Illustration: Cute Mushroom House | Marijanel Artistry | Skillshare

Illustration: Cute Mushroom House

Marijanel Artistry, Watercolor Illustrator

Illustration: Cute Mushroom House

Marijanel Artistry, Watercolor Illustrator

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11 Lessons (2h 11m)
    • 1. Class Intro & Meet MJ

      1:59
    • 2. Supply List Overview

      1:25
    • 3. Demonstration of MJ's Techniques

      31:21
    • 4. Making a Grid

      11:27
    • 5. Sketching with Pencil

      13:48
    • 6. Sketching with Ink

      8:50
    • 7. Painting the Mushroom Cap

      16:57
    • 8. Painting the Mushroom Stem

      8:42
    • 9. Painting the Details

      13:24
    • 10. Ink and Matting

      22:04
    • 11. Class extro

      0:39
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About This Class

Learn to illustrate this cute Mushroom House using watercolor and ink. This class is perfect for beginners who want to get started in whimsical art or for more advanced artists who want a break and refresher from other work.

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.

Join this class today and have fun painting this cute Mushroom House!

Meet Your Teacher

Teacher Profile Image

Marijanel Artistry

Watercolor Illustrator

Teacher

Marijanel (MJ) is illustrator and online class teacher found at marijanel.com . Marijanel uses a variety of mediums to express as an artist, such as oil paint, photography and clay sculpting, but in her illustrative work MJ uses a hybrid of watercolor and digital. As an online teacher Marijanel strives to  impart both skill and confidence. You will find MJ's classes to be fun, full of life, and with a fresh approach to art.

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Transcripts

1. Class Intro & Meet MJ: So welcome to this watercolor illustration class, where we're going to paint a cute little mushroom house. If you're a beginner at watercolor or illustration, this class is for you. You're going to learn watercolor techniques that are going to bring the image to life. You're learning skills, techniques and going, wow, I can do that, building confidence, but also that your imagination is open to the wonder and the possibility. We go over lighting, how the light of the sun is shining. We go over the depth of making the little mushroom house more 3D and shaded. We go over the elements of the bees and butterflies and how their composition plays into the magic of the piece. As a teacher, I want to become that springboard for you. As you sit with me through this costs and you, you hear my commentary and I share with you and open your imagination to the wonder of the piece we're making. I want you to take it and run with it and go forward from here before we get started, here's 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 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 a 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. I want to empower you not only to make great art, but to come into who you are as a creative individual. So let's get started with the cute mushroom house, watercolor and ink class. 2. Supply List Overview: Welcome to the class. Before we get started, I'd like to go over today's recommended class supply kit list. I have listed the supplies in both the description of today's class and also provided you a printable PDF that you can print out and go shopping with ease. And you're welcome to improvise and use other supplies that you have already on hand. Let's go over what else will need. You're going to need some simple basics such as pencil, ruler, mat with a five by seven Opening, water and tissue. Since this is a watercolor class, when you hear me speak, paper, brushes and paint, those need to be specifically for watercolor. If you choose to source a different paint than what I recommend, and you're looking to match colors. The best way to do this is to Google the color name that I've listed with a search on how to mix it or which brands carry it. In the class commentary, you'll hear me refer to the colors and the numbers of the secure equate brand. I want to give you all freedom to either be using the supplies that are already accessible to you and matching the paints as closely as you can or if you wish, you can purchase the ones I'm using. You can use comparable colors in whatever brands you wish. Have any questions. I'm just a message away. Let's get started. 3. Demonstration of MJ's Techniques: Hey, it's m, j and welcome. Before we get started on sketching and painting are cute mushroom house and I'm going to teach you up-close how I create my teeny tiny bugs and bees and butterflies. So one thing I really want you to know and understand is that your little tiny details do not need to match mine perfectly. I know that I've given you a reference image and you're going to see the exact outlines of some of these little plants and bugs. But I want you to use your own imagination and creativity in your painting. And so your little tiny details like every single leaf doesn't have to match my Exactly. You can just take my ideas and spin off of them to create your own masterpiece. So here we're going to zoom in and work on a larger scale. I can show you how I create the bees, butterflies, and foliage so that you can see it up close. Because sometimes when I'm filming my whole piece of artwork can hands, it's kinda hard to see all the little tiny things that I'm doing. And so I just felt that to show you how I create these tiny elements. Because you see, I mean, that b is smaller than my fingertip. So I want to zoom in right now and actually just show you how I make the bees on a bigger scale. So in our actual project, we're going to be using a tiny pen, micron 0, 0, 0, 5. It is so tiny, the tip is just minute. But in order to show you how I make these tiny details, I'm going to use a fine tip, ultrafine tip, point Sharpie. And it's just going to help me make it bigger. Now, also keep in mind that you will have sketched in pencil already. So in our sketching lesson, you're going to sketch this all in pencil and then find tipping. So you're going to already have, you know, your, your outline and everything created right here in this demonstration. I'm just going to wing it a little and show you the gist of how I create these tiny details. So let's start here by showing you how I create the tiny detail of these particular foliage that have around circular leaves. Now, the interesting thing about these is that the stem is there, but it does not intersect some of the leaves. So in order to do that, I actually create the leaves. First, those big leaves. So I might make three big leaves. And then I connect them with the stem. And I usually keep the stems bent. I really like my foliage to be bent. It helps with a whimsical style of what we're creating. So now you see the stem doesn't just intersect the leaves, which also helps us to see that the leaves are closer. They're on this side, our side of the stem. And now I'll fill in with some smaller round leaves. As I near the top, I always make tiny ones because it just looks more real, believable. There you are. Now, when we paint those, we're just going to be simply painting with our round brush. And of course, keeping in mind, we're going to work really tiny. We're just going to dot in the paint and usually a light green and then a dab of dark green to create a bit of a shadow on the bottom. And there you go. So we create those like this. On the side and tiny. But here's a demonstration of how I make that, that kind of leaf for you. Now, you'll also see that I create these Turley, I'll call them early worldly grasses on the side of the mushroom. And that is really easy. I just like if this is the side of the mushroom, I just would come off that mushroom with some little twirls. And then when we water color those, I don't obsess about making sure it's this tiny little line of green. I just kind of enhance it like that. There you go. And then you'll also notice that the grasses, so I, I will often just sort of scribble the grasses a bit. And my scribble motion is very much like not some long ones and short ones. And so if I was to have an area like in front of the mushroom house pathway and the sides of the pathway. I have often already painted it green. And then I just go in and add some little enhanced scribbles. And I wanted to show those to you guys up close. Sometimes the scribbles aren't all in that pattern. Sometimes they'll just like that or, you know, And I, I mention all the time and you'll hear me say this when we start to work with the pencil to keep your hand loose, free, to really even up at your shoulder, you're really loose. And part of the trick with this sketching and drawing is just to stay loose and it helps to create that whimsical style. So basically, my illustrative style with the grasses is just scribbles. So have fun with that. Okay, and you'll see there dainty tiny scribbles. They're not these big like scrub, scrub, scrub, scrub all. They're just these tiny little inflections of grass. And then you'll see there's some polka dots there for some little flowers. So let's move on to the bees. So the bees, I basically start with a round body or slightly oval body. And in other classes I will elaborate on how all art really just stems from shapes. It's pretty cool. We can just open our eyes to the shapes around us and create art. So I start with an oval, roundish body, and I add round wings. If I want the wings to be on top of the body, I make one round wing with one hidden behind it. And then I sorted just color in the head and a couple of stripes. And for the demo, I won't color that in perfectly. But you get the idea. And then I make a V that looks like that for the little stinger. And then out the top of the head I add antenna. And then this will get color colored with the watercolor. It'll be yellow and I usually put a dot of like a light, light blue into the wing. Now that's for the wings being on top of the head if or sorry, the top of the body. If you want it flying straight ahead. And I often like make my bees all different ways. Like when I put a cluster of little b's, I will have them going all different directions and having their wings doing different things. I don't make them always the same. So that's with my little wings coming out the side of the body, a couple little stripes. And for the purpose of the demo, I'm barely coloring and the stripes for you because you get the idea. And then the V for the little stinger, little antenna. And then once again, when I use watercolor, this is going to just be at a demo with some lemon yellow. You'll see that I will just go in and fill that in and keep in mind when we're working tiny like we will be in our cute little mushroom house. Those are so tiny, it's just a dab with one of the tiniest little paint brushes ever. That's like a size 5 over 0. And so that is the demonstration of the bees. Now I'll show you a demonstration of the butterflies. And the butterflies are just as simple. They are really just bubble wings with a little body in the middle. And I do the same idea of the bees flying different ways with the wings, like on different areas of the body. I do the same with the butterflies. And so with the butterflies, I usually start with the body and it's alike, this kind of little shape there. And then bubble wings. And I usually put the top wing a bit bigger than the bottom wing. And I try when it's flying this way to make them match. And then I'll usually put a little circle on each wing. You don't have to, you can make it however you wish. And then the little feelers like that. And then I'll do the same like if it's flying sort of to the side, I'll make the body and then I'll do the bubble wings to the side and I'll put that back wing behind it. And then the little feelers like that. I generally don't put little legs on my butterflies even though they have them. I don't do that just because it's not necessary TO see when they're flying through the sky. Then it to paint that in, in our, in our actual painting. It would just be filling in non and maybe dropping a little color into the polka dot. And then of course, putting the green, I usually use green right in the body area. And that kinda gives you a demonstration of the butterflies that we will be doing very tiny with a tiny pen. You'll see them there. And as far as some other things, and you'll see there's a little tiny bug here and the clothes, maybe I'll show you the bug in the clothes. So the bug on the clothes line is really just a long, long oval. With colored in black head and I kinda gave him a funny little tail and home Hawaii. And then I'd put a little line through the oval that makes it look like the shell of his back is split. And then with this guy, I didn't put little legs. And then a little feelers and sometimes for the feelers, I'll decorate them. I'll put a little dot on the top of them. And for his body, I colored him green. The clothes on the closed line, I think that you'll be able to see the sketch very closely in the reference. But they're just simple, little clothes hanging on the clothes line like that. And I put little clothes pegs and then we'll color them in on the pants and the cloth. I kind of made them bent a little so that they look like they're blowing in the wind. And it's just that simple. So that shows you up close some of these elements that I created. Now on this page here we're where I drew these. I was playing with different kinds of leaves. And you are welcome to divert from the leaf I showed you to create really any kind of leaf. You can use your imagination. You can even add lady bugs or other bugs into your little masterpiece. So thanks for joining me on learning all the tiny details and now it's time to actually sketch and create this piece. This tiny detail demonstration was really just a warm up and to help you see what we needed to see up close. Now I'm going to demonstrate watercolor and ink techniques. Hey, it's, I'm Jay and 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. It 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 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 will 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 is 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 a 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 you 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, anything 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. Now me, get my paint ready with watercolor. If you're using what is called a pan palette, which means the paint is filling a little, 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 fresh water 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 paint. 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 onto 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 dabs that glob of water off the paintbrush. You still want to wet paintbrush, 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. So 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 paint. 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. And 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 it 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 rate 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 in which I want. 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 dipping 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, 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 right over top of the dry watercolor. We won't do that in this demo because these are still drawing. But once the water color is dry, you can go in with the ink and embellish and the movement of my pen. Its first always cut 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 street 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 to how the pen sounds on the paper to. 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 tangle, the orange 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, just whatever, whatever we can dream of making. Now, I do. Let me just talk my list here because I made you guys a list. I'd 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 a rock 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. You know, 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 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 inking. And here's one more example of this little squirrel she would have 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 Grid: Before I explain what a grid is, I first need to explain what a reference images. So in case you don't know what a reference images, It's the picture or image that we use to create our artwork. Sometimes we combine multiple reference images, the references, what you're looking at in order to create your artwork. So let's just say we have a tree photograph that we're going to look at and create the same tree sketch for our piece of artwork. That tree photograph is our reference image. When you're advanced, you can eyeball it. You look sketched, look, paint, look sketch. And that is ultimately how we'd like our mind and our muscle memory to work is to be able to look at our reference and simply transpose it onto our artwork. But when you're beginning or you want to be really accurate, a grid is most useful. So what is a grid? A grid is equal-sized squares that break up your image. So you can see here on my example there squares going through and this is my reference image. And then what I would do is create squares the same amount in the same amount of increments going going through the width and the length, the same increments on my artwork. And then what I can do is reference how the sketch is laid out in these squares on the reference and transpose them into the same squares. On my artwork. What happens is that the grid becomes your reference points. It's where you can see the size, shapes, and angles. And if you need to, you can break grids down into smaller increments to become more manageable. In my classes, I'm going to provide you with the reference sketch grid. Teach you how to make a grid on your paper and we will transpose using a grid. In this class, we're going to be doing a specific painting together at a specific size. But outside of this class, if you want to plan for success, what I would do is choose the size scale that you know you love to paint and have that size paper and mats readily available. And before you pick up that pencil and paintbrush to go for it, plan out your paper a bit, thinking for success, thinking of that end product hanging on the wall. To do that, you're going to want to work on a slightly larger piece of paper then the mat opening, having the mat opening sketched out on your paper, and then creating a grid that helps you get your reference image on to the paper with a great composition. I hope these tips have helped you. And now let's make a grid together so that we can move forward with our project. Here, 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 papers that will 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 mentioned earlier that you can get in pretty much 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 it 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. To use two dots there because the distance is so close together. So we'll do two dots on the short side. And then line 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 five by seven 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 am 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 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 free MBL or mandible in standard size mats. 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 box, 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 some may dots and lines and plan it all out. But it pays off leader 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, right 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 like, just keeps 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 threes, 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. At this point, we've gone over supplies, our color palette, and we've created a grid together. And now it's time to take our grid and our principal reference image that I've provided for you, and use our pencils to sketch in our image that we're going to paint in this chapter, I'm gonna teach you how to sketch with both lead and ink, a tiny ink pen. The purpose of using the ink later on in the chapter is because we're going to erase all the pencil marks, our grid, and our pencil sketch. We're going to erase it all and it will leave us with an ink sketch. Now the purpose of getting to the point of an ink sketch is because he doesn't disappear or turn an ugly color when we watercolor over it. Before we begin, I want to give you a couple quick tips on sketching. I want you to hold your pencil a very loosely, the looser and freer that your whole hand and your whole arm are, the better your sketch will turn out. I don't want this to be like you're drawing a solid line around the outline. I want it to be a free light movement of the pencil against the paper, just giving you a guide of where you're going, paint and use any pen does keep everything from your shoulder, your wrist movement, all of it just loose as looses a goose. And we're going to keep it really light without sketching. I'm so excited to get started with painting our cute little mushroom house. This is the sample painting that I'm going to refer to quite a few times. You will see it's slide up on all of the class material. You'll see it come up as a slide so that you can refer to this and be reminded of what my final example illustration looks like. And by now you've probably printed out the cute little mushroom house sketch that I have for you in our grid. Even if your grid prints out larger than what we're actually painting or sketching, it is okay, what you're gonna do is just translate the square for square. So even if this is a larger square over here, you'll just make the same shape within this square and that is what we're going to do. I'm not going to elaborate too much right now on talking about the grid any further, we did have a segment on the grid earlier. What you're going to see me do now in real-time is simply sketch my mushroom house. I'm going to be counting down three boxes, three squares and starting here and sketching this shape and following that shaped through those three boxes. And so my eye is going to be doing that as you see me sketching. And I'm going to talk about sketching now. I'm not going to elaborate too much more about the grid. So I am using a regular sketching pencil. You can almost use anything when I'm not drawing or. You know, working on a piece of art that is for the purpose of displaying as lead. I don't worry too much about what kind of pencil I'm using. It's okay to be general here. I do want to reiterate that a few times that it's okay if your lines of your mushroom are slightly off from mine and that you improvise a little. I think some of the important keys to this composition would be having the chimney and the sun right in these areas. And having the window placement of the mushroom, little round mushroom house windows that they would be in that similar placement that the composition of the the stem, trunk of the mushroom and door and pathway, those are important, but the rest of it really are just embellishments that you can be creative with. I mainly provided this sketch within the grid because I do know there are going to be a lot of beginners joining into this class. And I want to make it as easy as possible and as, as successful, as like, I want the success to be as attainable as possible. As you can tell him, I'm struggling to talk and be creative here. One thing you'll notice about my pencil movements is that I am a light sketcher because I'm a light scatters. One of the reasons I provided this printable PDF because my sketches were, when I began teaching these classes, my sketches were so light, I was afraid that students weren't really seeing on camera what I'm doing here. And so it's good for you to be able to see this one. But my sketching tends to be light. I also do multiple strokes. I do this with both the pencil and the ink that I show and demonstrate later. But I tend to be very light. So when I just interrupting myself here, I'm eyeballing these little round windows. They don't have to be perfect circles because our cute little mushroom house is meant to be whimsical and a little topsy turvy. And you can see I've got these in slightly different placement. And that's okay. If I go to erase like a larger section, I just tried to make sure I don't completely erase my grade. You might you may erase some parts of your grid, but I try not to erase too much of it so that I can still see the grid as I work. And I really am eyeballing. Know if you feel that you are a very particular person, that you want these circles to be completely round. You can grab a round object that you think will work. Even the top of a really thick pen that you could trace the circle and you can go for it that way. But I do encourage my students not to obsess too much about that kind of perfection. I actually have a little saying. I like to say, say no to perfect and yes to your best. And what that means to me is that there are going to be a lot of little imperfections within our art. And, and that is to be expected, It's pretty normal. And those little tiny circles like for instance, the circles of the windows, those aren't things that the viewer are going to scrutinize and be like, Hmm, did they make those circles perfect? What happens when a viewer takes in a piece of art, absorbs an illustration or a piece of art is that they look at the whole and meaning the whole picture. And if you keep a whimsical topsy turvy look where things aren't perfectly the same size and, and you have a little bit, just a free hand approach. I've found that viewers really appreciate that and you will find one moment I'm interrupting myself again. I'm just going to put in a really gentle horizon, not a horizon line, the grass line here. That really gentle line there. Just to give myself a point where I know that the mushroom is going to be done. They're done on the grass line. There we go. It is somewhat funny because I, I often can't talk when I'm being creative. And yet I have this amazing opportunity to talk while painting and drawing. And so if there is ever anything that you feel that you don't understand of what I say and you need to clarify. I'm just an e-mail or message away. And I am most available to my students. I know that these are classes in which you self lead with my video, but I am here if ever, you're like, what did she mean? Because I do know that when I'm in the creative zone, I just kind of hop around when I'm saying a little bit and think of something, oh, and change the subject. Now, you'll see here for instance, in these teeny little plants, but I just put in the window box. The line of the window is going through them. So I'm going to want to paint. So whatever is going to be in front closest to the viewer gets painted first and clearly doesn't have a line there. But I'm not actually going to take all that time to erase that little line I sketched over. I'm just going to remember when I'm inking. To do that now, I want to clarify here that we are sketching. Then we're going to do what I call an ink sketch. Then we are painting. So those are the three stages. So I do a pencil outline and then an ink outline and then the pain. So this little line that I was referring to that's intersecting my foliage and not intended to be there. I'm going to remember that when I'm doing the ink outline, we'll talk about that again when we grab our pens. And if if that in any way had some confusion, I will clarify it again. Because sometimes when you're sketching, like I made the circle of the window. And that circle of the window is going through the leaves that, that, that part of the line shouldn't show. And, but I leave it during the pencil sketch. Now, I'm not going to sketch where the sun is going to be. So in my sample illustration, you'll see here the sun. I'm not actually going to sketch it because I have found that, because I watercolor the sun with such a light color of yellow or light color, the lead. And no matter how I erase pencil, it just shows and it bothers me to have any kind of pencil or marking showing in that light sun. And so I've just learned to not sketch my son, but in my mind, the sun is sketched right here. And I'm just going to let that be you were in. When we move on to the painting stage, we're just going to put the sun in just with paint. And so in your mind, keep, keep that thought that the sun is right there. It's going to be coming up over the, the top of the mushroom house roof. And now I'm going to start to sketch in where these lines will be. But some of that line is going to need to be raised for the way that we create the foliage. And if you've watched my little segment on how we create the bugs and the foliage and all the little tiny embellishments. You will know exactly what I'm talking about, about the leaves that are gonna go here and how we don't want those lines. Same type of thing I was just talking about with the with the window box is that when we ink we don't want to accidentally ink those lines in there because we went some of these leaves to be in front of the stem. So there is an aspect in sketching, drawing, designing these illustrations that you're always thinking about what's in front and whatever is in front. The, all the rest of the lines have to be tucked behind in and out is something I often like it's an accident sometimes where I'm like, Oh, I shouldn't have that line there. And the little washcloth or cloth there. And then we'll just give ourselves a markers to remember to, to ink in with the fine tip ink pen we'll put in little clothes pins. And so I feel really good about this sketch with a pencil. And now what we're gonna do is ink this. 6. Sketching with Ink: So the idea here now is really, I'm just going to outline exactly what we just did except with ink pen. And the reason I'm doing this before I paint as I want to take an eraser to this entire illustration, like this entire piece of paper and just get rid of all the LED before I'm using watercolor. I have found the watercolor on top of pencil. It just actually can turn muddy and I can't seem to ever erase. After I've watercolor, like put it this way, I can't erase well, like sometimes there's still lead hiding in there. And so I've just learned that I get the sketch done with my pencil. And if you do want to do scalloped edges, I just do the scallop rate between those other little lines that we made, those little marks that look like fireworks coming down creating the grooves under the mushroom. So you would just create the skull up like that. And that's your personal preference. There's a lot about this class and this particular project that you can totally infuse your own artistic ideas, your own personal preference. You can follow me to the t if you wish. You can just soak up everything I do and follow me. Or you can use this as a springboard and infuse all your own creativity into it. Perhaps there's elements or ideas that you want to add into your mushroom house. And I encourage you to do so. And if for some reason you get ahead of yourself and you've liked bit off more than you can chew, then just back it up and follow my class a little closer. And yet if you feel like, you know, I'm an ADA, a bicycle and a wheelbarrow in a little mouse digging in the dirt or whatever you wanna do, You can just go for it. But I've kept this very simple here so that really anyone can follow along and do this and learn some techniques to illustration. So prior to that little rabbit trail, I was talking about why I use an ink pen before watercolor. So I think I got to the point of explaining that LED mixed with the paint doesn't look good. So that's why I basically sketched all this in with this tiny pen. Now, I have found that like sometimes I make mistakes with this little pen when I'm sketching. And I've learned that. Not to fret about those mistakes because. By the time that the piece is painted, and I do more ink, meaning this pen, and I come back with some white ink embellishments. A lot of times if there's a little slip up during the ink sketching part, it's barely noticeable unless it's like a really, really big mistake. You know, where your pen totally slips and makes a huge mark or something. Then I just don't fret about it and they tend, the ink. Sketching mistakes tend to just blend in. Now this, I'm coming to the part where I was saying to make sure that what's in the foreground is ink first and that none of the other lines that you were sketching with a pencil are put in there. So my foreground in this little window box are the foliage, vines hanging down. So I'm going to ink them first and then make the rest of my window box in between them. And then add these little flowers so that the lines are, aren't intersecting each other strangely. And tilts to create my little clothesline. And I like to make tiny bows where the closed line would be held. I just think it's cute and I like in my illustrations that the details would make sense. I noticed I forgot to pencil in my butterflies up here. In the earlier segment, learning how to do the bees and the butterflies. You'll learn how I'm doing this. But I had, when I initially put in my pencil marks, I had forgotten the butterflies. So here we go. We're just going to put the butterflies in right now with the pencil first. And you know, I probably am confident enough with the ink pen, I could do these without having penciled it in first, but sometimes I just like to judge the placement with the pencil marks. So when I penciled it in there with the so when I penciled in where the butterflies went, I was mainly judging, you know, if I liked the placement, but I probably am confident enough with the pen to have just done them in ink first. We'd still need to do the pathway. That's something that I hadn't added in yet with even the pencils. So you can see I forgot a few pencil parts of the sketches. So we'll do the pathway there. I'm just doing it in the ink. I feel confident enough to do that. But if you are not confident with the ink yet, just grab a pencil, sketch it in, and then do your ink sketching. There's my pathway and I'm just going to look here and see if there's anything I want AKA. Now remember, we're going to visit this again with this ink pen at the end of painting. So if you don't have every little bit of the inking in, it's okay. I'm going to add the window lines, the window pane lines later. I think the only thing I'm missing is my little bug, my little green bug that I had here. So I'm just going to put him in right now. And sometimes I have to admit I'll think of things as I go. So don't worry too much if something comes to your mind later that you want to add in there, It's okay. But we've gotten now are our grid sketch with a pencil and then we inked it and now we can totally erase all the pencil marks. This is a fun part. The idea here, and actually I'm just going to quick throw in a little bit of the grass line just for me to be able to either grass later. So now we can go nuts with this eraser. Just go nuts, get in there and make sure all that LET is gone. One of the big reasons I do it this way is because I don't like lead mixing with my watercolor. I mentioned that earlier. I just find it gets muddy, especially on these teeny weeny paintings where a small area really is the subnet, the subject matter. So I'd just like to get rid of the lead and shake that away. Make sure all the eraser is gone because that mixed with watercolor doesn't look pretty either. The little tiny pieces of the eraser can sometimes stay on the paper and then just sort of get stuck in the paint and I don't care for that. So after you get all the lead erased, you're going to really, really thoroughly dust all this off. And then we're ready to paint. And what we have here is what I'm calling the ink sketch. And so some of this is actually going to blend in and get covered up. Like you can't even see that in my example. It's just gone into the painting, but it's, it's there in ink leading us, showing us where to paint. So I hope this has gone well for you. Remember if you have any questions you can reach out to me. 7. Painting the Mushroom Cap: Hey, it's MJ. Before we get started, let's check out mushroom anatomy, cap, gills, skirt, and stem. Let's get started. Hey, it's m, j, and we're here ready to paint our mushroom cap, sun and sky. And the way I start each painting is a diff, is different every time I take into consideration the background and how light it is the foreground, which is the closest part to us, and how dark it is. And I take into consideration all the colors, whether they're light ones, dark ones. And for this particular painting, Here's my sample. Actually, here's another sample. We'll use the one with the blue sky because we're going to do blue sky today. The sky is very light and I want it to stay the blue to stay away from the sun, because yellow and blue make green and we don't want to end up with a green sky. So for this particular painting, what I'm gonna do is start with the yellow, the yellow of the sun and the windows of the cap. And once I get the yellow there, we can then know the placement of the sun and we want to keep the red away, or let's say lighter as it gets towards the Sun. Because part of the charm of this piece of this illustration is the way the sun is shining on the mushroom house. If we took away that element and we just made the mushroom cap just totally one solid color, red, it just would lose its charm. Part of this beauty is that the sun is just coming over the edge. It's shining and may end. And of course, when the sun is shining on something, it's lighter. So it's lighter on the top of the mushroom cap. And we're going to keep that in mind as we paint. So for this particular piece, we're going to start with the sun. I'm going to grab my number 4 round brush. Actually. I'll use the number six off-camera here. I've got two jars of really clean water and my tissue because I use that technique, touched the tissue where we just dab off quite often I I dip to clean my brush in the water, but dab on the tissue to get rid of the main drop of water that would be on the brush with my eyedropper. I've already woken up a few of the pains. I I drop a drop water on these in these paints in the pans in order to wake them up. And so here is my lemon yellow 05 to now, one of the reasons that we smear paint around on the palate is first to help load the brush, but then to see how light or dark it is, if we wanted a bit lighter, we can add some more water to it. If we want it darker, more pigmented than we of course do the other way where we draw, we dip into the paint some more. I'm happy with what I'm seeing here. And what I wanna do is just go to this area. I haven't even sketched it in because I didn't want pencil marks around my son. But I'm just going to go to this area and just make a nice yellow, lemon yellow circle. It doesn't have to be perfect. It can just allude to the fact there's a sun there. I'm going to clean off my brush a little touch the tissue, and I'm going to just gently drag some of that pigment around the circle I made. I'm just dragging it with the very tip. You can see my brush is very perpendicular, straight up and down. I'm not even letting it fill in all the white. I want some of that white to speak for itself. If for any reason you ever feel like, oh, it's way too bright or dark of a son. Just gently take your clean, clean X and lift a little bit out of there. And sometimes they lift a little bit out where it meets the mushroom because it's meant to look faded over the mushroom, not a perfectly round circle. And so I'll just sort of lift that out of there. Okay, perfect. Let's not obsess about the sun too much. We'll let it be what it is and it's going to dry. And then when we add in the sky, the two won't blend together and become green. So now moving back over to the paint, I'm actually going to stay on yellow, but this time we're going to make it a little more pigmented. So a dip in to the yellow get a little more pigmented and we're just going to fill in the yellow, nice and bright yellow. So a nice dark lemon yellow pigment and yellow, lemon yellow right into these windows. And while I'm at it, I'll do the window down below too. Sometimes I dance around the painting with what is on my, my brush. Actually, we're gonna keep on going. And we're going to just dab a little bit into the bees. If your paint covers up your ink there, just lifted back out. Now we're probably going to visit those bees again. But it actually helps. It encourages me as a paint to have some pigment different places on the paper. It just kind of inspires me. So I've got my, my windows and sun done. Now I'm going to move over to the cad red. So I've chosen cad red for the mushroom cap. I'm going to show you an example of something here. Actually, I'll set my painting aside just to show this to you. Can read. Alone, can be made light or dark just by adding more pigment. All watercolor can have a dark version of itself and a light version of itself. We can use cad red only light. Let me just sample this for you here I'm loading up my brush with cad red. We can use just cad red. For the, for the mushroom cap. This is a light version of it. As you can see, the more I bend my rush and kinda like bend and let the remnants come off is what we'll do closer to the sun where it's lighter. And if I want to add more shadow into the bottom to make it look more 3D, that is cad red. And we could do just cad red. But I'm also going to play a little with the color right next to it called crimson lake O2 two. And I'm just at the end of doing the mushroom cap, we're going to just drop in a little bit of crimson lake to create some depth. And that'll be just sort of be a, a red color mixes. It's a bit more of a burgundy color and it'll add more shadow. The placement and values of shadows and highlights are what make paintings look 3D. Okay, So the other thing we need to remember is that the tip of our brush is what makes the line. And I don't twist my body around to make a straight line going this way. I'm going to turn the paper to make my straight line. I'm also going to grab a smaller round brush so I can work easier around these tiny little windows. So this is a number 4. And I'm going to load up first with cad red. And Let's see here, Let's get the cad red going on the palette. I dip into the water just to get a little more fluid there. There's a sort of a dance between how much pigment, how much water the artists just kind of goes by an instinct and you'll start to learn, do I want more pigment in there? I'm happy with what I'm feeling, just maybe a little bit more pigment. And then when I take it back to the paper, here, I'm going to line my, my round brush up. Gotta move aside this, give myself some room. Teaching on cameras. A lot different than when I'm just painting by myself. Okay, I've got some room here. Now. I'm going to use the edge of my brush to make that nice line. Actually guys, I feel like that's too fluid. So you can't see it. I'm off-camera bit here, but I am mixing more pigment into my paint. And you can go by instinct that way too. Little more pigment. I want a little more pigment on there because this is the darkest part of the mushroom there that feels better to me. So I'm keeping it nice and clean along the edge there. I don't want to work too fast to be sloppy, but I also don't want to go too slow because we don't want this paint to start to dry. Now notice I'm bending my brush more. The reason being is that as I bend my brush and I'm avoiding those windows, if possible, we don't want red to go into the window light. But you can see that it got lighter as I bent my brush over. Now to get lighter still, I am switching my brush in the water. I'm going to touch the tissue just a little. And then we're gonna do sort of a layer. Not a layer but a touching the edge of this. We're going to move that pigment and the pigment will get lighter and lighter towards the sun, the more water we use to move the pigment. So sea water lightens down the pigment. Don't worry too much. If there is a bit of a line there. I'm dropping a little more pigment in. I just took sort of took a watery bit from my palate. Don't worry too much if there's a bit of a line there because we aren't going to give this mushroom some texture with some little dots of red. So as I approached the sun and I'm bending my brush to stay light, try to lighten it off there because the sun is shining. As I approached the sun, I just let it get watery or, and less and less pigment. And I'm going to wash my brush off one more time and go and really, really watery to where the cad red is turned in a sort of a pinky color. I'm pretty happy with that. Now before this all dries down in here, we need to get a little more pigment into deepen it so that it's more of a wet on wet technique and it'll flow together. So now I'm working a bit faster. I've put my, I put my paint brush right into the pigment because that pigment in the pan is nice and wet, still make a little bit of a puddle. And I really deepened it down there on the bottom of the mushroom cap. Now, I love the way some of this has flowed and moved and blossomed together. If you go outside the lines a little, don't worry because we still have the stuff at the end where we're doing more inking. Now, I'm going to before it dries there, dip into the Crimson Lake and do what I had demonstrated for you or we just drop a bit of that crimson. What I like to think of it, turning it a bit more burgundy and it just deepens that shadow a bit more than the cod red. Okay, and then I'm going to just do a little bit of texture where my brush and the point my brushes still quite wet. It's got a little bit of pigment and I'm just sort of dotting towards the Sunshine. I'm dotting and it's kind of lake a modeled blend. Like giving the mushroom cap a little bit of blend, personality, texture, letting the viewer think, Oh, it's not just a flat, glossy cap. It's, it's got some life and bumpiness to it. There we go. I'm 11 that okay, So before we end this session, painting the mushroom cap and don't forget, we have to visit that later with gel pen and eight blacking can we're going to embellish it. We're going to grab the larger round brush and using our civilian blue number 145, we're going to do a little bit of blue sky, stay far away from the sun. The way that I do that is wet on wet. So I'm getting in a totally clean paint or sorry, totally clean water and getting my nice large round brush wet. And we're going to, I'm tilting the paper again to accommodate where my brushes pointed. And in the sky up in the right-hand corner away from the sun. I'm, I'm just painting with water. Now. The trick was wet on wet and I'm, I'm totally avoiding the mushroom. You don't want to get water where the mushroom is drawing. Okay, well that's that red part is drying. So I've got a carefully show you without letting any of my read on the mushroom. But what we've done is we've made the paper just glossy with some water. Not potentially. We don't want the paper to wrinkle, we just want a little glossiness and dipping into my civilian blue. And then using the palette up here. I'm just going to make sure it's a really faint, faint blue. When I say faint, I mean light, a very light color. And I'm just going to sort of dotted and drop it into the sky, staying nice away from the sun. As my brush unloads from the color. Meaning it gets lighter and lighter and fainter and fainter. I'm not going to reload definitely avoid. Don't get to post to the mushroom. You don't want your paintbrush getting into that red. And what I'm doing here is I'm just letting it can be a little streaky, it can be a little dotted, but because you barely got any paint. And I'm using a bit more of a dry brush technique. And just sort of dry lead dotting some blue in the background. If you feel after you've gotten underneath a mushroom that you need a few spots of darker, you just dip into that really water down pigment stain. And when you're painting, stay away from the red that we painted on the mushroom cap. And I'm just kinda going in between the foliage a little, not much and I'm not covering every speck of weight. The idea here with alluding to this sky them over here. I'm just gonna do a couple little bits staying away from from the mushroom. The idea here is not to paint in every single speck of blue on you can see I've left white spots. That's the idea is just to allude to a sky being there. If you want to add any darker sky, just do it right up here in this corner. And I got a little dark, too dark. So I'm just going to take I'll show you how to lift some out if you get a little dark, I'm just going to take a totally clean Kleenex and I'm just going to gently lift a little out and actually sometimes it makes kinda cool marks and I, I like it. And if you don't like the cool marks is take a little water and kind of blend them a bit. But that's the area if you were going to make anything darker would be to be up in that corner. Okay, let's move on to the underside of the mushroom, which is called the mushroom gills. The gills and the skirt. And this is so much fun. I hope you guys are enjoying it. 8. Painting the Mushroom Stem: And now we're back and we're going to paint the mushroom gills, skirt, and stem, which are really all just the brown parts, various shades of brown parts underneath where it's the gills, these little guys here. What we wanna do is create some depth where it'll be the darkest under there. I have cost a little bit of light. And I think in our painting here we're going to do a little bit less than that. I'm going to make it just a little bit deeper because that's the area of the mushroom where the sun would not be shining. And then down here on the Stam will make it a little bit lighter, a little brighter because the sun would be around shining in that area. So we're using the number 6 and number 4 brush. I'll probably just alternate between them and the colors that we're going to be using on our palate or the 19 for burnt umber. We're going to use a little bit of the light, red, which is like a burnt sienna, and possibly some yellow ocher. So we're just gonna kinda work within this area here on the palette. And I'm going to drop some water on those to wake them up. Now, the burnt umber. Burnt umber 194. An interesting aspect of this color is that when applied with a lot of water, it's a very, very light color. And then the more and more pigment. Now this applies to really all watercolors, but this particular burnt umber is exceptional this way. What we're gonna do is we're going to use this light, light watered down version of burnt umber here as really the base of everything on the bottom half or bottom part of the mushroom. So we're going to put what's called a wash. A wash of this burnt umber just kind of over everything. And you see it's a very watered down pigment. I'm going to avoid that window. Now of course this is all going to be separated with darks. We're going to avoid those little foliage leaves. And of course the door and the plant pot will all be as the brush on loads and it gets a little drier. That's okay. And it's okay if you sort of scrubbed down the direction of down on the stem because if that has a little bit of pigment, that's okay. Now let's load up a little bit more pigment into this. Which means I rub my paintbrush on that burnt umber and add more and more pigment to our puddle. And now let's go up underneath here and really just add and darken up underneath. Now you don't need to cover every spot. You can add some little flecks of light coming through for a little bit of variety and texture. But the idea is to layer another dark layer there. And if there's a little bit of white between the mushroom cap by now the mushroom cap should have dried. I'm hoping that you did give some space. Time there to let the mushroom cap dry. And then see I'm kinda dotting a little bit to create texture. Now I'm going to dip my brush into what's called the light red that I say is like a burnt sienna. And I'm going to charge a little bit of that color right in through here, in this dark area. It's okay if at first it looks sort of like a glob, I'm going to just kind of mix it in. If it looks quite like a glob, rinse off your brush, top the tissue and then lift a little bit out. It's quite a reddish brown. You can see I'm just sort of letting my paint brush dance around. I went the burnt umber to show I'm not trying to cover the burnt umber, I'm trying to add to it. And now one more charge we're going to charging is where you're dropping more pigment in. I'm going to load my brush up. So we just did some light red in there, but I'm going to load up with a very, very dark amount of pigment of the burnt umber. And we're going to drop that in right in there. So the reason we're making this spots so dark is because we want, well first it to look very shadowy under there because that's where the sun will be shining. But secondly, we want the skirt and the gills to all be joined. Like looking like they all just sort of melt together. Now, just before I move down more onto the mushroom stem, I'm going to just drop a little bit of that. Burnt umber that's on my brush. I like the consistency on my brush there. And I'm going to just define these gills a little bit, little bit here and there. There. I'm liking that now, let's say you want to lift a little out? I'm washing my paintbrush. Offeree now tap the tissue. Let's say you just want to lift a little out of the gills just to create a little bit more light. You can basically paint the pigment away by having a fairly dry brush, a clean dry brush. And that's how you would create a little more light. So just depends on your preference of like how much light you want to give under the mushroom for these gills. Might be fun to bring a little more lightweight perhaps on the skirt, just a little more. Definition if we have a few going upwards. But we don't need to overdo it and we'll leave it and don't forget, we are going to be visiting goes again with ink leader. Now we've got one wash of a very light burnt umber on the mushroom stem. I'm going to use the burnt umber again, a little bit darker this time. And we're going to go around the edges of the mushrooms stem where the light would fall off on the edges. So going around the edges like this creates, let's show you here on this sample. Having the edges dark just creates that 3D where you look like you could reach out and grab the mushroom stem. And sometimes at first I'll make it quite dark. So there's quite a bit of pigment and it looks like it should be blended better. So the way that we will blend it is a wash off my brush. It's totally clean water on there. And now I'll just paint along the edge with clean water. And sort of your softly inviting that pigment to come. Now I'm going to clean the brush again. And remember you turn your paper the direction you want your, your point of the brush to go to point. And I'm just with clean water, I'm inviting that pigment to spread into the mushroom stem or I'm avoiding this little closed line giving it some space. And then I seal an aligned forming here. And I'm going to do that again wearing get a nice clean brush, just a little water on it and I'm going to soften that line. And that's just the blending technique to help bring the pigment in. Now naturally underneath here where the skirt and stem meet, there would be some shadow. So I'm just going to drop a little bit of pigment into there just to create a bit of a shadow. We look and there you go. We're going to leave that, that's perfect. We have now done the gills, skirt and stem, and we're going to move on to paint the elements of this adorable mushroom house. 9. Painting the Details: Hey everyone, I hope you are having fun. So far we're about halfway through illustrating our cute little mushroom house. And I went to say, good job. If you've experienced any frustrations, if you felt like you've messed up or or any thing's bugging, you. Just, let's let it go and let this part of the process be fun, memorable, and just how fun? Yeah, let's just have fun. And this is just the beginning. This is just the beginning and part of our process is going to be inking and embellish me. Excuse me, embellishing. And you are going to be so surprised at how far your mushroom house is going to come. Okay, so now we're going to work on the embellishments, the little details, the grass, foliage close on the clothesline, the purple door, the chimney butterflies. We're gonna do this with paint and then it's time to move back into an inking stage to finish things up. So for the grasses, I'm going to use the permanent green pale and the permanent green light. I'll use a little bit of water here to wake those up. And okay, sorry, let me say that again. Permanent green, pale and permanent green. So it's going to mainly be the pale one. And the permanent green is going to be just a little shadow, a little depth here and there. And I'm going to, for starters, on the main part of the graphs, we're going to use a larger brush just so we can cover more area. And so I'm going to get my permanent green pale going here on the palette. Let's get that eye dropper out of the way. Okay, So I've gotten a puddle going here on the palette. But what I'm going to do is actually we're going to do wet on wet here. I'm going to wash away the pigment off my brush. A dotted there and just use some more water to paint the grassy area. And that water that I just put on there as to puddle Lee, I'm going to just lift a little bit of a back out with my soft Kleenex. You just want it to be glossy? Not puddle Lee. Okay. So I've wet that area and then I'm going to go back into my puddle here, a puddle of pigment, I should say. And just grab and paint in wet on wet. That nice, permanent green pale. You can see it's quite wet. That's okay. It's not too wet. I've gone right up to the grass line right there. Now. While it's wet. Still there's a few things I want to do while it's wet still. The first is I'm going to take the tip of my brush. Actually, sorry, I'm going to switch brushes. Let's grab the tip of the lake little brush and load it with some green. And while this is still wet, we're not going to linger too long on this. We're just going to just bring a little bit. Of grass up towards the sky. If you practice this on a separate piece of paper, if you're nervous, but it should be fairly easy. It's kinda where you're grabbing some of the water from what we painted wet on wet. You're grabbing some of the water and just bringing it up it as soft stroke, it gets pointier towards the sky. Now, that just kinda added a little bit of texture there and I'm putting more green, sorry, wrong green, more green on my. I'm using a small brush now and I'm just going to drop it into the wet area. Now you see it's looking darker even though I'm using the same green and it's because it has more pigment on the brush like less water, more pigment gets darker and closer to the mushroom, I'm gonna get quite dark in these areas because there wouldn't be a natural shadow from the mushroom right there where the sun isn't shining. Your little darker around the path. And I'm just dropping some kinda modeled poke Dadi not, don't overdo it and don't take away all the sunshine. We want some of the light green to keep showing so that you've got some sunshine there. Now I'm still using my tinier brush, the number two. And I'm just going to use the point, dipping it into the permanent green pale. And we're just going to, using the very tip, we're going to put in the green of the foliage. Now the reason I'm using the tiny tip is so that I don't go out of the lines. If you go out of the lines a little, don't panic. It's okay with this style illustration and whimsical like kinda mood. You can totally not be in every single line, but the more perpendicular that you keep your brush as I'm demonstrating here, the more in the lines you'll be able to get. And on these guys that are so tiny, we just need like a little tiny tap, tap, tap and it's full of foliage is full. There we go. I'm not even going to paint the stems, but these curlicues over here by the mushroom house, I'm just going to kind of enhance them. I'm not going to make them like perfectly outline. I'm just going to enhance giving the viewer the idea that third green. And I'm going to go in here to the plant pot. Now, keep in mind our stem of our mushrooms totally dry. That Brown should be totally dry now. So put a little dot, dots into the fully edge of that plant pot and we're gonna do some dotting rate through these foliage. Me up here a little to kind of allude to some tiny leaves. I think we've covered it for the green. So now let's I just feel like I need I need to finish that chimney. To be honest, I should have done the chimney When we when we had brown on our brush from the stem, I'm going to use the burnt umber. I've cleaned my brush off and then go into my burnt umber, which is the number when knife for. And we're just going to paint this chimney there that was quite watery, burnt umber. If you feel that you'd get too watery, you can lift some water back out. With a dry so I kinda cleaned off my brush there, I could lift it back out, reload some more pigment on on the burnt umber there. So what I did was I just read constituted there the pigment and then I'm going to just deepen the pigment now keeping the shadow. So the sun would lighten. That's the left side of the chimney. So I'm actually going to lift out a little of the left side there because the right side would be darker. I went outside the lines. I'm gonna fix that with ink later. Okay, Let's let that brown dry. And now let's use a nice turquoise blue on the butterfly wings. So that's number 1, 5, 4 here. And I'm just going to get enough on there. Then I'm going to do almost one dab lake in each wing. And I'm going to totally let them dry before I go in with the permanent green and do the bodies, we don't want the blue of the wings to blend into the green of the bodies. We have to let that dry while I've got the blue on my brush, I'll make these blue jeans here. Sometimes I just work with what's on my brush at that time. And now I'm getting excited to paint the door and you can see kind of motor along. I don't waste a lot of time overthinking all this. I just kind of dance along. So number 17, 6 is purple. And we want to start with a very light purple, which means we're going to water it down on our palette quite a bit. I still using the small brush. And idea is to first paint the door with a very, very light purple and just get it wet. I'm going to avoid that door knob. Now. I have quite a bit of water on that, so I'm going to tap the tissue. One thing I do is a technique called push the puddle. You can see there's a bit of a puddle. I am going to push that towards the shadow which is the bottom of the door. And I did lift a little bit out with a dryer brush and we're going to let that dry just a bit before we charge in a little bit darker, purple. While I'm letting it dry while I'll go over using the light red here. I've cleaned my brush. I'm going to go over and just put some light red on this plant pot to make it like terracotta looking. I use clean off my brush and sort of bring that into the highlighted areas a bit. And keep in mind if you want to lift out, i'd I'd just sort of dried off my brush and I want to lift out some of that to create a highlight. I'm going to leave the flowers and the plant pot and the flowers that'll be in the window basket. I'm going to leave those for my pink gel pen later. And if you don't have any colored gel pens, you could use perhaps a little bit really sharp little colored pencil or marker. But I just feel to like leave them and not do them with paint. I also think I'll do a really pink shirt there. Let's do a purple cloth here so that we add some more purple in. So a lot of times I like to spread, when I do the embellishments, I like to spread out different colors so that their placement pleases the eye. And then I plan ahead. What will I do with a gel pen or some other little embellishment? Okay, so purple door, we want to thicken up that purple puddle with some more pigment. So I have a darker purple. And we want to do one more layer on this door, charging in, charging in that purple maybe outlining the door just a little, but leaving a highlight. I like that. And then I'm cleaning off my brush, topping the tissue and gently asking that purple line to soften with a clean wet brush. And just using the tip of my bristles. I just kinda asked it to move. So the pathway Let's use the Payne's gray, which is number 2, 3, one down here in the left corner. And we want to use once again, this very, very lightly, so quite watered down pigment. Now I'm my door is still drying, so I actually don't want to get anywhere near that purple or that entire petal of purple bleed right in because water moves water water moves the water paint if it's not dry, but I'm going to just go kind of nudge up to it. What it would even be smarter to wait till it's dry, but we're motoring along and we're almost done here. It's exciting. We get to move on to the inking stage. So in my pathway, I wanted deepen some of the stones. So I'm going to add a little more Payne's gray and just drop that in to my stones. Maybe a little along the edge. And I feel like that's a little too much. So I wash my brush off top the tissue. When I taught the tissue, I'm creating like a void for my brush to soak up some of this pain. It's like you want to master how much water is actually on the paintbrush. I like that. And that's going to look great as soon as we get more ink in there. So let's totally let this dry. And before you come back to the next chapter, I want you to hop totally have it dry and we're going to come back to the next chapter using this micron 05 pen. And we may do a little bit with the identity pen that has the correct a thicker ends than the 05. And then we're also going to do white gel pen embellishments. And we're going to embellish a couple of things with this pink. And if you don't have the pink, like I said, you can use something else. And so let it dry and we'll see you in the next chapter. 10. Ink and Matting: Welcome back. We have reached the stage of the painting where we're going to be doing in embellishments. So I want you to grab that micron 0, 0, 0, 5 that we use to initially create the ink outline and set aside the other ink pens for now. So the idea here is we want to create little more texture, outline definition, little bit into the shadows using this ink pen. Now, I let my paint, sorry, my lead, my ink and my pen dance around on the paper. I don't just stay in one spot and hyperfocus. I use the techniques that I showed in an earlier lesson where I use the tangled yarn and a little bit of crosshatching and what I call scratching and some lines and broken edges. And I let this pen dance around the outline and creating embellishments really. And so I'm going to take you through this part of the process, but I do want you to know that as you do my classes and you move forward with me learning my process using the ink pen. At first, it might seem really foreign to you like this. This part of the process might seem foreign. Just keep pressing forward because you're going to develop your own style with this. And as you just kind of relax into using the pen, you're going to find it a very, very rewarding part of this process in which I'm showing you. And as you engage in multiple paintings with me through many, many different lessons and classes that I will have available. You yield. You're just going to, to learn that this pen is your friend. And I say that because sometimes the students at first you're like I wasn't looking forward to using that pen and then they end up loving it. So give it a chance. So I don't necessarily always have a rhyme or reason to where I start with the pen. I know for sure I'm not outlining or bringing any attention to the sun or the sky because those I went them faded in the distant just light, soft sunlight. The mushroom, the deepest part of the mushrooms, the line of the grain in the wood on the door. I'm a little bit of texture line in the trees and the grass, those are all things that we want to do with this. So let's get right in along the edge of the mushroom. And I'm just going to begin with a tangled yarn where I'm just really scratching along the edge of the mushroom. It creates a weathered look. No zoom in there a little more for you. It creates a weathered look. And right here maybe perhaps I'll make a couple lines that look like the mushroom sort of folding a bit. And I don't wanna do every spec. So I'll skip some spots. And then in here I'll get a little bit more on these edges. You see a dance to rate it back over to the other side. And I'll just do a little bit, a scratchy, scratchy along there. Little bit along there. Now on the side of them, the chimney. What I want to do is create some soft hatching to bring out that shadow. Remember when we, when we leave that paint in there, we let it be darker on one side. So on the top period is crosshatching others. He's little dots I like to make here in there for some texture. There we go. I think at this time I'm going to just let my pen draw the idea of a criss-cross in these windows. I'm not making a perfect x. I'm not going to go Perfect. You know, cross there. I, meaning with my pen all the way down drawing a perfect line. It needs to be broken. A broken line in order for it to look like the light is shining through that and feel that these windows, they need a little bit of enhancement around particularly the bottom, just to show that there are sunk into the mushroom a little. And that there's some depth and shadow under there. And we'll just put like a little bit of texture so we don't want too much towards that Sun. So I'll skip that. Because remember everything getting towards the sun is lighter. And then we're going to go into the mushroom cap itself with a white gel pen and creating some lighter spots. So I think I'll leave that alone for now. Maybe just a little bit of hatching on that side. Maybe something they're a little scribble to just look weathered and worn right there. And then we'll leave it now let's move under the gills. Okay, so where to start here? We're going to just, let's sort of scratch away at enhancing the deeper grooves of these gills. Notice I'm not making just one solid line, but tilting my paper to accommodate how I want to scratch kinda towards myself. And I'm scratching because I went this pen to be loose. So really because the pen is black and I'm giving definition, I I want this pen to go towards the shadows. So anywhere where I put it, it looks deeper, it looks darker. I'm going to scratch a little right. And that deepest spot where the two, the skirt and the gills join and kinda do entangled yarn there. But then as I come down into the skirt, I want the lines to go flowing towards the ripples of that skirt will enhance where these join. And you know, honestly my friends and students, I am I'm making this up as I go and that is a tricky thing to teach and pass on. I do want to pass it on to you that as you create your art and as you do this, there's no, For me as a teacher, there's no single way for me to say you must make a line here. But really this is instinct for you, especially with this scribbly, loose style. I'm going along the edges where I enhance the gills and I'm just doing some scribbles and honestly now I'm going to leave it. I like exactly what I see and I'm going to leave it. I'm going to work my way down the stem a little more right up under let's pretend we're going right up under that area that we call the skirt. I'm adding some shadow with my pen, little scribbles, I'll turn it into some hatching. And then totally dropped my pen. That's other thing. Keep holding that pen moose. So loose you can drop it. Okay. And then coming down around the edge of the mushroom where we made, sorry, the edge of the stem where we made that, that nice shadow that's creating 3D. We don't want to just be, at this point, we don't want to just be drawing down the stem is a cylinder. So we're looking at the cylinder shape from the side. And in order to create the illusion that it's a cylinder, are markings need to start earning with the shape, which means they're going to start coming in and turning rounded. If you can see the little marks. But I'm making here, there's sort of rounded and showing that the, let's make some bigger ones just so you can really see that they're showing that the shape is round. And as I enhance this stem this way, I want to be thinking about the shape I'm creating for my viewers. And the shape is a cylinder. I'm going to go up over the door and create little more texture. So it looks like that door is kind of moving towards us a little. And then we're going to make that wood grain on the door. Some little vertical lines there. And some deeper scribbles here. Little under the door knob. And this is where I'll scribble to join the path than the door together. And here we'll allude backup. I danced rate back up to the window. We'll allude that they're being bit of a window frame and we're going to gel, gel pen in some flowers, so we won't worry too much about those flowers. Maybe like I feel like my lines that I was working on the stem are all just really predictable. So I want to just really loosely take my arm and just softly make some unpredictable lines that create some texture. Not too many, just some real soft on predictability there. I like that. Okay, so I'm moving my way down. I'll just sort of enhance the stones of the path a little with some light scribbling along the side of the path. We'll kinda do that. Oh, look like some grass. Want to put a few little polka dots coming off of these twirly grasses here. That was just sort of a spontaneous decision. It is totally okay for you to make spontaneous decisions with this. And then, as I showed in my demo, there's lots of different ways to scribble grasses and keeping that arm really loose. I'm just going to scribble in some grass. I love this style of illustration. I makes me really happy, like when I look at children's books and I see little scribbles in some paint coming out of the lines and makes me really happy. So and it makes me happy to do it too. And I hope that you're loving learning it and stay tuned for a lot more classes exploring these techniques. Okay, so I'm happy with that. Now we're going to move on to the white gel pen. Hey everyone, We're in the homestretch. We are at the stage that we're going to use a jelly roll white pens to create a little more highlight. Now, as you know with traditional watercolor, we usually try to let the paper, the white paper shining through B, the highlight. But with this illustrative process that I like to do, I'm late to bring out a little more highlight with Jelly Roll or perhaps even using an ink. But Jelly Roll is cleaner. So that's what I've provided as a suggestion in the class list. We have our number eight. Let's see here at number 5, 8, and 10, tips of the pen. And we're going to start with the ten. We're gonna, you probably use a little of all of them. But the idea with the Gelly Roll, now, my one caution, they stay wet for a bit and they kinda puddle a little and you have to be careful not to smear your hand over and cause lake little smears. But the idea here is to two, the Jelly Roll being opaque, which means you can't see through it. You're creating an opaque highlight in areas that you want it to look like the sun is, is dancing around or there's more texture. And so on. The mushroom cap, I want to create some little white polka dots. Kind of get the mushroom flowing, but I'm making like one solid poke dot and coloring it in. I'm doing exactly what I showed you in the demonstration video of the techniques with the, the other ink pen, the blocking pen is I'm dotting it, moving it, scribbling it. Letting other pieces of the pigment show through. As a, I am doing some bigger dots there on the bottom part of the cap. But as I approached the sun, the sunshine, I will get smaller dots but closer together. So smaller but more of them. And it'll create a lightness and a whimsical look there. Maybe I'll put one there, there. And as you can see, I stay fairly carefree with how I do this. I just want to mostly just create the illusion that there's some white dots there. I love that. Okay, now I want to be careful about bringing lighter highlights into this dark part of the mushroom, sorry, the gills and the skirt because we went to lengths to make sure that it was deep enough and dark enough and shadowy and often that is really the shadow we as part of our painting. And so the only spots I'm going to really enhance, or the ones down here on the skirt where the sunlight would just start touching that right there. We'll just bring a little bit of that in there. I'm going to dance right back up here and add a little more to the side of that chimney. And I think I'll put a little dot, one little dot in the middle of each of those wings. I'm going to enhance those with pink later, but I just put one little dot in the middle of all the butterfly wings. And then wait, wait, wait. Okay, So let's move down on the stem here. I'm pretty happy with how the stem is shaded already. Maybe I'll put just a little, some little flecks of highlight in the already highlighted areas. And then down on the grass, we'll just put some little highlighted Leaves of Grass. I'm kinda using a real scribbly motion. Now actually I'm feeling like this number 10 gel pen is enough. I don't think we need to switch to a smaller one for, for this painting. And then in the door we already have a highlighted area, but I'm going to enhance that highlighted area and just like dot a little bit of white into there. And I'm feeling great. That's, that's about all we have to do there now I'm going to grab that bright pink gel pen. You could use a colored pencil. I'm so excited about this part, but I just want to get this bright pen. It's really bright pink coloring in a few, put some little polka dots there coloring and a few items like the shirt, some flowers. And this just sort of just brings like such a pleasing look to the, I just have a little touch of fluorescent in this whimsical painting. I'm just kind of outlining a little, little bit of gel on the tip of the butterfly there, butterfly wings. And you know, I, I noticed I didn't paint my A little bug or the butterfly body. And my paints are all put away. So I just want to show you guys something. This isn't necessarily on your class supply list. But you could take a colored pencil. If you ever forget little pieces of something, you could take a color pencil or a little marker and a little gel pen and color these, these little things that you might have forgotten in. So I'm telling you this only to let you know that you are not stuck with just the supplies I recommended. You can you can use really anything that your heart desires. So this is a bit of a mixed media. It is, the foundation of it is watercolor principle. But watercolor and ink. But you can kind of play around and make this what you wish. So this concludes the lesson of learning how to paint this cute mushroom house. Now I'm going to move you into another little segment here where I'm going to show you how to Matt sign and Matt this painting, but I'm going to demo with another mushroom house painting just because I'm going to let this one totally dry. We'll let the gel pen dry and I'll demo with another one of the ones I had created while I was coming up with the class. Thank you so much and let's learn how to sign it and Matt it so you can get it on a frame and the wall. This is such a special piece. I hope you're happy with what you created and don't forget, learning is a process. And the materials aren't magic and the class isn't magic. It takes you putting in the time and work and effort of practicing and you're more than welcome to paint this again if you're not happy with the first one, just try again and have fun learning. Let's let sign mountain frame. Congratulations everyone. We have reached the completion of the painting of our cute little mushroom house. I sure hope you had fun, but we're not done yet because we haven't signed and mad at it yet. And I spoke in great length at the beginning of why it's important to paint with an end goal. And even if you end up storing this somewhere just as portfolio or a practice piece, that's fine. But we did paint with the goal of framing this in a five by seven opening eight by 10 here or a however big you want a frame on the edges. And the idea was that we would compose and create our mushroom house to look good in this size frame. But you can see that even still, we could shift our mat around a little to create. I mean, there's just a little wiggle room there. Now for me, I have a mistake on this side, a blob I want to cover, so I'm gonna make sure my mat is covering that. And I'm going to look here, just sort of down here where the pathway is. I want to make sure I'm happy with what is showing on the bottom. And that's about good for my mushroom house. Now, I want to sign it. It's very important to sign your work. It's a way to, first of all, claim your piece. Second of all, remind all the future generations who painted it because someone will find this piece if it's, if it's outlast and survives you. And then someone will find this piece in the future and it will have your signature. And that is very special way to mark your work. I always sign because my pieces are very small and dainty. I do sign with my tiny ink pen. And the reason I hold the mat up like this before I sign is in the past I've made the mistake of signing perhaps down here. And then I go to just the mat and I'm like, Oh, my signature is blocked or not showing anymore. So I always hold the mat up like this and then choose where I want my signature to be. And I'm just going to tuck it right down way in the corner. It'll be hidden in the grass. And it's not perfect, but it's a little hit to hidden in the grass, but it is my signature hidden in there. And maybe next time I paint something like this. I will just remember not to bring my grass over quite so far. I'm super excited to see you grow in your illustrative journey. So thank you so much. I hope you enjoyed creating your cute little mushroom house. 11. Class extro: Hey, it's m, j. How can I ever thank you for joining into this class. It has meant so much to me to create this class for individuals such as yourself who want to learn and to grow with me. I am forever grateful that you have been here. I love your feedback. I'd love to see your class creations. And I wish you all the best success. As my classes grow, as my portfolio grows, I hope that it's always supporting you and helping you to come into your fruition. As an artist.