Learn to Layer Watercolours | Theodora Gould | Skillshare

Learn to Layer Watercolours

Theodora Gould, The Carpenter's Wife.

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11 Lessons (1h 42m)
    • 1. Painting a Pumpkin, Introduction

      2:19
    • 2. Ref Picture and Tools

      6:50
    • 3. Colour Chart

      1:47
    • 4. Tracing The Image

      9:46
    • 5. First Colour Wash

      5:08
    • 6. The Darker Areas

      13:36
    • 7. Starting The Stalk

      11:43
    • 8. More Orange

      11:51
    • 9. The Details

      24:29
    • 10. Shadow and Final Tweaks

      12:59
    • 11. Class Project

      1:19
11 students are watching this class

About This Class

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In this class I'll take you through the steps needed to create a beautiful and realistic watercolour painting of a pumpkin.

You don't need any prior experience, it's not as hard as you might think.  It's a technique which involves building up layers of colour and once you've learnt it, you can apply to anything you want to paint.

The pumpkins are a really gratifying subject to paint, I hope you have fun!

Transcripts

1. Painting a Pumpkin, Introduction: on. Welcome to my tutorial on painting a realistic pumpkin using watercolors. I'm Theodora. I'm a jewelry designer andan artist living in a rural part of England with my little family . Onda I'm happiest when I'm making This is my studio. It's my happy place. If you want to know a bit more about me, you can find me on instagram, which is where it's most my time Hanging out on you can find me at theodora dot gold g o u l d Onda We love lady do come and say hello to tell me that you found me through skill Show that great most me s a in this class, I'm gonna teach you how to eight something like this. Um, it's not a scariest. It seems there is a technique to it. Eso it's basically done in layers. So you start off with very thin light wash. Then you gradually building up layers until you end up with something. That's what really form and body. I would say it's not scary, and I think you will be amazed by results that you get once you learn the technique, command a pie to painting anything because let's be honest. There is a limit to the number of pumpkin painting. Um, what else? So, uh, in the next video, I will talk you through what you're going to need. Teagan needs paints, papers, brushes, a few bits like that on you're gonna need a reference facial. But I'll explain that in the next video. Um, get class project. So I would love you to share a picture of your finish, pumpkin. But also what? Something I love to do. I like to take photos off my painting as to go along, because once you got finished the finished piece, it's really nice to kind of look back and see the different stages he went through. So please feel free to share some of those. They love to see those. If you're having any problems or you've got questions, then leave a comment. I come back to you. I'm here to help. Um, Yes. So I think that's it. Let's crack on with the next video 2. Ref Picture and Tools: So your reference photo, you're going to need something to copy. If you look beneath the video in your project, you'll see a list on the right hand side. You see a list of attachments and one of those is a reference photo. You'll need to print this out because you're going to trace it. And then we're going to transfer that tracing onto your watercolor paper. Um, in the lessons I paint from the reference facial I use, this is my guide. If you've got a really awful printer, then you can print it out just to get in shape of it. But if you need a more accurate idea of color than you could save this Teoh tablet or phone , um, and then work from that some artists can be a bit funny of their teaching about copyright on their pictures. I'm very happy for you to use this, however you like. Three. Only thing I would ask is that if you're sharing pictures of your painting or you're reproducing it, if you could somewhere in your blurb say that it is painted by a skill share class by Theodore Gold, then that would be wonderful right next tools, materials, so tools and materials you don't need a huge amount of this. I have put a list of the things that I recommend next to where the attachment for the reference photo is. Um, you don't have to use what I'm using, but there are few things that will, um, helped with the painting on. I think the most important one and it's worth investing in is the paper. So this is the paper that I used. Um, I absolutely love this paper. It's hot pressed, 100% cotton. It's quite often if you go out and you just buy a block of water coming very textured paper . This isn't texture. It's really quite smooth on for this style of painting. It works well. I think if you're doing kind of a very loose style than a wet style texture, paper can be some really beautiful effects. But if I was you, I would invest in this by all means. Have a go with something else and let me know how you get on. It also takes quite a lot of abuse. This paper say sometimes I use my brush strikes. Teoh give texture on that I can really run the paper with brush and it doesn't wear through or 10 surfaces. Uh, it's very good. And also it dries very quickly, which, with this method, when you're building up now after, let useful when you buy it a warning for you it comes with this black sheet on it. Don't panic, I think Walter Black one, which is exactly what I do every time. I always forget what it was saying that comes off on your left white. So that's That's another one I'm doing at the moment. I leave the paper on the block until I finished. Just because it stops the paper warping keeps everything nice and steady. Um, yes. That's why you got my latest picture. That another thing, which I think probably the second most important thing is your brushes. The brush is that I can't remember what they're called. What? I said, um pointed spotter. So they quite short, but they do go to a nice point, so they hold quite a lot of paint. But you can get really good detail with, um um, I have him in various sizes. It's all in the list. I can say that there aren't any rules. So if you have got some different rushes and you don't want to buy some new ones, by all means, have a go with what? You've got to let me know how you get on. But I Do you find these really good? Um oh, paints, I will say. Quite important. Um, I use thes Windsor in Yushin ones. Come in handy, little tin. Sometimes I use extra little tubes if I don't quite have the color that I wanted there. We can't make it that you don't need it for this project. You shouldn't need to buy anything more than a kind of basic have it. These ones are very expensive that the artist quality, which means that they have no pigment in them and they hold their color longer because I'm selling my artwork. I wanted to be the best it could be, and I want it to last as long as possible. But if you're just having a play and you've got someone comes already, then by all means, just have a play that they see how you get on. And also, if you're going to be, um, reproducing your pumpkin once you've done it or having it printed T shirts or cards or things. Then it doesn't really matter about pigments because obviously it's it's gonna be a printed copy off. So if you're going to do more painting than I recommend investing in a decent set of artists 20 water colors, otherwise just have believed what you got. So I think that's kind of it. On the important things, there are lots of other little bits. Eso ceramic plate. I like to work on a ceramic plate rather than the the tin, but it comes with I find that paints of puddles in strange ways on there. I don't like it, but I find on a ceramic plate that it just does what I want. Um, masking tape, a glass of water, um, masking tapes told you, tracing tracing paper again. I've recommended one in the list, but as long as you can see through it, that's fine. And again, like I say with the pumpkin, you haven't got a huge amount of detail, so you'll be able to see enough through a cheap piece of tracing. I think that that is actually tools and materials, so my camera very rudely cut me off mid sentence. What I was going to say is, have a look through the list of tools, materials, everything's in there and where possible, links of wet by it, names that you could do Google searches on it. If you have any problems at any point, then leave a comment on I'm come back. 3. Colour Chart : so quick. Note on colors So you've got your paints, the old in the little pans, but it is quite hard to tell some of them apart. Like, for instance, this one is black, and this one is Payne's gray, and they're very different colors. But in the pan they look almost identical. Andi, it's hard to know what a thin wash of a certain color will look like on what it looked like when you got really thick layer of it. So what I do is I have what I call my cheat cheat, but it's really just my color chart. It's upside down. So I draw out little grid, and I've got all the paints in the same order that they're in in the pan. Depends. Andi. I take each color when I put on a thin wash of it, let that dry and then put on thicker one. Then at the bottom was on uneven, thicker there so that when I'm looking at my reference picture, Andi deciding what color I need, I can have a victory here, and I can think or might be, maybe that, but it might be kind of a bit of that or it might be better that yellow on a bit of that blue. I find it really, really useful on I Certainly I use it every time I do a painting. Eso I would recommend that once you got your pains that you put together something like this because I think it will really help, you know, just with this painting, but with anything that you're painting in the future. 4. Tracing The Image: say we're going to start out by tracing a copy off the pumpkin. So take your tracing paper. I like to be able to secure it to Page, so I'm gonna make this, but smaller. That's crap, Then, just to stop it moving around while you're tracing, it's a little bit of a low tack tape down. I just got this particularly shocking pink one, and then you just want to trace through the main parts. The picture. More detail. You could get your initial picture, the easier your painting will be. Some of these dark lines on here. Some people think that tracing a picture is cheating. Personally, I don't think there is such a thing when it comes to out since copying, which isn't nice, Um, that's different. Cheating. There's no such thing as cheating over the greatest artist. Used tools like camera lucida get an image down. Shape the image down to that camp. This or that paper. I certainly didn't see tracing cheating. It's the end result. It's what you do that that much is a little bit at a bit of a yes, I'm just getting that in, so that when I transfer the image to paper. I know where it is. Really? For this. I think that will be enough to help us with the painting. So now we're gonna transfer a picture paper. Use the back of your printout. You want it? That's side we've drawn on. Turned over. I'm gonna rub on the back. Remember that When you rub on the back, that pencil mine is going to transfer to whatever you're pressing on. Which is why I've used the back of that picture because you don't want back on your nice, expensive watercolor paper. Just normal HB pencil. Just make sure you've gone over for your lines. One thing to watch out for is rubbing your hand onto their because you'll end up with I had some A wave your hand. When you do come to use your your paper, it's very easy just to rub your hand on it. End up putting dark smudge. Thank you. She didn't want to. No need to tidy each line that you want to transfer. Just see that it has transmit on that. But that doesn't That's just for reference. Get rid of your tracing paper. Thank you for the kind of paper Keep it on the block. If you're using paper that is loose, you might want to take it down to a board. Just put some masking tape around the edges on to afford, so that when it's wet, it doesn't walk. I mean, with this started painting, it's never gonna get too wet, but this comes in a blocking. All the pieces is stuck together, which stops him moving around and then decide which way up you want your pumpkin to be. I think personally, it's gonna look quite nice this way. Remember to bear in mind gonna have a shadow as well. A little bit of a shadow. I think that's quite nice. Just about that. And then you can use your low tack tape. Hold in place, lost. You go back over your lines. Don't press too hard. Transfer it. I don't your water color paint with the harder to see the lines since he scribbled on the back. But what we'll do is we'll trace it on. Have another look at our reference picture. It's to make sure we got everything think we need in that I will speak this up. She looks. I finished going over all the lines se. Now we've on that should half the outline of the pumpkin on our water kind of page. Put that to one side. No, I just want to check it against your breakfast just to make sure that you make sure you got no dirt on your hands before you put your hand on your page just to make sure that you've got everything. You don't want any of your pencil lines to be too hard. Um, once we start with the water color, you can rub out pencil lines. But if you start to get quite a thick coating of watercolor, you'll find that actually, you can't get rid of Ansel life. So just having a quick look at this and I can see that that's not the that stuff, it's There isn't really a definite line on that. So I'm going to leave that I was tempted to put in that line. But that is a very definite line that I seem to have missed. So that one comes up. It's that once that one, this one comes up here, how I missed that one opportunity to show you. So I've got that line and there that once the that said it was more in shock. Um, you guys this line down the middle, but we haven't got a definite line way have there, so we'll leave that for a moment because we'll put that line in with the paint. So I think we're ready to start putting our first bit of Colorado. 5. First Colour Wash: I use my biggest paintbrush to start with, I'm going to go for the lightest color that I can say. I'm looking at this kind of color and here the highlights. So I could sit here, here, but basically to begin with, I can put a wash of that color over the whole picture. So a which colors my game gay for I'm gonna gave a bit of the winds orange Just change the angle of the camera. Say considered, But more clearly see my palette. So but of the winds orange and then keep mixing water until paints that it gets really, really thin. The trick when you're painting like this is that to get lighter rather than darker because you can always dark in a picture, but you can't like it. So actually gonna put a little bit off and yellow ministers where I'm gonna go for a touch of the Quincy and my winter yellows. Quite grubby. I should really have cleaned it before I started. Didn't really send Kate. You might find it useful to have with a scrap of paper to decide. Just say you can check your cut on there, but I think that will do. And then you want. When you start painting, you want to paint in the direction pictures going. So to me, this is going down and around like that, or up around like that sort of curling, because the paint's will dry really quickly. But if you get any joining lines or bubbles, um, see it sounds dry already and enter patches in a little bit darker. Something's gone with the direction of the original image. It won't matter. It look like done on purpose. And it looked like part of the texture. Pumpkins, right, this bit yourself. Explain it, Trey. Just go over the whole thing and just get that best bit of Colorado. If nothing else, it just gives you confidence. Sometimes getting started is the hardest bit. When you but the edge try and keep it this straight on edge up to your line as possible in your little coloring within the lines, because you're gonna want you a final picture to sort of pop against the white background paper and you want nice, sharp edges. You have to worry about it too much at this stage. One, when we're sort of finishing off, go around and shopping at the edges. And sometimes we go over the line very quick. You can just be finger up over it like that. Just catch. Come on. For its tried just dry brush up piece of tissue paper. Now, I'm not gonna worry about Stork. For the moment. We carry on under a bit more off the orange of pumpkin on get a little bit more depth and detail in that, and then when we want to stop, the stocks can be tricky. 6. The Darker Areas: So the nice thing about this paper's it just dry very quickly on this. It's like I don't know much. So what I'm gonna do is I'm gonna get down brush size. So this is my number three. Andi. I'm gonna go for these dark areas. Um, which would just give the image a bit more shape and helps you to get your head round. What next bitch will be So it with the same color that I had before Which waas Windsor Orange? Yeah. Um but I'm gonna put let's have a look at my color sheet. I'm going to put a little bit of this burnt sienna se that Seanna, you can't adult dripping off my brush, my yellow cuff. You see an offence? Sienna with him? No says the same thing applies. I like to rather than darker se. If you think he might gone a bit too dark, finish ownership. It and I sing about water colors is that you can build it up in layers. I'm just gonna go for this. Doc has been done here and again. Paint Keep painting in the direction, pumpkin. It washed to a brushing. Just soften that edge. Didn't get sharp nine. Because if you can see the colors here, it's a very soft graduation. Talk to trying to keep it within your pencil line. Just keep looking at your reference photo seeing where that that color gays and you see here, just get a little bit patchy so you can use your bird strikes and just copy the patchy nous . So it's got lighter areas, darker areas convenes you brush to give you that texture and a little bit of water on your brush. Go this. You don't have any sharp lines again because this bit certainly has no sharp lines in it. And then you see this bit here again. It's very dark in this bitch is very light to say, Okay, that I'm gonna get up to the edge of that line. That would leave this bit lighter. That bit is actually quite a sharp line against that paler color. I'm gonna keep that line shop, but then, as you get up here, it starts to spread ours again. Se water on my brush, just something that night. Now this at the moment is much too light, but it's better that way, going too dark and I'm not being able to reverse it. You can always dark and everything else up, but then pictures just going to start getting darker and darker. You can see it's already starting to get a bit of formed. A three D Penis mind on. It's quite dark, but you won't be very careful to stay in your pencil line in my heart here. I'm constantly looking that painting my reference photo, my painting at my reference So I can see here where I've done that dark line and I come up there. It's a lighter that there and then this bitches lecture as well. So I'm trying to leave that area with lighter color coming through in around the base of the stem Friends very dark here. But this doesn't It's not a definite line. That's blurred line to try and keep edge of that soft. Another nice thing about this papers could be quite rough with it. If you don't have a decent watercolor paper, find us. You work with brush over it like this. It can start to to tear the paper and it lifts bits up. Um, then it starts to go bobbly stalker orange. Here, fans out there were not given to stem and still painting the direction of pumpkin. Yeah, - so I hit, Like, gives you an idea of how it started. Take form. I'm gonna carry on around the rest of it. Um, which arm speed up for you? I didn't take into the next step. And not with some. This little mark here that's on the pumpkin and that one there. Um, don't do anything with days of the moment we painted over them with that bottom wash might probably be best to have gone around it, but it will be fine. But don't go over them with this darker color, because, yes, you can see that practically white. So we want to leave those bits for the moment, and you can see how. Actually, it's obviously a little dimple in the pumpkin, and it is a bit darker around the edge of it. So you could go around the edge of that shape with the darker color 7. Starting The Stalk: so now our pumpkins would've formed to it. It's still a little bit like that, but it's got a better form and I'm just going Teoh, make a start on the stem so you want to look at the It's the same principle. So starting with the lightest color eso I'm looking at this color here, which you might think is always completely white. But if you compare that, that has got a little bit off color in it. Um, I'm going to give away my color. She can maybe very little thin wash of the raw sienna. So that would be that one. That was burnt Sienna that used earlier. You gave a little bit of that. We'll see Anna just for that. Talk them anything. Hardly see that it's that maybe just make it cut a little bit uneven. While it's tempting just to paint this green, you've got no for a lot of different colors going on here. So you've got this kind of we'll see Henry type coming there. This looks a little bit. Brownie got green, and here you've got black brown in the It's just looking carefully at the picture. At first glance, you think green stem. Um, but actually, it's quite not different colors going on, so I'm going to go for him. Next wave sap green. No, your colors are gonna depend. It's gonna bury, depending on which. How about you go bought, Which covers you bought. I will put a list which covers. I used that. Um, not necessarily. Using exactly the same covers. Me. I'm going for that lightest green, this area's pails, and leave that the painting is going to go through a stage, but it looks very, very odd. Um, but don't panic. I call it that. Oh, my God. What about started stage? We'll get better. It's about person. Very. - I'm gonna put a little bit off burnt under. Great again. I'm just trying to get the stem a bit of form. Help makes sense of the whole picture. And to see it more clearly, she's sort of band. Um pinky. Orangey brown color. I'm gonna get down brush size. I'm gonna go to my number one on gonna get putting these darker colors in because I'm finding it quite hard to see what's happening with Stamen. If I put the darker colors in, should help me to make sense of it. When I get darker, I tend not to use black. Sometimes I do, um, but my favorite thing. Dark missile shadow. It's a little bit of Payne's gray pains. Great, really strong color se. Just take care when you're using it. Probably need to send it out more than you think. Already got a dog around again? Painting in the direction of stem You can always go the direction that when I went around there, I had to follow that line that you can soften that edge. - Just look My eyes can't see my eyes, my eyes constantly going from my painting to my reference picture and I got lighter than I needed to. That's good because it means that I can build up layers on top, Fingers crossed. Shouldn't go to dog. What about great color? A bit critical thinking. Come with us again. I'm gonna get back to burn number. Just I'm gonna get more green. These green bits in there Small greening up here so much gonna get over my Payne's gray. That green shoes places to dog. It's a but to gray not dark, but great. - Okay . Se with stomach is looking a bit strange at the moment, but it has a least got a bit of shape to it on. And darker color here is gonna help her see color in the pumpkin. Um, and I'm going to go back on, do some more building up layers on the pumpkin, Um, and try and sort of bring that together a bit more than a bit more on the stork and see where we are then. 8. More Orange: So I've carried on building up the layers of orange until you've got something that looks starting to look like this. So what I've done is the darker color that I was putting on. I've carried on and I put it on over here. There's this little patch, which is this bit here, which I've done a bit darker around the outside. So there isn't much that's being missed apart from putting on more of that darker color, so you can see that it's starting Teoh take shape. At the moment, this looks a little bit like it's floating. Once we put that dark bitten there, it's gonna sink that down, Um, make it more in place. But I'm just thinking, might darken up this area a bit more. A little wash, all of that. I'm saying this, but take put a bit more. I don't see any minute. Just don't come up in here Edge bits. So from them, Um, right, I'm going to start adding a bit more burnt Sienna to some of the of areas. Dr. Ben Ciena's ready color as well burnt orange on the picture moment is looking, um, still too pale, but that's fine. especially to be that way into two dog. Yes, I keep sometimes just drying your brush up on the A new piece of kitchen. Well, handy when you just want to soften edge like that when you want to keep it sort of dark in the middle. Have it softer. Only the wretch like that like that once. That line that that's a very definite line so you can paint it on and then soften that edge . You don't need to do anything with this one, but when you've got dark lying like that, but it it's sort of graduated on either side can paint it on and then just dry brushing just smoothed off the edges. No, I'm still mixing burnt sienna in with the original orange mix. And I made No, I'm gonna make up Morsi orange, but with more than CN Erin, I'm gonna put it into a thin wall. We're gonna put it over everything, except for that little bit on the stalk. It's the cabinet Windsor Orange. When cli sienna, I started to look more pumpkin covered, but you don't have to worry too much about the color because once you've finished your painting, it's the painting in its own right, and nobody is going to be holding it up next to that. So that's a guide, all right. Actually, painting it over the top, everything. You see how you still got the contrast in tones? You see how that segment is just a little bit brighter and a little bit more orange than the other segments? This careful on your edges keep the edges and nice and crispy. Anything I am going to do on this section because it has got that light of it. There's I'm just gonna leave the wash that it no shot my brush just with a dump but no wet brush. Just do you make the wash on that area that center, say, but still nice and light. Just remember not to go over that little patch. Do that later. - Is it just a wash, say, darken up these light areas too much? It's all relative to your dark areas. It's just gonna make the whole thing. Pulpit. Do you think you got a bit dark? Wash your brush very quick. After saying that you just brush back over. Airing can actually remove a bit of paint saying this a little white. I'm gonna put more sugar and just make a little bit center because it's gonna wash over the whole thing. There's a little bit damp, so you need to leave it dry. It's also a good idea to take a break from your paintings, so take a step back every now and again. Gonna have a cup of tea because it's always interesting to come back to it and assess how it's going. 9. The Details: quickly. By this stage, you have something which resembles a pumpkin. Uh, now I'm gonna have another go at the stem, because 2 may I think it needs a bit more doing to that kind of start to bring it together again. So instead of reactivate your green cutter, um right, come. It's gonna put in with it. I'm good, Actually, don't use black very often, but I'm going to put with black in pains graze quake green. But this to me things does the black just give very steadily. You can almost sort of stippled your brushing. See texture on here. Keep it brush quite very dry. Just stiffen. That's dark area. - Did you get these lines in that carefully at the picture? They are kind of broken lines, little hairs, almost stuff which make it look broken up. All right, don't just paint a straight line constantly looking my eyes flicking from my painting to the reference Very say to see where I need to get You can have all the noise outside like studio, which is in my garden. It's a nice, sunny day on. Neighbors were out mowing their lawns. I'm just using the brush just to get these areas and that ever so like me, they're not really black lines with a bit darker. That's more texture in that lighter. But many of tiny that I'm not gonna let at the top say there's a huge tragedy. So on top of the line that comes across there a few little marks and barrier that it's slightly different. Let's go lying a tiny bit. Just teeth is tiny, but my burnt umber just to get that that dark a bit too Dog Comptel Sometimes my fingers just not things a bit still quite kinky, kinky, orangey in the middle here, but she can use orange next send out if it, uh, you might not be able to see it on the video so well. But have you looking at the reference photo? You see it. I'm gonna use a bit of the orange. It's coming up around. There's well used burnt umber ricin in that Canada together, expectable, orangey. See how that stem starting Teoh take shape and starting to look like it's sitting in the pumpkin. But when we put what we'll do is we'll darken up around here. Natural place did more the moment it's floating, but it wouldn't say. Now I'm going down. Teoh, my really little brush. My Triple zero go this. Know what? Coming? We need the looks a little bit. Pinky's might get friendly, but burn number, maybe mixed with a little bit of orange, right? And then it's just kind of It's step. Hold in there. I think I might go for a little bit dog now. Smooch. It's just a little blemish on the pumpkin. But these little blemishes the nice because they make things look quite riel. That like that. I'm gonna go to my size one brush. Just instrument. Maybe that's right. That extra fine shape you promised, Stippling. Just really tiny little strikes. Play around with the brush strips and see what What works for you? No, it's starting to look like her blemish on the pumpkin wells. Just patch that we've ignored. Um, just thinking meat. I don't looking at this. It's going missing again. Using my before my brush get these small alliance brush is fine. Yeah, big bets. You start getting a bit more detail. All right? I'm actually gonna let that dry a bit more for move on. Start darkening at this area, right? It's complete to drive. See how I get so. But Payne's gray Let's see this shut areas very gentle with my number one brush passion And yeah, it was very dark. It's black. Gonna get dark green I got my sap green Payne's gray stiffening Most Brescia tried that. Just gonna from these mines. E. I think that this brownie orangey color it's to go darker. We need your dog from one area that makes you realize where you need to get darker and others. It's they're not rushing it, just taking a time, doing a little bit looking at it, more looking at it again. More orangey cover. Just what again? I'm stippling not using that nice texture stems got. They stand the starting to come together. It's there. Take step back and have a look at the whole thing. So now that we've got the stem, which I think is nearly there, um, I think we need to darken up pumpkin even more se take some of my org cutter Payne's gray. You just try that. Just gonna go in with that? In these darkest areas, you can see on camera. My color started separated it there. Which means that this isn't white drying up. Keep on saying that. Not to a bit more color back on that. And then I'm gonna leave it to dry. You come back in and put it's that dark veterinary is a little dark. That and Dr plays. It's a going away in a some tea. Now that he size one brush. But of Payne's gray, the appeal of blemishes like those I don't Okay. There was a dark colors. Yes, I said quite a few times already. You can always go darker. You can't go light. I think I still need to get dark again on areas like this. Best bit, Rhetta Reactivate like orange just on head. Just a bit of a plane happens, and I put more than CNN actions. I put a little bit element of mystery, crimson. I'm gonna give you a lift, crimson. But just just enough to make it just that little bit redder off of them. Uh, sort of Brownie browning. Red of the Sienna. That's very here. It's whole areas, quite patchy, actually. Looks a bit pinker. And there s a bit more of that. It is a crime scene my washing everywhere as well. You start to get to this dark kind of gives you a chance to really tidy up the agents as well. When I came down to this ocean careful to stick to that line. Sin wash that color this area picking out some more. Those lovely probably bets. I'm going to use this color to make this area. I don't actually think my even a little bit more religion crimson in because it does look quite pink of this. Just capital come up to the stem. Did contrast between your stand from the pumpkin behind it like stem hairs, dog. - It's really starting to get some text room, some debts Now on. It feels like that stem is probably sitting in David. All right thing and leave to dry. Step away. Come back, have a look at it. And then I think probably stop paper, start putting the shadow in, and then see how it looks from there. 10. Shadow and Final Tweaks: right. So I think we're getting there. Gonna rub out the pencil lines. Sorry, it's wobbling camera. Because I got it up on the table. Try and about in an unwomanly way, Andi. Next, I'm gonna get a shadow so you can see Have a look at kind of where this shadow starts. Now, I've taken this photograph on a reflective child, so we wanted you could put in the reflection. I just want to stop it. Looking as though it's floating in midair currently does do not pay for that. Um, So I'm going to just put in the wash of Payne's gray. Maybe that a black in the on thanks us with all the other neighbors we've done. Gonna start. Very Hail wash. Kind of looking at where it starts, and it starts. But the isn't that always start off in the darkest area. Um, just wash your brush, drive it and then just smooth out that catch. Quite cut it up into this. With this, you have to make sure that a pumpkin is completely dry. You don't want the orange bleeding into your shadow. So that's that's my dog barking. That's probably almost imperceptible, but just again. - Okay . Needs to get quite a bit dark in there. But I'm gonna let that I have shed a dry. And while that's drying, I'm going to go around and tidy up my edges. So I'm using my 000 brush. I'm using some of my orange mix. I'm just gonna there any edges live. It's a bit dark. Might this just tidying up some of these edges? So see. Okay. And the whole thing? No, I just want to kind of tie it together on these little last finishing touches. A huge amount of difference. Much more than you think. Because you could kind of look at that and think, Well, that's finished. Department showed a but these last little bits already helped. Just bring it all together. Each little adjustment that you make on its own doesn't make a huge difference. But what's being over the whole painting? Don't a lot of these areas trust me, see a difference? I'm just gonna carry on two minutes. - I'm gonna leave that at that area for the moment because it was still got more to do in the shadow. That pitch is tidied up nicely. Um, it's just that one line that Alexis a lot. I think that my defense Brandon trucked hoping my chest good back with one of a three. The orange that's a dry. So with my three brush bit more Payne's gray come back in No shadow that dry just a little bit more. A few final tweaks on the stand. So my theory is there Is there a brush again? He knows that weeks on here and he's in black. This, you hear there, that's not quite dry. So you believe that for a minute and then come back, do a bit more shadow. Okay, so it's nice and dry now that is jumping out at me a little bit, so I'm just gonna put a little bit of my pinky orange wash on it. It's not completely white where I've left it. Light is starting to go at night, get shadows on, then with my number three, you're gonna It's a bit of black on the show today. Did she talk my edge? Gonna get a little bit dark still just in a few spots right up place to the Which of the pumpkin? - As I went up to that, I realized that a little bit of shadow on there. So I'm just gonna take a little bit of Payne's gray. Just that shut up a tiny time. I take my people's every brush. No, but more black. So yeah, and see areas where it's the darkest but that don't we have it one pumpkin painting. 11. Class Project: So that brings us to the end of the tutorial on Gone to the Class project, which I did talk about it in the first video. But I would love you to share a picture of your pumpkin with me. So this is my one. Which of us be seen on def. You've taken any progress shots? I'd love to see those as well. I love seeing step by step. And also just for you. It's nice to look back on a lot different stages you went through. You realize how far we've come. And I hope you're proud of, um what you produced. If there's anything that you think I could improve about the lesson, then leave me a comment. Let me know. I wanted to be as easy for people to follow as possible. S Oh yeah, that's the end of my second skill share class. My other one is jewelry related. I made it another jewelry. One. Next were made him painting. I'm not sure, But if you want Teoh, do another lesson with me, then click the follow button on. You'll be informed next time I'm producing cross. Thanks