm a bit impatient and actually I'm so impatient with illustration that I, I don't personally work with grids, how I'm teaching my students, but the reason I'm doing this in my classes is because I want to really guarantee you guys success in these first illustrations that we do together. So working from the grid is going to really bring you success. And then when we've had some experience together, I'd like to move into more advanced classes where you're eyeballing it and not working so strictly in a grid. Now you can see here your leg wide, that looks so funny. We are going to take any race the lines that we don't need and they won't be inked in during the ink. We do an ink sketch as well. But those are there just to help create us the shape that we want and you can make these cheeks is kind of big and fluffy as you want. And then of course, from here we work with that neck and give him a bit of shoulder before we reach that box. And I realized you guys is I didn't I should have had four boxes here, so we'll pretend that that's the fourth box. So just go along with me there. My mistake. Okay, so now I start a sketch in a bit of fur. When I'm, when I'm doing this, I point the for the little for points go down because that is how the bunnies for would go. But you saw me draw it that way. But essentially this is an oval shape. So the idea is to get that nice oval in there with the for coming down. And and then right about here, we want to bring in that I guess you would call I don't know what you would call that part of the bunnies. Like upper leg, like a hip or knee hip right there. And then remember because this is the back leg, we're not going to see the bunny hip on that side. We're just going to see the little foot so the hip would be tucked around the belly and then little bit of a tail here. Now you see I'm coming out of my boxes and that's because when we actually do this as an illustration, it does, it does indeed come out of the boxes here, like I'm, I'm demonstrating for you how it will be on the grid. So then I put in these little arms. Now one thing about the arms is I mean, they are just kind of like big long U-shapes. But give it a bit of a pause, like a bit of a bend there with the Paul. And I do put little lines where it would mark the little hand. And then I like to have this little tougher coming down there. I think it's queued is kind of how I created the bunny to be. And essentially that is the big sketch when we go to do the inking sketch. So I always sketch and pencil first and then I do an ink outline. When we go to do that, I'm using a big Sharpie right now, but when we do it in our actual illustration, it'll be a really fine 0.05 micron pen. But the idea here with the EQ is to not necessarily make it all solid lines, but to just create a border edge. Now, the viewer of our art, the one, the beholder always fills in the blanks. In the art. We don't need to be so specific of making sure every single, we don't need to draw the bunny with Lake, all these solid lines we can just kind of yeah, dotted. And let R or ink dance here a little bit. That's how we meet the bunny for. And I can see when I get really into it, I stopped talking so much. But you can see there how I do the eye. Okay. I want to just demonstrate for you guys how I do the eye and leave the highlight. So let's just make sure you can see good here I'm going to do a giant eye. So basically we were, we're going to take this actually let me switch pens just to demonstrate for you really well, this is a big brushy pen that'll fill it in good. So let's pretend this as an eyeball here. We're going to make, I usually make the outline of the circle and I come around like the highlight like that and then fill in the rest. And sometimes if I don't want the highlight leg right at the top, I will then kind of fill in a little bit more and keeps the highlight where I wanted it. But basically that's what I did with these little bunny eyes that it's harder to see where it just leave a highlight in there. The highlights are important. They actually put the light in the characters. I know I lost my Sharpie. Well, I lost my Sharpie. So that's going to conclude that demonstration. It gives, we're gonna do this again, tiny, but you'll get the idea that we're going to end up inking all of that in and then be able to completely erase the pencil before we paint. And so that's the bunny. Now, let me demonstrate with another OK, there's the Sharpie. Okay. Since the Sharpies there, I just can't let him be without a nose and a mouth. Here we go. Let me demonstrate how I do my cute little mushrooms. Now. These little mushrooms, they show up in almost all my illustrations. I'm totally happy to share them with you guys. So basically, it's I don't know, I don't have one specific way that I always start the mushrooms. Sometimes I'll start the mushroom by doing the cap. And then like this and then drawing the stem. And I always put a little underneath part there. Sometimes I do it that way. And then other times I'll start with the stem because I want the stem to point a certain direction and then go from there where I kinda go backwards. And remember lake, when we're placing objects behind each other, we don't want to intersect, like we want them to overlap. And so it would be important. Let me demonstrate again. If I have this taller mushroom here. So we'll go from the stem up, stam the bottom of the cap, the little half a circle moon shape. And then that shows the underneath. Okay, he's going to be in front. Now we want to talk one behind him. So it's going to be important that we don't let this cop overlap the front one, and this would be the correct way to do it. If I had made a mistake, I would have accidentally brought that through. And you can see there that just wouldn't look good. And once we're working with ink, we can't erase it. Now if you do that with pencil, sometimes I do that with pencil where I just, I'm sketching in where all the little mushrooms go and I might not be really specific. My sketching, I'm looser, I'm getting concepts with my pencil. But once we move to ink and pain, we want to make sure that whatever is in front and overlapping that we don't intersect those lines and that's just a little tip for you. Okay, So now before, before we actually get sketching our own bunny and mushroom, I want to show you some of my painting techniques and some of my ink techniques that are for shading and texture. And I want to show these to you just so that when we get going on the project and the class that you guys have it more of a concept of how I work, my brush on my pen, but welcome to the lesson where I demonstrate for you my favorite techniques. This is for the purpose of showing you up-close some of what I'm doing in the class that will make it easier for you to do the class if you know my favorite techniques in both watercolor and ink, which are two of the, the mediums that we're going to be using in the class. There are many, many, many, many, many techniques. And you will hear all kinds of terminology. Well today I just want to introduce you to a little tiny fraction of the terminology, about three techniques in each, both watercolor and ink. First you're going to hear about something called wet on wet, wet on wet watercolor. I'll go over the watercolor ones first and my water and my pain or off camera, just to give the paper the most room for you to see. And I'm going to take my round brush here now, I mainly in my classes work with round brushes. I look for a nice point when they're wet. And whether you get synthetic hair or animal hair, you want to look for a springiness to the bristles. So that's those little side note. Anyway, I'm dipping in the water and I'm going to use just water for the start of wet on wet. So Start wet on wet with a very clean wet brush. And it is exactly what it sounds. It's where you're going to start with wet paper and then add wet paint. Now, you cannot quite see what I'm doing because I am simply painting water onto the paper. Now remember, we're using a 140 pound watercolor paper. It's really important with watercolor that you don't try to use regular paper. There's paper made specifically for this paint. Now, you've seen here that I'm just painting water here, then you, What's going on? Well, what you're looking for here is a glossiness. It is actually possible to use too much water with watercolor. You don't want the water to run around like a puddle. And you want it to just be glossy if you get too much water on there, just let it dry up a little bit. Let it soak into the paper before you start out in your pain. No, I'm gonna get my paint ready with watercolor if you're using what is called a pan palette, which means the paint is filling a little, a little tiny pan and your wedding down the paint to basically awaken. I call it waking up the paint your wedding it there to get it kinda all painted like. You know, liquefied. What you wanna do here is use another surface, whether a plate or some sets give you a palette, but you want to use another surface to make sure you like the consistency of water and pigment. So I'm basically taking my paint from the palette, from the pan, loading it onto the brush and putting it over here and just testing the consistency. And now when I say the terminology, dropping paint in, I meaning taking what's on your paintbrush and dropping it or moving it into a space on your paper. And I'm adding this pigment into the wet paper that we made and you can see how it moved around. It moved around beautifully. It kinda just spread nicely and blossomed. And there's a really important fundamental of watercolor to always keep in mind. And that's what that water moves the pigment. And you can move pigment towards you by adding more water. And you can control the pigment with the water. There's just these little tricks and techniques. That was me dropping a red, a nice permanent red light into some wet, that wet polka dot that we made by painting water. Now I'm gonna do the same one more time. I'm going to pay. There's a little bit of red left in there. That's why it's really important to clean your brush off really well. Because you want to work with clean water. And sometimes I have to dump out my water and get freshwater in case it is tinted from washing my brush. Now I'm going to load on, Let's pick a nice blue. We'll do a red polka dot and a blue but without so right now off camera I am loading up my brush with a blue pigment. And I'm just going to drop it right into that water and you can see it move around beautifully. Now, one other cool trick and technique here is to mix colors in the wet on wet. So I'm now going to load on off-camera. I'm loading on sort of a burgundy color called deep Madeline. And I'm going to drop it into the blue and you'll see the two move together. Now you see I'm being very cautious with my brush to not over mix the pain. I'm just kinda dropping and dabbing. And you'll see those two moves together wet on wet. And it's created, it's created a very cool combination. But as this paint dries, it's still going to continue to blend and move. So it's not really done painting itself until it's fully dry. Which is really fun part of the process with watercolor. So that is wet on wet and you will see me use that in the classes where we will paint clean water onto an area and drop wet on wet. But there's also the technique of wet on dry, which means wet paint onto dry paper. And I may use that technique even more. So let's use exactly the same colors in the next square here, where I'm going to get that same red loaded onto my brush. And this will be where all paint that circle. Just wet on dry. So this paper is totally dry. And I'm going to paint wet paint on dry and you'll see it goes onto the surface totally different than the wet on wet. Now, what would happen here? If I now dip my paint brush into some water and put some water into that area. Now I quickly want to show you what I call touched the tissues. So I just dipped my paint brush into the water. I'll move it on to the camera here you'll see water, water, and there's usually a big drop of water on your paint brush and it's nice to get rid of that. So I touched the tissue and touching the tissue just dab that glob of water off the paintbrush. You still want a wet paint brush, but you don't need all that excess water. You don't want to make puddles on your paper, okay, so we want to avoid petals on the paper. So now I'm painting just water right into that blank spot of my circle and you see the pigment moves. So it shows you that water move your pigment. And That's really fun. It is really fun. Okay, so now let's do the same colors we did here. Wet on wet. Let's do them wet on dry here. I'm going to load that blue. What blue did I use? Well, just wing it here and hope I'm using the same blue, some login off-camera blue here. And let's make, let's make sort of a squiggle this time. So that is watercolor paint, wet watercolor paint on dry paper. And you can see how differently it went onto the paper as them when, when the paper was wet. And now we'll do a dab of this burgundy in it. Now technically this is wet on wet because it's wet blue pane and now wet burgundy. Just dropping it in there. It's darker and different. Then this circle over here. So this was a demo of the wet on wet. This is the wet on dry. And a lot of times I use the wet on dry. So let's use an example of wanting to make grass. In my illustration, I'm a load, some nice bright, permanent green pale on my brush here and I'm just painting wet on dry. Now I'll give it a shadow or some depth by dipping my pain into a darker green and dabbing in. And that is a wet on wet technique where it's wet paint into wet paint. And you'll see it kinda spread and moved. And I did a kinda cool little thing there. So that shows you that technique. I use both of those in the class. And so when you hear that terminology, you'll know exactly what I mean. One other thing, cool thing I want to show you is that when you load a paint onto your round brush. And I'm specifically demonstrating this round brush because we use it a lot. Let's just choose a different color paint for this. Let's say this. Right quin rose right here. I'm going to load that on there. Nice and thick paint on my round brush. Now, let's pretend I want to make a really sort of straight line here. When you use the tip of your round brush in a certain direction, kinda tilting, it will make a really strong line. Do you see the line coming down here? And that's how you make an edge, is by using the tip of that round brush with a lot of paint on it, you can soften that edge. Now I'm dipping in water, touch the tissue. And now I'm going to soften that edge by just painting water there and you'll see all the pigment will move right towards the water. And so that technique of making an edge you will also see me use. For instance, if I'm going to make the edge of, let's say, a mushroom cap. And we want to make the bottom of the mushroom cap. Let's pretend this circle is that bottom of the mushroom cap. I'm tilting my round brush. I'm tilting my round brush to the edge and which I went like keeping it towards the edge that I want to make. And you can kinda load pigment right up onto the tip of your brush and make that edge. And then if you want to soften the rest of it, I'm getting in water, touching the tissue to get rid of that water glob, call it a glob or that big water drop. And then we can soften the edge by adding water. And so those are some of the techniques note, you might notice I got a lot of water there. I kinda puddle. I didn't probably touch the tissue as much as I should have. You can just dab away a little water with your Kleenex. Kleenex are nice and soft. You can dab it away and then add some more or you can just like let it dry the way it was. Now let's move on to some ink techniques. Now as you know by now I use a really fine tip, tiny. Pen. But to demonstrate the techniques I'm actually going to show you in a larger Sharpie. And I do a few techniques. When I go into inking the illustrations, I do a few techniques where I actually ink right over top of the dry watercolor. We won't do that in this demo because these are still drawing. But once the watercolor is dry, you can go in with the ink and embellish and the movement of my pen. Its first always kept very, very loose. From the shoulder down to the wrist. You want to stay really loose. Now, that is an important, really important part of this technique that you need to stay loose and it, but it also takes practice. So I do recommend that you just take time scribbling and practicing your scribble. So to start with, I hardly ever make solid, solid, straight lines all the way outlining something. Now that is a technique that some artists do. And that's okay. But in my work, and if you're going to emulate my work, I generally will make broken, loose lines as I outlined something. Sometimes they don't even connect the line. Sometimes I'll, I'll leave gaps and you'll see my pen be very loose. And I'll even make little tiny dots and little movements and scribbles. So my ink work is what I call very scribbly. And so I do a lot of what I call back and forth. You can hear the scratch of the paper and it's almost you want to listen how the pen sounds on the paper too. And then I'll do the back and forth and the broken lost lines quite a bit. But then when I want to create depth and maybe some shadow on getting there with what I call a tangled yarn stroke where it's like a scribble, but it's, it's not zigzaggy and it's not loopy. It's tangle. That's like tangled a yarn. And I get in there and do that now that's with the Sharpie. But you can see how with my tiny pens that I love, I work with my tangled yarn even smaller. It's very, very tiny. And it's delicate. And it enhances little, let's say, the edge of a little flower. Or, you know, I don't know, just whatever, whatever we can dream of making. Now I do. Let me just check my list here because I made you guys a list. I could go back and forth. I do tangled yarn. I also do some little bit of what they call crosshatching, where you might make multiple lines and then hatch across them. And you might see me make that where I want there to be texture, where I want to bring maybe the bark of the tree alive. I'll do that or something rough. The side of something wooden or even crevice of Iraq might have a scribble like that. And then I also do what I call like Scratch hatching where it's sort of like zigzags that are, you know, scribbled like that, but they're all, all the strokes are going the same direction, often a very diagonal direction. And so I know I have other little scribbles and techniques. Sometimes they'll get just in there and, and do little loopy lose and this sort of thing. But, and this looks like just scribbles and MSU on this piece of paper. But I promise you, when we start to get into illustration, for instance, this adorable little bear that I have here. And use zoom right into what I've done on these tiny little mushrooms and the tiny little grass. You can see that little crosshatching is the shadow underneath the bear. And there's little tiny polka dots. So these little tiny dots, I will make those for like when bugs fly away or little bits of motion and movement. And all of this tiny detail. You'll even see it in the leaves there, in the foliage of that tree. There's these little scribbles. All of that becomes part of the technique that I use in the aching. And here's one more example of this little squirrel. She would've had just bouncing back to the watercolor here. She would have had wet on wet in her tail. You can see those beautiful little blossoms like the wet on wet that we did here. But then I would probably used dry paper to fill in all the rest of this I say probably because I actually kinda forget how a painter I painted are a couple of weeks ago. But you can see the scribbles that I did for shadows underneath her slippers. I can even go in there now and demonstrate for you that I go back and forth and little scribbles and loopy Lu, and if I need some more, I'll go in and I'll cross hatch under there. And I have some little scribbles enhancing the leaves that are more of a diagonal zigzag. And then some of this foliage has solid lines, like this loop is a solid line there. But then, and I'll do it with the inspiration that sometimes I will break up the line. So this is a little demo. You will be joining with me in the illustration doing these things, but these are my favorite techniques. So I showed you wet on wet, wet on dry, different kinds of outlines and strokes with the impend. And also how to make an edge with your round brush. So that wraps up just my favorite techniques. Let's dive into the class now that you know a little bit closer up what I'm doing with techniques. Let's move on. 4. Making a Reference Grid: Hey, it's m j. In this lesson we're going to make a one-inch grid together. Some of you are advanced and you've taken my classes before and you already know how to make the grid. In that case, you can skip this video and just move forward making your grid. Just to give you a quick overview, you're going to take a six by nine inch piece of paper, watercolor paper, a 140 pounds. And you're going to make a five by 71 inch grid on this piece of paper with pencil. And for those of you who want the guidance and who perhaps are beginning or this is your first time in my class. Stay tuned and we'll make the grid together. Hey everybody, thanks so much for joining me making a grid. You're going to want your watercolor paper. I'm using six by nine inches and eraser pencil ruler and of course your mats that it's good to have on hand so that you can test out how your paper's going to look in a matte. And this is the example of what we're going for, where we're going to create a piece of artwork to go into a five by seven opening, which is actually a tiny bit smaller than a five by seven. And then this is eight by ten, which you can frame in whatever kind of frame that you want. So here is that standard size math that I did mention earlier that you can get in pretty much every any department store or a dollar store. And that's pretty standard when it says five by seven here. This opening is actually a quarter-inch smaller, just so that it comes like for instance, if you ordered a five by seven photograph, it's going to come in just a little bit so that you could take that photograph on the back. So that's why it's just a little bit smaller. I have learned that when working with this size, it's just really convenient to purchase the six by nine piece of watercolor paper. So if you don't get a pad this size, then just go right ahead and cut a six by nine. And so let's get started. So doing the math, that means we're going to be coming in a half an inch on the long sides and one inch on the short sides, and that'll make a five by seven box. And so that's the first thing we wanna do is create a 5 by 7 box. Now, I want to confess to you all I have totally cheated at times and use my mat as like a little stencil where I've just put my mat down and trace the inside of the mat. That totally works. But often creates a slightly crooked box on my piece of paper. And I like to keep things as straight as possible. So I've learned using the ruler, making straight lines. It really is worth the time that it takes. Now you'll see that I have put three dots, a half an inch in on each side of the long sides of this. The three dots are so that I get more accurate when I line up my ruler. It can work with two, but I have found it to be more accurate with three. And I create those lines on the long side here. And that should be. Five inches apart. Now let's come in an inch. Now remember this formula works because we're working with a six by nine piece of watercolor paper and it's probably fine to use two dots there because the distance is so close together. So we'll do two dots on the short side. And then align up our ruler, making ourselves the guide, which will be seven inches apart, creating the five by seven box. Perfect. Now in case my camera is really light on the pencil marks, there is a 5 by 7 box spaced perfectly and straight on this piece of paper. Now what I'm going to do is make one inch increments across using exactly the same.me. So I want to make one inch spaces. So I'm going to now line my ruler up to the line we made. Okay, So that the inches start on the line we made. So it's like five spaces inside that five by seven box. And so once again going down to make my dots, the dots are the markers that help us make the line straight. And remember this grid making processes for those who want to keep a really accurate references, really train your eye in the reference process. Follow along with the class. It isn't if you just want to grab paper and paint, and so it totally is okay to just grab paper and paint too. I have, as I mentioned earlier, learned, the hard way that sometimes my paintings aren't frame, bubble or mandible in standard size matter. If I do that, I often go outside the space of the matting. There we go. Now we have our five lines going inside our five by seven bucks, and we're going to do the same thing, seven lines going the other way for the horizontal direction here. For those who are super creative. And he just raring to get going, which is generally me when it comes to taking a class. Making a grid can feel really boring like, Oh really, I have to make dots and lines and plan it all out. But it pays off later. To do all this planning. I do find that the planning in the art piece brings success. It is worth it. Even though for those of us who are spontaneous and impulsive with our pain, we just don't row Lee wanted to take the time. I get that. But I urge you like, put in some time to practice doing this. It'll pay off for you in the long run. In the big picture. The big picture. Okay. Marriage now, no more jokes. Okay, So now there we go. There's our grid. Now. I didn't take the lines to the edge of the paper, but really we're going to be working inside of this box that we made ourselves. It was just easier to just keep the pencil going. Now, a reference image that I provide for you will look something like this. And what you're going to be doing is working within that box, the same amount of squares are in your box because this was made for a five by seven. So even though the boxes aren't the same size, you can still count down. For instance, 1234 is where that mushroom is starting. And you will just follow where the lines and angles and distances within the box. And I usually look at the boxes and think they're divided into little three's, you know, this kind of, or sometimes I'll divide it in half in my mind where it's like this mushroom is sort of centered in the half of that in that box, you know? So I kinda think on things like that way. These little leaves and the stammer sort of dividing these boxes in half. And, and so you can like let your mind work however you want to reference this image from here to here. But that is how we're going to create a grid for a five by seven opening of a mat on a six by nine piece of paper. And we will use, if we're ever doing an 8 by 10 opening of a mat, we will use exactly the same method, but it will be eight squares and 10 squares. So basically the squares represent the inches, the inches of the mat opening. Thanks so much. See you in the next segment. Can't wait to get started. 5. Sketching with Pencil: And now it's time to get sketching. First. We're going to sketch with a pencil. And by now, I'm sure you have all printed out your reference image, which shows the squares in the grid. And then in the blue, you see all the outline of our mushroom or bunny butterflies and little embellishments. And so we're going to square by square, transpose what we see here onto the grid that we've created in pencil in the last lesson. And so we have five squares going across, seven squares going down. And even though our reference printable are downloadable printable, reference image does not print the same exact size. It's okay, we just transfer squares, square. And so I'm going to go fairly fast. And also I want you to know that if you've already done this or you think you can eyeball and draw this, you don't have to do it this way. This is just an option for getting accuracy and becoming successful in this particular class, but you don't have to do it this way. You can draw it by eye or kind of winging it, or you can just go at your own pace. You don't even have to watch this whole video. This is here to assist you. Anyway. So what I first do is just have a look here at. 6. Sketching with Ink : Let's get sketching with ink. This micron 05. I love it. You can get such tiny little detail. I'm going to be going right over top of the pencil lead that's there. And following my lines. But this time I'm not looking to make solid lines as I demonstrated for you. In the up-close bunny demo, it's okay to use Lost and Found edges, broken lines. I had no real strategy for starting with the bunny, except that he inspired me to start there. Now remember, we don't want to follow this pencil line where we drew in the basic shapes. We just want to, to follow only the cheek there, that one's going to get erased. That basic shape line is gonna get erased. And I'm keeping my pen and emotion that will be like for it will remind you a bit of fur as I'm stroking the pen along the paper and thinking about the texture. And that's one important, It's one important rule that I use when I use ink for any form of sketching or in my art, I think about the texture. Actually with all my mediums, It's textures really important to me and relaying that information. Now I didn't need to add the bunnies face right away. I could've come back to that, but I have found just getting in the flow is important. And I do whatever it is that inspires me in that moment. And I call it letting my pen or pencil or paint dance around the page a bit. Because it, it's just the way my mind works. We all have these intuitive ways that we like to do our arts. And for me, I don't really think like I do think strategically. I'll think through where I want to start, where my background is, where the lighting is, I think all that through. But as soon as my UPENN or paint moves on the paper, I just kind of dance around with what inspires me and the bunny and his little face inspire me right from the start. So I just started there. And of course in the sketch, I had started up here with the mushroom. I had done that strategically because I'd kinda wanted to block in that big space first. But once you're using this ink pen, you can pretty much do what you want to get the shapes in there. Now. In our final piece, there is going to be a son, but we're not going to sketch or ink the sun. The sun is going to be just a dot of water color. It's going to be one of the very last things we do. It's going to be right here. But domain any markings there were the Sun is because we want the sun to be luminous and right, and not have any erased outlines around it. So we're just imagining the sun for now. This is my outside edge of that mushroom, the large mushroom. And we'll get in here and do this sweet little small mushroom cap. Now, before we move on to painting, I am going half to just share with you and tell you about some options that we have for making these white dots and speckles on the mushroom caps. There are a few strategies that we can use with watercolor to create those white spots. And I'm going to tell you about those at the end of the video here. So stay tuned for that. If you're feeling like, Oh, I could turn this off and just sketch this on my own. You can, but just tune back in at the end, we're going to go over some of your options for creating those little white spots on the cap. Here's our cute little mushrooms. And for my grasses, I just, for the short grasses, they just kinda do a little scribble with different lengths. The strokes there. There's, I guess that is a technique in itself and I do demonstrate that in another class. I kinda go over illustrated grass. I won't elaborate on that now, but I do have other classes that go further into that grass technique there. And we'll make some stems for these are going to be little purple bunches of flowers there. Now I got it sketched and look at this. I forgot to sketch my butterflies with the pencil, so let's just quickly do that just in case. Just in case. I want to erase anything or change anything. But I have one that's shown from the side here and one that's kind of over here. Now in another class, they do elaborate on these tiny butterflies, like how to illustrate these tiny butterflies. I'm going to let you in this class just observe and shoes what shape you might, you might even want to just do bubble wings. I kind of make a wavy wheel on this particular one is just kind of what inspired me when I was creating this piece. And I put little antenna will make a wavy little wing here. So this one here is shown with two wings open. This one just shows like on either side open. And then this one is just like a profile of the butterfly. And I'm happy with that. Let's scribble in a little bit of the tail and a missing anything. I don't think I'm missing too much. So I'm going to take this eraser and I'm going to erase everything, the grid, the pencil sketch, everything. And when I'm done erasing, we're going to be left with just the ink sketch and after that, we will paint. Now let me tell you our options for these mushroom cap spots and texture are first option is to use what I showed you in our supplies information would be a masking fluid with a dedicated paintbrush. And it's actually what I used in this demo where I took my paintbrush and I painted on before we actually paint with watercolor paint, we paint with the masking fluid. Any spots we want left white, which were these texts are spots on the mushroom. And so I painted with this masking fluid, the waxy spots and I have to let them dry for about an hour you want them are really, really dry before you water color. That is option one. What happens is you end up water coloring. It's a wax resist, so it doesn't allow water color to stain the paper there. When the whole painting is dry, you rub it away and you're left with these nice white spots in today's demonstration. And you're actually welcome to do that method. But in today's demonstration, I'm going to paint my whole cap red. And at the end when we're doing gel pen ink embellishments, I'm going to use a white gel pen and make my white spots. The other option is to use a white ink that you put on with a paintbrush or a wash because galoshes also opaque and would cover the red watercolor as well. So I've given you four options there today. I'm going to use the jelly roll. If the Jelly Roll doesn't quite do it for me, I'll go in with some ink, some white ink to demonstrate for you. But that's what we're gonna do today and let's get on with making sure this is totally erased of the pencil. And then pull, get out our watercolors and have some fun making this bunny in his mushroom patch come alive. 7. Watercolor Painting Bunny in Mushroom Patch: We've reached my favorite part of the class where we get to use our watercolor paints and paint our adorable bunny in the mushroom patch. And yeah, I love it. So we have our three round brushes ready to go. I'm going to keep mine off camera and just let you know which one I'm using when I'm grabbing it. Also off-camera, I forgot my water, my two large jars. And that's just so that they don't get dirty too quick. And I switched around in one and then use clean water from the other. And I'll set my sample aside as well so that we have here on camera the paint and the painting. And of course this is the tissue for dabbing off the paintbrush. Before we get started on particularly, I'm thinking of just telling you a few things about the mushroom cap and the lighting. So the very last thing we're gonna do, as I mentioned already, is the sun is going to be last. But we always want to be imagining where the sun and the light is shining. And since the Sun is at the top here, it means that this area on the top of the mushroom cap, on the top mushroom cap is going to be lighter and lighter shade of red. Then the lower part of the mushroom cap because that's where the sun would be shining. And as well, there'll be a bit of highlights here and anywhere where we can imagine that sunshine just filtering down through the painting. Now, this particular painting doesn't have a ton of really bright sunny highlights, but it has a little and so we want to be mindful of those as we paint. And so in order to achieve that color gradation, that variation of dark red at the bottom of the mushroom cap going lighter towards the sun. We can do that a couple of different ways, but on a separate piece of paper here, I'm just going to demonstrate for you. I'm using a large round brush, my largest round brush. And I'm just going to saturate it here with the cad red. And I'm going to show you that when I load the brush with like a lot of pigment, a lot of cad red. It's darker when it hits the paper. And then as I work my way up and the rush on loads and it becomes more watery. It becomes lighter and lighter and lighter as that pigment works, it's way off the brush. And that's one of the ways that I like to create the lighter variant in my mushroom caps. And you can see that it's subtle, but it is there. It's darker here. And going later towards the top as the brush on loads and we can get it lighter and lighter and lighter as we keep going. So. That's how I'm going to be doing the gradation of light on this mushroom cap. Now this is also referred to as values where when you're looking at lighting, you pay attention to values. Values in a painting or a piece of art, or dark, dark areas which create the shadow, depth, and light areas which are the highlights and brights that make it pop out. And so values are important. Now this particular piece of illustration that we're doing doesn't have a lot of really contrasty values, but we're still mindful of it. The other way. Now, we're not gonna do this in this particular piece, but I want to tell you that the other way that you can on more depth and darkness into color rather than just using what, more water. Okay, one quick one quick second. We can add more water to this in areas and even create even lighter, lighter pigment. So water adding water is going to lighten down our watercolor pigment. Okay, I wanted to add that in because now I'm also going to show you that instead of using water to create shadows and highlights, we can do what I already demonstrated, but then add deeper, darker colors. For instance, I'm going to load on color called Crimson Lake onto my brush and drop it. I call it dropping. But you're basically adding the pigment wet on wet. And you'll see that it also creates depth and shadow. And so layering paint could also make our mushroom cap down on the bottom be darker, which I did play around with when I was getting the sample ready for you. And for instance, in this other illustration, the one I have another class on. It. It's a lot darker on the bottom and I did use Crimson lake there. So now we're ready to start painting. Now that you understand a bit more about how we're going to create a gradient light towards the top of the mushroom. So I'm going to be using my number 6 round brush. And when I dip it in the water and it's got a lot a lot of water on there. I don't want to flood my my paint palette here. I don't want to flood my little pans and so I just touched the tissue to get rid of extra water so it's not too drippy. But I load up here. Move my second camera to see a little better. I load up here and then I use my palette, this little plastic portable palette. Or sometimes I use a ceramic plate or another. Anything white really, to move my paintbrush on to approve of how much pigment I've loaded and the balance between pigment and water. Because what you're looking for is you're looking for it to be watery enough to flow, but enough pigment that it's the color you're going to want it once it hits that paper. I'm happy with that. And so my brushes nicely loaded. And one of the reasons I don't tape down my illustrations as I like to move them around when we get into bigger watercolors and techniques with lots of water that will buckle the paper. It's good to tape it or use blocks that are sealed to hold the paper taught. But I like to move it around. So here we go. I'm going to move it so that the tip of my brush is pointed down the bottom of this mushroom cap. And I'm going to use that tip to create an edge, which I did in the demonstration for you, in the techniques demonstration. And before I let that patch of paint dry, I'm going to get a little more water on my brush and use the edge of that wet pigment to be start moving up the mushroom cap. When I feel it's starting to get a little dry on my brush, I'm going to dip back in, not letting my paint on the paper dry, but I'm moving the color and pigment up the mushroom cap using water to do so. When I dip in, I'm really just dipping the tip, grabbing a little water. The water almost becomes our paint because it's mixing with the bit of pigment left on the brush. I'm not worrying too much about these edges of the mushroom cap. You can see they're a little bubbly, an odd, but that's okay because we're going back in later with gel pen and ink and we can totally fix edges up. And then I just go through and put a few dabs here and there to create a bit of texture, not overdoing it. That's one of the keys about art in general is just to learn to not overdo. And there we go. There's a neat little gradient there where I see a sunny spot where it remember our imaginary sun is there right now. And I'm going to load backup my brush again with the same pigment that's here on the palette that I had already prepared, will totally work. And I'm gonna do the same with this many mushroom here. We're gonna do the same technique and I'm still using the big brushes still find for this mini mushroom. After this, we'll switch to a smaller brush. Well maybe not, maybe we'll do the mushroom stems with the big brush still. Now, I feel like this is all one solid color and we want to create a bit of a highlight. So I'm washing my brush off to make it a clean brush. I'm well, I didn't clean it back good, did I? Okay. Let's try that again. And and I'm dabbing off on my tissue all the excess water so that it's a thirsty brush. And I go back in and gently rub a highlight. Now when it's a thirsty brush, what happens is if the paint hasn't dried there, the brush will pick back up some of that pigment and leave you with more paper showing through because a paper in watercolor, the paper is our highlight. So there we go. We've got a highlight on the mushroom caps there. And so I'm going to move right along without wasting any time. Into other parts of the painting. Now it's important to let these caps dry. Now, as a quick demonstration, I want to show you on this piece of paper that I have going on here. Let's just rip a piece and show you something. If I have, there's a, there's a kind of a trick that you have to be mindful of with watercolor is that watercolor, water moves the pigment. So if you have a splotch of water color here that's still wet and you try, let's say that's our mushroom cap and we're going to try to come in and paint brown underneath but it's still wet. They will bleed together. I'm not sure if you see that here on camera, but the two colors bleed together and kind of run in. It's not a clean line. In order to create clean lines, there's a better example where the, the, the brown is running into the red and the red is running into the brown, it becomes quite muddy. What we wanna do, and that is the principle of water running into anything that's wet water leads the pigments. So if the two wet petals touch, they are going to just mix. And I can even show that with a darker color paint here where, how it'll just all run into each other. If I come up here to the edge of this little wet puddle and I touch it, they run into each other because of what being wet. And so in order to keep clean lines between our watercolor like the cap and the stem, we want to make sure that red dries. So while we let it dry, I move on to another part of the painting. And for us today That's the bunny. So I'm going to use the number 2. It's pretty tiny, makes a nice little fine point. And for the bunny color from my palate, I'm going to be using a burnt umber and a white mixed together. If you have lighter color Brown's that you want to use or you have another color in mind for your bunny, you go for it. But here I'm going to mix up my bunny color. And I just do that by using my paintbrush, grabbing all the burnt umber, making a puddle of burnt umber, cleaning off the brush and going into my white, loading up with white and swirling it in the burnt umber until I'm happy. And what I'm looking for is a nice light Pass Delhi brown, soft color. Now we're also going to drop like darker burnt umber into a couple areas of the bunny. But for now we'll just do this soft brown. And I keep my brush for the bunny and the bunny for, I keep my brush very perpendicular, which means the point is going straight down towards the paper. I do that because I went fine brushstrokes and I don't want the brush to get too wide when it bends. You know, that a paintbrush will bend and get thicker. And I want it to be fine and delicate. So I'll start along his back and I'm just going to dab little bits of this. Nice little pastel color that we have going on. We're going to go right down into his feet and I'm making it a bit hairy, but I'm varying how I touched the paper. Like I don't want it to be all the same exact stroke. I went it to be different and a little messy here and there. When my brush starts to unloading it to light, we can stop it right back in the palette and grab some more. And along the cheek, I'm going to add some of this color, but we are going to put a tiny dot of soft, soft pink and the cheek too. I'm going to come right up sort of towards his eye. Around his eye, I leave a bit of white because it just kinda adds a neat little variation as if he's a speckled bunny. And leave as tell me, because we're going to put a peachy color and his tummy. And then I'll come right back up. Now, I let my brush unload in the ears because it would be lighter towards the sun. His ears would be a little lighter, a little backlit. And I don't obsess too much with the lighting on this piece, as I mentioned, but it would be a little lighter towards the sun. And so there we go. Now while that's still wet, I'm going to put a little bit of burnt umber right on my brush and go back in and make some various tiny little strokes and polka dots just to add some depth and now it's wet so it should blend a little. We don't need it to blend a lot. I'm also going to put a little brown at the bottom of his feet, sort of where there would be shadow. And the brown darker here at this little tuft of hair and the one on his head. I also add deeper brown at the base of the ears because there would be a bit of shadow where his ears meet his head. And I just kinda go in and play a bit like I would notice that there probably be a little shadow at the pause, so I'm just gonna kinda dot dot in there. Nothing too severe. And if there's markings that you're not happy with, don't sweat it because we, we can go back in with our ink pen later during embellishments and sort of scribble a little more hair in there. This is just to get the color. And then now we'll do that exact color mixing with the red. I'll take a puddle of red here bit from what we were working with the mushroom cap and add some white to get the pink. And so I have that soft pink. And I'm going to put that right in his ear, his nose, his cheek. Now, I also brighten that up with my bright pink gel pen later. But for now it'll be sort of a pastel version. And then I water this down, this pink down quite a bit. I'm dipping in and getting it very watery. And I'm going to go in and just put a real watery wash of it in the tummy. If it bleeds into the if it bleeds in to all the fur, that's okay, but we just want that tummy to be pinky, peachy. And now our mushroom caps should be dry. And so we can go in with a bigger brush. I think I'll use the medium brush for this one because we are going to have to get around this little mushroom so there'll be some fine work there. But what we're going to do is load up with a burnt umber, not a really, really pigmented first wash of this, just somewhat transparent and you don't want a good amount of pigment and water, but not too thick with paint. And we're going to load that brush up and go right up under that mushroom skirt is what it's called. And I use the point of my brush to kinda go right up under there and I leave little puddles. So like you'll notice that they'll be puddles that come off your paint brush. And I leave them under there because they make a nice shadow. So I'll push the puddle right up under there a bit. And then I'll turn my paper to just give me that leeway and freedom to get right around the edge of that mushroom. And then I fill it all in so you can make the paint pigments meet each other. And so you see I really twirl my paper around based on like where I need my edge of my paint brush to go. We'll just follow that right down. And I want to work fairly fast because we're going to drop some more paint into this mushroom stem while it's wet. Now I'm only going to do the large stem at first. You might be tempted to wash rate over the small mushrooms stem too. But the reason we want to just stick with the larger one is now I'm going to load up with thicker, more intense burnt umber. And while this is still wet, I'm going to drop in a little bit of shadowing. And because our first layer of paint was wet, the two will blend nicely together. And that's shadowing there. We'll just create depth and contrast. Well, let it blend. If it doesn't blend, good enough, I wash my brush off top, the big B to water off so it's just a little wet. And I go along it and add a little more water along the edge of where the two didn't blend and you'll see the water moves it and creates a blend. And that's just Fabulous there. Okay, so now we'll go in and I'm loading up the watery burnt umber here. And I'm going to go in. And without touching too much to the other mushroom, we can leave a little white space between them. That's very illustrative style. I'm just going to fill in watery, burnt umber here. And then go with the same technique where I load on darker burnt umber and just create little bit of shadow, texture. Let the watercolor do its thing because water colors, amazing. It's like a dance. Ok, and that's going to dry beautifully and we need to let it dry before we come in to the skirt and give we're going to give it a wash of some yellow ocher and then a little bit of burnt umber. So let's move on to green. And we will do the grass, the greens and the small mushrooms in sort of a yellow ocher as well. We'll move on to that right now. Okay. I'm gonna move right along while the mushroom stem is drying. And with my number 2 brush, I'm going to load up with this permanent green pale. It's a light. It's almost like a spring green. If you're improvising with your paints. And the middle, load that up onto my small brush and just begin to dot in grasses and foliage. You can see I'm actually pointing my brush up words. Now that's a technique that I use. Sometimes. I pointed that way, other times another way to make the grasses to hold your brush very perpendicular and just drag it. And that point makes a nice tall ish grass. Sometimes I mix it up too. I'll do both styles all at the same time. So I'm dotting it along this direction, helps to create the ground and the foreground. And I like to make that ground nice and speckled, leaving little whitespaces. It's almost like I'm scribbling with the paintbrush. And those little scribbles are making a textured foreground there. And I am going to go in later with a soft olive green to make some shadows and depth. I'm not going to leave it only spring green. But I like looking at our sample here. You can see I have some depth with an olive. And so I'm gonna do that in a minute. But first I'm going to finish off doing, loading up my brush there and doing just these very fine details. I don't try to make every little bit of the vine stem be filled in. I like let there be some broken edges. That's part of the whimsical style of illustration where you can let the imagination fill in some details. We can suggest edges. Now I'm making these grasses quite perpendicular so that we can bring our purple polka dotted flowers coming up off them. And I may end up doing that with a gel pen. Sometimes they do it with paint, sometimes the gel pen, I think today it's a gel pen kinda day. You can also mix it mediums. If you don't have a purple gel pen, you can do it with paint or colored pencil. Color pencil works well if you're not trying to be too opaque over top of paint. Ok, so now let's use some of the olive green, which is the 117 and the secure a coin. And I'm just going to go in. It's okay if the other paint is a bit wet, we can do like a wet on wet, sort of dropping in some shadow. Little bit of suggestion of olive green grasses that create the shadow work here. Little bit here and there. I also like how the olive green tones it down a little, so it's not all so quite so bright. The brightness of the spring greens can sometimes be a little much for the, I, I make sure the grasses do touch the bunnies feet, so it does look like he's standing on something. And then along the base of the mushroom, I'm going to get in there quite thick too with this all of green to create just a really good foundation for the mushrooms to be sitting on. That's it for the green. And now for thinking, I want to get in here and do these mushrooms skirt. No, yeah, they're called the skirts. The mushroom skirts. So I'm going to use the number four. And I am going to put some yellow ocher in there first. And really the yellow ocher is going to basically be covered up. But it's, it's really just to create some light and variation from the rest of the stem. So I'm putting a washy, watery yellow ocher. And the rest of this is dry, the cap and a stammer totally dry, so we were not going to have that bleeding issue. So while it's wet, I want to move along quickly here and make this one as well. But while they're wet, we're going to take our paintbrush and loaded up with more burnt umber. Burnt umber is exactly the same color that we used in the bottom part of the stem, except this time when we drop it into the skirt, the wet on wet, it's going to look different. It's going to be more yellow. More interesting because we're mixing it up with that yellow and the yellow will look like a highlight. And I'm not going to cover everything. I'm just sort of dropping it in and kinda drop it under the cap there so that it creates a bit of a shadow. And that is pretty much it. I don't mind there being a white separation between the cap and a stem. I'm going to embellish that with the gel pen. If there's little bits of white between things, it's okay. We don't need every single edge to meet now in some styles of watercolor and realism, you do. But in this whimsical style, we can have some just suggestions of things and little bits of white showing here in there. For the little mushrooms, I'm going to wash them over with the yellow ocher. And they are gonna get embellished with ink pen or ink gel pen as well. If yellow ocher is a bit opaque like thick looking on these little mushrooms, just get your brush wet. Dab it off. Like when I say wet, I guess I'm saying clean it off of paint, dab it. And with that thirsty brush, go in there and lift a little bit out. I felt like mine which was little bit overkill there. Over paint. Okay. And then my butterflies. I'm going to do with the gel pen. I think everything else I'm gonna do with ink and gel pen, All my embellishments and everything and at the very, very end will come in and do the sun. So let's move on to the pens. 8. Ink embellishments Bunny Mushroom: Now it's time to embellish our painting. And as mentioned before, I use gel pens and micron ink pens to create the outlines, embellishment, little splashes of color here and there. And it's so much fun. Before we dive in to the, to the Jelly Roll pens, I'm going to use our fine tip micron 0, 0, 5 again. And I'm going to basically dance over the whole painting again, as you see here in my example, There's just a lot more little black scribbles than what's in the painting we've got going on right now. So I'm going to get right in there. And it will start with Mr. Bunny. And I'm going to just use my scribble techniques. Now. I do a lot of Scribble art in my illustrations. I pretty much always add scribble, like an illustration isn't done to me until there's a scribble. And honestly, I think it comes from childhood. I have a memory of painting with my very talented oil painter, grandma. I was actually coloring with her in this memory. And we were coloring in a coloring book and grammar. Being so talented, she wanted me to color in the lines and she wanted to show me shading. And I just kept seeing grandma. I want to color out of the lines. Let's just do it this way. And I just wanted to scribble. And since that time, well, I've learned a lot about myself from that little story because I found that being outside the box is really just important to me as a person and an artist. But I also learned a lot by playing by the rules as well. And there was something really valuable that grandma was wanting to teach me and I dodged it for a lot of my art career. I'm putting a little bit of little bit of shadow under the bunnies. I just won't give them a little bit of a brow as well. And I'm actually going to go in and give a tiny little eyelash, just a tiny one. And then get in and create some more hair and the bunny ears. Anyway, to finish up my story, I've learned both to play within the rules of art because There's a reason and there's some fundamentals there that are meant to guide us and help us to grow. But then to also give myself liberty to be outside the box and to scribble. And so scribbling is a big part of my illustration. And I actually have in the lineup of classes and entire unit on scribble art that doesn't include watercolor in it, but just scribble art. So see, keep your eyes peeled for that one. It'll be come in. Okay, so I'm happy with little bunny. I'm going to actually give them a little bit of texture that shows. These are finer strokes there that I'm doing. Less scribble, but just kind of bringing some little tiny hairs into his belly. And leader, I think I'll go in and actually let's do it now. Let's give him whiskers. Now the technique with whiskers is you really have to plan your direction and lift up that pen so that they taper off towards the end and almost disappear. Okay, so I'm going to scribble a bit along the tiny mushrooms. I'm going to enhance the underside. And sometimes I like to add a few little dots along the shadowy side of the mushroom. And some gel pen is gonna go in there too, so I won't do too much there, but let's just kind of finish off all of these. Actually, I'm not happy with what I did there. I kind of lost my mushroom stem and so scribbling will fix it. I don't know what that's the very best advice, but I use that advice a lot in my Illustrator works. I'll just add a scribble that'll fix it. And so yes, so some gel pen will go there and then along the side of the actual mushroom, I'm going to use what I call scratch hatching. Where I scratch kind of back and forth one way and back and forth the other way. It's a little bit different than crosshatching, which is lines. And I just kinda scribble back and forth and I call it scratch touching. And I'm going to go over you in the shaded area that we did paint in, just adding the ink. And so you know, this is, I guess a good way to show that if your blend with the watercolor isn't perfect there, it's okay because adding the scribbles in kinda helps the blend like you can fix the blend a bit. I'm going to add some darker gel pen under those skirts. So I won't use the fine guy there. And I like to do little bit of texture that way too. And we'll let that be. That looks good. I'm happy with that. I like sometimes coming up into the mushroom with a few little lines that make it look like it's crinkled or wrinkled or a bit weathered? I think that would be sort of the natural state of a little forest mushroom would have some little cracks and wrinkles in it. And so we'll do that with a fine pen, but we will visit this again with the bigger gel pen. And I should have mentioned right in the beginning that the ink, or sorry, the watercolor really has to be fully dry to start using these pens. If it's still wet. You'll have trouble both with the gel pen and ink pen. So I I totally did another job here in between things and like let this dry. And that would have been important for me to say, but I'm hoping that you all did that if you're experiencing trouble, just take some time and let it dry. And as you can tell, I did a little bit of scribble right underbar. The cop would be casting a shadow. And now is get into the fun color. Okay, So well, I shouldn't say that because we're going to use white at first. So. It's not fun color yet, but almost, as I mentioned, we're going to use the white gel pen to create these little white polka dots on the mushroom cap. So there's a lot of different ways you could have done like making these white spots, but we're going to use a gel pen. This is a number 10, which means the ink flows fairly thick. And I like to make like what I call a global peanut shapes. They're like long pointy ovals. So yeah, they're not great peanuts, but they're, they're like odd little overly shapes. They're not all perfect. You could make perfect polka dots if you want. I've done that before. But I like, of course, because of perspective and how the mushroom is round and these are going to go up and over. We're going to do larger ones at the bottom and gets smaller towards the top. And so I'm just going to take this and I am not making straight lines. They're very wiggly little lines and I'm actually going to fill it totally cover it in. And one thing about gel pen is it goes on quite liquidity and it does smear if you brush your hand across it. And so that will be good enough for my demo. If I wasn't demonstrating and taking your time to show you, I would probably spend a little while coloring this in, like making sure that not very much red was showing through. But for the purpose of today's demo, I will go a little faster and there might be a few lytic little red spots that show. And so I just go along the bottom with the bigger spots. And maybe about four. And I kind of bend them the way the mushroom is bending. And know my next row I'll stagger them almost like brick laying where they'll be in between the other ones in there a little bit smaller. And there are different shapes like you want to entertain the eye with many variety of shapes. Kinda catch the viewer, give them details to look at that. Entertain the eye. And then we'll go up with even smaller ones. Now these, it almost looks like I'm making little clouds or something if you want to think of it that way. And once again, I'll take time later and I'll fill a really fill it in more. I don't think you want to sit here and watch me fill in every single dot. But as I go up to the top, I get really tiny. And that's the just there as a demo of how I would do that and then follow the same technique here on the little or mushroom. Now as we start to move into. Colors. There really isn't a right or wrong of what colors you choose here with the gel pens, you can collect whatever you want. I like to use pink in the butterfly's wings only because this is such a bright fluorescent pink. It's just eye-catching. It's like, wow, it really stands out. And I just go in the little white negative space. And I'm not trying to make it like, perfect. I let my pen just kinda wiggle around a little bit and I like to put a little dot on the bunnies knows to brighten it up because we had used quite a pastel pink there. And then on the little body, we'll use another green, a soft green there. And sometimes I'll just go in and blend or bringing a little more grass with the gel pen. And it kind of brings the colors into be cohesive. And a little bit a scribble. I love that. I don't go overboard with any of it. Embellishments are meant to just be simple and exactly that just embellishments. So, okay, so now I'm going to use the orange, bright fluorescent orange and I'm going to put a little highlight on these little guys and maybe a few little polka dots in the grass. In this, in this demonstration, I had made bigger flowers, to be honest, I don't care for them. So I thought in this, this one here today, I'm gonna do smaller polka dots. And then as our last kind of embellishment, we're going to make these little purple flowers and I just do little dots all the way up till it's one dot. So maybe it starts with like three and then turns into one. And are very, very last. Finishing her RA, for this beautiful little painting is well, and I should say, if you wish, you could take a black gel pen and make some deeper shadows. Here. At this point you're playing like our piece is, our pieces wrapping up. But you could go and add some more contrast. Sometimes I go easy on the contrast, especially if it's for like a little baby's room, you don't want it to contrast to you, but a little here and there is, okay, you can see that really made the mushroom pop out a bit more. And then we're going to end with taking our water color yellow and making that son with a nice lemon yellow and a load up the big brush, nice and watery. And really all you're gonna do here is write in the curve of that mushroom. You're going to just make a circle, fill it in. If you wish for it to touch the mushroom, it can or it can just be just a little bump above the mushroom. And now you have the honor and privilege of signing this piece. I usually sign in the bottom right-hand corner, and often I will, I will sign after I have mattered it. So I'll modify it so that I see what is inside the mat and then I will go in. Actually, let's use the micron. It's little quicker to dry and I'll go in and sign it right here. And that's important to sign your work and be proud of it. And I hope you hang it on the wall or give it to someone special and just really enjoy that you did this. And if you're not happy with how it turned out, do the class again, nothing is holding you back. I am so pleased. I really, really hope that you post your finished project and leave a review. So thank you again so much for joining into this class and doing a bunny and a mushroom patch with me. Bye for now everyone.