Learn to paint Watercolor Pumpkins & Squash | Sarah Jean Bryson | Skillshare

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Learn to paint Watercolor Pumpkins & Squash

teacher avatar Sarah Jean Bryson, Watercolor Artist @Its_Art_OClock

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

Watch this class and thousands more

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

Lessons in This Class

8 Lessons (1h)
    • 1. Intro Pumpkins

    • 2. Art Supplies Needed

    • 3. Color and Shape

    • 4. Create Texture

    • 5. Pen Look

    • 6. Loose Style

    • 7. Class Project to Finish

    • 8. Add on: Colorful Pumpkins

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About This Class

In this class I will show you how to paint simple, fun and loose style watercolor pumpkins, gourds and squash varieties. I demonstrate how I create relaxed versions, as well as more structured pen detailed looks. I go over how to make multiple textures that feel organic using the magic only watercolor can provide. 

This class is aimed at all levels, but I specifically structured it to be as user friendly as possible so complete beginners can take part too. I hope you enjoy!

Meet Your Teacher

Teacher Profile Image

Sarah Jean Bryson

Watercolor Artist @Its_Art_OClock


Hello! I'm Sarah Jean, an artist, Illustrator and owner of the Instagram art account @Its_Art_Oclock. Originally from England, I moved to sunny Los Angeles, California in 2008. 

As the daughter of an artist, I was always exposed to different artistic mediums growing up but didn't really find the passion for painting myself until I had a child of my own. When I was pregnant I started Art Journaling, then painting canvases- I dabbled in acrylics and oils, but finally found a real passion for illustrating and watercolors.

When my daughter was born, I became a stay at home mummy.  Alone all day with a baby, I realized I needed to find an easy outlet to take time for myself when my daughter would nap, and so "It's Art O'clock" was born!

... See full profile

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1. Intro Pumpkins: Hello there, my name is Sarah gene Bryson. I am an artist, illustrator and debates behind the Instagram account it sought to clock with underscores. I created that accounts a little while ago on Instagram just to showcase my painting every day. And I've seen a huge improvement in my abilities just from daily painting, my whole concept is its auto o'clock somewhere. Whether you have five minutes or an hour, it's always fun to get something creative going each day I find it therapeutic. And this particular topic, I find really therapeutic because there's a lot of wet or might techniques, which is my all-time favorite words, colour techniques. So what are we going to be painting? Pumpkins, pumpkin squash gourds, whatever you want to call them. They come in all shapes and sizes, which is why I absolutely love them as a topic, because the sky is the limit for what you want to create. We'll be doing loose interpretations with very like relax brush stroke as well as more structured with some pen line. And at the end of it you're going to have a nice selection of your own creations and I hope you'll share them in the projects. I find pumpkins and squash to be such a fun topic. I ironically hate pumpkins to eat. I don't eat pumpkin pie. I don't like Cinnamon. I know, call me crazy. But I love how many unique and fun designs the same topic can create and I can't wait to see what you come up with that leads us to the project. The cost project is going to be creating a spread, all pumpkins, gold squash, in your own color palette, your own designs, and share it with the project. Will I just want to see a page, your pumpkins basically. And yeah, let's get started on this really fun topic. It is the full autumn season. So let's get some pumpkins, Go on. 2. Art Supplies Needed: Let's talk what you're gonna need so you do not have to have all these items again, if you wanna just use what you've got at home, you can make it work. I will be using a micron pen. This is the PN, that means it's plastic. Nib says by Saqqara, I love these pens purely because the, you can get a nice thin line, but they're also waterproof ink. So you can obviously use these with your watercolors and a lot of water. I'm also going to probably use at some point my universal signal white gel pen. Another great option if you're gonna do some little details. Always useful to have a pencil, pencil and eraser nearby. Do not have to use them if you don't want to, but if you want to, Those are there. What kind of paper? Highly recommend at least a 140 pounds, 300 GSM paper. I'm going to be using my Strathmore sketchbook, which is this one where I like it because this is like a good size and it's just fun to play in. But I can also use other paper if I want to. If you only have other painted papers at home, that's fine. I do recommend at least 300 GSM or a 140 pound cold press or hot press, but as long as it's that thickness so that you can layer with water because there's a lot of wet on wet techniques in this, leading to the main thing, watercolor paints. I will be using my selection of handmade water color paints by artistic, IF I have a nice array of autumnal colors, as well as some metallic switch can be fun. I will also probably be using at some point, my art philosophy. Woodland said those are the two brands I'm using. And the only reason I'm using both of those because I have so many of them. Sure gonna need wards color brushes now, I tend to use my favorite Fibonacci brushes by Shimon Ni art. That's name there. Not everyone has these brushes of course. So any round brush or one that goes to a tip will do. In fact, I will also need a detailing brush. So I will either use this one again, a super random looking brushes as a bent 0 angle spotter by Princeton. But again, any small brush, even a two round, any brand that you have, that's fine as well. Whatever you want to use, you can create your own variation. Just make sure it's a watercolor brush because they tend to move much better. And I would suggest you need at least to a details sort of thin, small one and a large wash brush. 3. Color and Shape: Let's start by talking about how pumpkin squash goods, this whole family come in so many different shapes, sizes, and varieties. And that's what we're going to use to our advantage when creating our own drawings and paintings of these. So the first thing to think about is Festival. You can look, this is from a magazine. I just take scraps out and put them in my, my sketchbook sometimes if I see a pumpkin that I like the look of, and you can go and Pinterests Google. You can always find pictures of a variety of pumpkins and squash if you're like me and you collect them, I have an entire range of different pumpkins that I put out at this time of year because I'm filming this in October. And it's good to act as inspiration. We're going to use the basic shapes of a pumpkin squash in order to create our final pieces. And I wanted to talk a little bit festival about shapes. So you can go with these very simple lines, semi-circles that kinda curve around like so that she has basic as that with a store can there maybe a leaf. And immediately it reads his pumpkin. That's because pumpkins and God's tend to have these groups that go all the way around them. It can be really useful to actually look at a pumpkin if you can get one this time of year for like I said, they're always around. But if it's not if you're watching this not an October, obviously, you can always just look up pictures, but that kind of idea of indented areas seem to be pretty prevalent in almost all aspects of a pumpkin or gourd or squash. As you can see, these are obviously not realistic looking pumpkins, But they have that same idea of the ridges and that's how you know that they read as that. And so you kinda wanna include that in your sketch or in your watercolor painting. Now, here is a basic, I'll go on to this in the next class about how to do washes. I can take this kind of splattered shape, what's color? And I can give it a traditional pumpkin body just by drawing some semicircle lines, going all the way round, imagining where the grooves would go. And then adding my stalk in the middle. And something as simple as that immediately reads pumpkin. And you could even go under and get that curve that a lot of pumpkins have. They go underneath and they give like a curvy shaped bottom area. Again, a squash or more of a like a button that's squash. The shape is kind of almost pair like it's thin at the top, goes around to a kind of fatter bell bottom and like so hard in a stalk. And immediately you've got that kind of squashed feel. Now if it's looking to pair like you can draw on those grooves again to give it more of a squash field. Now here's what I've done without using any pen, but you can still get that idea of shape based on the overall look that I'd given up. One of my favorite reasons for being such a great subject matter to do is because a lot of them grow with these bizarre growth. So if you spread a bit of water when painting and it accidentally smudges, you can totally make it part of your overall luck because pumpkins do sometimes grow in these odd fantastical shapes which Another reason that's so fun to do as a subject matter, which leads us to Cala. Now, if you go with something more traditional like this, and I've gone with the shapes are done with the loose flow on this one, but I haven't done any pen line. I don't actually think it needs pen walk because I've kept that kind of punk Kony shape. And I've used squash and pumpkin and full colors. And I wanted to talk about color now this particular set of colors I've chosen a very woodlands, that very natural autumnal shades, the warmer shades. And it works perfectly. You can read straight away what I'm trying to, trying to show here just because of the color and the shape. Now, if I wanted to do something crazy and do you know, bright purple or bright pink and create something a little bit more unrealistic or natural in color that I really want to make sure that I'm keeping the traditional pumpkin shape for you to really understand that that's what I'm trying to create. For example, if I am to do what I just said, the semicircle shape, very basic pumpkin shape, like so. And let's do like a kinda gorgeous shape. And I'm actually using a pan that is not waterproof ink, so we'll see how this works. But again, I can tell that this is a pumpkin or gold or squash if some, some variety will. Because of the shape. If I was to draw like a completely wacky, like this kind of fella, not going to really feel like a pumpkin. However, I can still add elements that might make it feel pumpkin ask just by drawing on sim lines. Like so. And it's like a really wacky looking guy. Doesn't necessarily like a pumpkin right now. But if I'm to do him in a bright purple or blue or some weird color you reading, not gonna read as pumpkin. If I do it in an orange, it doesn't matter that my lines are all over the place. So I'm going to explain that a little bit better. I'm going to just show you festival, okay, so I'm going with this purple and I'm just going to fill in this fella here with the purpose. I shan't metallic pebble worlds color that I love. Like I said, I've got that initial pumpkin shape. And so it's going to automatically read as a pumpkin, even though it's in a very unnatural color. Same here. I can do this in a purple and there's no problem. You can still tell I'm trying to show you a squash. And that's because you're reading it based off the shape. It doesn't seem to matter that the color isn't necessarily what color it would come in if that makes sense. Now this guy down here, if I was to do him pop or you might be like what on earth is that? So because of that, I'm actually gonna go with a more realistic shade, like an orange. So this one is an orangey color. Again, doesn't matter if I stay out. Stay in the lines to outlines is just to give you an idea, going with another natural shade. Maybe like a brown can draw in those grooves, again, a painting, sorry, there's grooves. And that wacky kind of squiggle that I did at the beginning can just become part and parcel of the texture of that overall look. I feel like if I tried to do this with the purple or blue or a non-natural collar, you wouldn't have been able to read this as pumpkin anymore. So basically what I'm trying to say is if you're going into an unrealistic shape, something that's less likely to be natural. You want to stick with the more organic looking colors as if to kind of read it that way. And if you're gonna go with a traditional shape, then you can play with the color. It doesn't have to be your traditional orange pumpkin. But that's kind of why I wanted to mention how shape can really play a part, especially when you come onto the loose design water color that I plan to show you, you move in something like this, use wacky colors and prints because then you still want to read it as pumpkin. That just helps you a little bit of shape. Again, I really encourage you to go online and have a look at the different shapes you can get. And in the next lesson I'm going to go over how I getting these great textures with different elements that watercolor can provide. 4. Create Texture: So I'm going to use today my woodland sat by art philosophy, also known as premium. What's colors? Just because it's a nice selection of colors that feel appropriate for my theme of pumpkins and gourds. So I'm just using those colors. Again. You can use any colors you like. But you know, the typical full colors, the reds, the browns, the earthy tones, tends to be great. So first of all, the only things tell you so far is the masking fluid. I have pre put this on the masking fluid pan and let it dry. So that is all dry on the app. And I like to do these particular ones is obviously semi other things you can do. But these particular techniques work really well for creating texture and see you can create a lot of really cool kind of organic effects using these techniques. And just a reminder, it is nothing new that you're learning here that you might not already have seen before. It's just a case of showing you how these particular applications can be applied to the pumpkins. So wet paint on wet paper. This is one of the most common moves that I do. And I'm just going to put a circle of water here. And I tend to use a lot of water and a lot of wet paint when I work, which is why again, I always encourage you to use at least a 140 pound what's color paper? So I'm using just a colored up. It doesn't matter what color is this dot. She'd like a mixture of all the colors that's left on my palette. Show you I'm just mixing up some colors. Are there the turns and I'm taking a very watered down Paint and putting on the wet paper. Just show you how that look can be. So next one is wet paint on wet paint, which sounds kind of strange, but I'm going to just show you what I mean by that. So similarly to the Wet Water, the wet paint on wet paper, I'm just gonna do paint. Take another color that's wet. Put it on pretty immediately. And you'll see it will spread and move. And again, that's also a great way of creating texture. In fact, I'm gonna do another color here beside this black, dark shade. And I'm going to drop in some wet, lighter color and we'll let that dry and see what that gives us. Water drops. So what's drops is a really weird way of me describing what I like to do, which is to take water and do this. I'll let you just go. I'm just putting little pools of water very lightly on the page. I didn't become bubbles. This is one of the most therapeutic techniques that I do. And then with a bit of paint, white down paint, we're going to fill. That will get us the most about this, I think, than anything else that I do. People always wanna know walks with the water droplets. All I can say is I really like the effect. It leaves when it dries because it's very kind of organic. The paint will spread differently and when it dries, you'll say it's a very interesting effect. Salt is a great option, obviously. And for creating texture. So again, I'm just putting some very heavily wet to down Paint circle here to kind of emulate pumpkin feel. And then I'm taking some visitors actually kosher salt and I like it because it's rock crystals. And I'm just going to drizzle there is only a little bit. Let them do their thing. And again, this will create texts together, again, feels very organic and works really well for for pumpkins. Next step is plastic grapple Saran wrap or cling film with every color in your country. It's basically that kind of strange plasticky. Now to describe it, reading, what's great about this on wards color is wherever you mush it up. In little parts will touch the paint in theropods parts widens and wherever touches it kind of remains vibrant. And you'll say it's kind of a fun effect. But again, it's a little bit more like the Bulls not really in your coal with their seats, kind of whatever you get, you don't really necessarily you call control it as much. So just be prepared that this particular technique, I'm just making a very wet circle again. And then I'm scrunching. And I'm going to scrunch him on, make some texture remarks. And I'm just going to leave it, it's going to move about and even put something on top of it and it would dry at different rates. And if I will put something on it that's just easier. Masking flooded. Like I said, I really put this on earlier. Another great way to leave like light mocks, all of those blobby marks will remain that color. And then you slowly erase that off. What's great about using a masking fluid pen like the one I used, this one a hand. The Sepah nib is that you can get kinda detailed lines and go in and all those patches will remain the light, a color underneath. And again, it's another nice way. It's like basically you are doing it before. You could do the same effect. We'd like pen over the top, but is another fun way to do it. You can draw your design and advanced put some color on there and see how it goes. And this is dry patch, let it dry. And then again, texture, I don't have to use if you have an old toothbrush, great. Go for it. It's just not a fun, like Get creative. It's great for creating textures that what's a, you make it for less, but you make it will give you a different look. It's all about creating texture. And again, you don't have as much control. But what I like is it can feel very organic using things like a brush like this. And like I said, we're trying to create a look that feels organic. And so that's like the main thing. So I've let this dry, this wet and dry. And I'm now going to take some wet paint, same color actually. And just show how on top of that, I can then make a richer color. And I can do different textures over the top by putting the wet and dry and I can heavily watered down my paint too, and that will give a different look. That will dry with little kind of markings as well in its own way. And again, it's play with our experiment. See what you'll pay doubts. And my favorite things about water color. I'm gonna do a little bit more up here just to show you the wet paint on wet paint said, I think I really showed you enough how great this technique works. So again, I'm going to do a wet paint color here like so. And on top, I'm going to take web pane and I'm going to drop and let it spread and do its thing because it really makes such a big difference. When it dries. It's just such a fun fact. And again, water droplets, you can do the same technique. I, let's take some richer color here. Let's go with some water droplets and we're just going to drop that on just a water droplet bubble and let it spread. Even remove some of the color by lifting up with the brush. That's just another different effects you can create. Dropping water onto the slightly wet paint. Ok, so here are our different effects. This is the webpage on wet paper. As you can see, the paint has spread out onto the water and is left is with this great natural outline where the pigment has settled on the side. Wet paint on wet paint, you can get some wonderful mottled effects depending on how you mix your colors. This one didn't come out as dog, but it still is a very fascinating texture. Water droplets that are filled with pain that gives a completely different look, again, very similar to the wet paint on wet paper because I guess it's kinda the same idea. But it's a little bit more concentrated. Salt is always a great room. Slightly removed. Scratch it off as best I can because wherever the salt is, it will have not allowed the pigment to dry in quite the same way, which is a fabulous way of creating texture for golds and looking like it's just such a great effect. This one here is our toothbrush. Again, just giving a fun added level of dimension. This is a great technique that wet on dry with details. So this is a more heavily pigmented painting on details with the same color on the washed out background. And then these are the little droplets of water that I put on to the dry paint. Again, you can get some really great textures. Masking fluid. Said to you that good ONE roll. My favorite and most satisfying things. And it does exactly as it suggests, it masks of the area. And so then you're left with some marks, again, really great for doing different looks, more highlights even. And then this one is always the hardest I find because you never know what you're gonna get. But again, really interesting textures you can get using Saran wrap plastic or AppleTV cola. And again, depending on how hard you push it down, how wet the paint is when you do it, you'll get different effects, but just have Apply. And then these are the dots that we did that was the water droplets, just plain water on a color has that fabulous spidering effect, which I just feel is so wonderful when it comes to things like organic shapes and just fun. So pick your favorites and we will go into the next class doing some loose pumpkins inspired by whatever you wanna do. And we're gonna use some of these textures to create artworks. 5. Pen Look: Okay, let's get started with the first style that I'm going to show you and that is using pen and ink or just even a colored pencil you could use to detail often doing a loose wash shapes. So basically we're going to be doing all the techniques I mentioned with the water colors. You can do your salt at this point. And then we're gonna go in and detail after the fact. So any of these kind of style attempts were then going to go in and draw on. You can do wacky designs. You can do more realistic designs, but just bear in mind when you create these. You can't always fix them inverted commas with your pen work after the fact that's when came up beautiful with the water droplets. But yeah, so this first style is going to be the pen work. And then the next style I'll show you, next class will be the very loose, loose watercolor designs like this and letting them just speak for themselves without the pen detail. And it is a very different look. Obviously each has its own place. And at the end of it, hopefully, you will have a spreading of sketchbook or a page that you can share in the project section of lots of pen work all over your pumpkins and goals. So we're gonna get started with doing kind of exactly what I just mentioned. We're gonna do these techniques that we tested out. And we're going to use them to our advantage of what we can then go in and detail with pen work, I am going to start by doing some simple shapes. And like I said, because we're doing a pen walk, we can kinda go a little crazy with our designs like how they look. Because I can kind of hone in width the pen work. So I'm using autistic aisle today because I have a lot of autumnal shades or if you want to call it that, that's actually something my mom would say. It's very autumnal or fall. They're going to call it. And I'm going to start by doing heavy washes of that paint color. And I'm going to just kind of let the shape speak to me. I can just put a loose, blobby area and I know that I can go in after the fact and fix it. And it's not going to be a problem, but you're gonna drop in some brown dots. Because like I said, this first stage is very therapeutic and relaxing. It's just getting some paint on paper, to be honest. And I'm gonna stick with the more earthy tones for their sets just because I feel like and I'm just feeding I wanted to and I'm sticking to our assault of pumpkin shape just so it's easier to follow later on if I need a with the pan walk, but you don't have to, you could literally do I will do one just for the sake of it. Let's do just a big spot. Splurge even once about a word for it. Like that. Because that's the beauty of pumpkins. They do have this brilliant ability to grow in these funky design. So you can literally do a splurge like that and we can make him look like a pumpkin by the end, it gets some very heavily wet paper and paint, sorry, paint down on your paper. Like so. Different designs and shapes, maybe dropping some water at this point to create some of those effects is just going to create some texture. I'm trying to stick to colors along each of them that sort of work well together. And they go in and add some green hand which may or may not work, but I'm not sure if I love. Here's another thing you can do, which I actually forgot to mention. You can take a dried brush and sort of suck up. If you use a lot of water like I do, you can kind of suck up some of that pigment. And you get another look. Actually gonna go straight in with Islam and some salt. And like I hope you'll be doing your kind of winging it as you go along. That's kind of my go-to with this. It's a very theraputic. I should go and crazy humbling so much soul. It is actually a very therapeutic topic to paint and the style of which you do it because you can just kinda go crazy with. You don't have to worry too much about shape and design. You can kind of just go for it. Because like I said, the main focus is going to come when we go with our pen and get those details in, you can think ahead and think, well, how, how would this look if I put my pen and after the fact? Like I do have a sort of idea of how I might add to them. But I just, I'm not sticking, I'm not getting stuck bogged down in any design elements at this stage in terms of positioning. You totally can, of course, but I'm just that's not my style. In fact is to show you I could go in with a pen. A pen, sorry, I could go in with some pain right now and start doing a little bit of details like that. Stoke perhaps. But that's more for the next clause. That's more about doing the loose style. I really like these to feel quite organic and just kind of playful To be honest. And it's just a case of covering a page where these guys so these beauties have now dried. And as you can see, there's some really fun effects already happening with that salt that went on. Some of these fabulous textures we already got. I'm gonna start by going in with, I'm going to show you different patents for each one and show you how you can then shape them into something a little more detailed, I guess said, let's go with this guy fast because he's so simple and small and I am actually using a pen that isn't what to prevent because I didn't plan on putting any more water on this particular one side just to show you. So I am going to think to myself, OK. Let's make this a pumpkin mole, pumpkin ask. We're going to add that stem. That's stoke. I'm just gonna draw a couple of lines here. Actually as simple as I can even add a swell if you want, it can be fun. And then like I mentioned earlier, doing those lines that go all the way around it to represent the grooves. That can be a really great way to just really read. Like a pumpkin. Right after. Do it as neat as I could have done it most scratchy, which tends to be more my style actually HD Moore, the scratchy. And I'd like to go ahead and do a couple of just very simple circles, semicircle shapes. Just took like some physical blobs on the actual pumpkin. Now for this guy, I want to thank. And again, it can be helpful to have a picture as inspiration nearby if you need it. I have done so many of these now I kind of know what they're going to look like now I always start with my Stoke. You don't have to do it that whenever I like to kind of get an idea of how it's gonna go. Something like this where I've let the water in the paint do its thing. I'm gonna show you up close. I kind of love how that's given kinda growth. Look. So I'm gonna go with what it's done. And I'm going to just highlight by adding pen mock, some blobs like battlefields. Okay, if that's a real word, but I'm going to just full I what that Walter is kind of suggested to me and add some kind of growths onto my pumpkin to feel realistic. And I love some of the texture that's come out with the salt on this one. So I don't think he needs too much. And that's the thing. Look at you, look at your creations, see what they've done and see what they say to you. And this is the one that I did. That was just a crazy splurge that I also put a love because it can totally be a pumpkin with the way that we like add-on online. So like I said again, I might want to add my stalk, whatever I feel my stalk would look like on this one. For this one, let's add some leaves as well, and I can go in and add some more paint after the fact. If I want to fill that in green or whatever color I feel it would be. And then again, I want to add those grooves, but I'm gonna make them a little wiggly because I feel like that's what this guy would have because he's grown strange. But that's kind of the point. I love that you can do a very strange shape. But all you have to do is add a couple of lines. And now we know he's a funky pumpkin. And that's okay. Some simple dots. In fact, for this guy, I'm gonna go in with my white pan as well. We'll do some. He's kind of running out of ink. This guy. These white splotches as well. Show you love my technical terms, rookies. Then if you can tell, it's already just so much character. I just love how simple this can be. I'm actually also going to show you using this. This is a gloss ink pen. I do not use this often. I've just recently got back into it, so don't worry if you don't have one of these. I just tried to highlight that you can basically do any, you know, any of your lines with any kind of ink pen basically, you don't have to limit yourself, you know, to what I'm using. So this one again, I've got little bump that I could work with. And actually going to make this a little more abstract and just do a bunch of squiggly lines. Squiggly, fully that pathway round that I've created with the water. And then I'll actually just gonna do a tiny little stoke at the end of that guy. I'm actually not even going to join it up the right to a couple of adults just because that's something I do like to do and I can't go in and do some more detailed pen, a course of hindsight paint. If I want to just another layer. This one's very basic. In fact, so much so that I could make him a little more crazy. Could go like so. Do my lines, make it feel more pumpkin? Because once I make it failed pump Kony, I can do some wacky shapes on it with my pen, walk like oversee, you've probably never seen a pumpkin. It was stripy lines or zigzags, swells promoting. But that's the beauty as long as it looks like a pumpkin shape, you can get away with a bit more of a fantastical mythical design. So it's a good example of that. And I'm going to change out of this pentagon because I know that everyone will have one of these globs button, but it's the same thing. Same idea. Maybe once use everybody. Why? Let's try that. I'd actually never tried this look, so let's try doing just my lines in white ink. But again, I'm just following the rule of trying to make it feel like the correct shape. Again, I'm going to need a stoke coming out. And just some very simple lines. Coming out can make it more of a scratchy effect. In fact, I am going to show you quickly on this guy the scratchy look that I do that a lot of people really love. And it's as simple as I'm just kind of sketching that I'm keeping that sketchy look going in pen work. So if I make a mistake, doesn't matter, I just go back. And like as if I was doing a pencil, I would do it as if I was just getting that first initial sketch on. A lot of people love this look as a final look. It's like the latest. I feel like this is a really popular style right now. I do it sometimes just, you know, if I'm feeling in the mood is kind of scratchy look, because you don't have to worry as much. You can literally kind of let it do what you think it should do. As if you were pencil sketching and then you would go in and do the details off to the fact you basically keep that pencil lip but with pen so I could use some shadowing just by doing some scratches back and forth. And this look is not for everyone by the way. Some people hate that kind of scratch you look, but it can look really fabulous to also going to use this. This is a Kelly creates dual brush pen. I already have it in green, which is possibly gonna ruin the whole look of this page. But I do want to just showcase that you can do. You can use any kind of pen. You haven't given us a felt tip if you wanted to, because the idea is just creating the shapes that you might need. So I'm going to just do some lines. There's lines would be I'm following this round. This watermark has made it perfect. And then let's just add some leaves on the sky. And because I've put this kind of greenish gold shade, I actually am going to incorporate it over here as well to tie him to the page, I do like to try and pick the same color palette as much as I can. So there's a green, that green there. And then perhaps like a couple of these dots can go on. And again, it might look like not much to even do this, but you'd be surprised how it might end up just tying it all together a little bit batch. In fact, now I'm going to put some on this guy because he's quite dark. Could you some dots in that kind of greenish gold because like I said, that all sort of tie my choice to use this together. So there we go. This is the first style. Step back a little to show you. And as a sudden comes around, you get to see even better. So that's the first style and I wanted to show you in the sunlight. Not sure if it's showing up completely, but there is this beautiful shimmer because I've used some metallic watercolors in this. And like I said, any words, colors will do. And he, brushes and pens you have can make this look. But I just found them really fun and very therapeutic to just let the paint do its thing and then you can go in and detail them after the fact. So in the next class we are going to do the same thing but without the pengyou. Ok, so we are going to have to think more about shape for me. Put the world's color on. It. Going to be doing something more like these guys while you're already thinking about the shape first. And then we don't go in and do any pen tool that you can still make some fabulous looking pumpkin squash. They joined me in the next class for these guys. 6. Loose Style: All right, so in this lesson, we're going to be not doing this pen structure, but we're gonna do that first, initial stage and create some loose, very loose feeling pumpkin squash and God's. So for this, you do really want to think about your color palettes are a little bit more. I did use natural colors in the last one, but I'm going to do the same again that you're going to use this one here. I'm sorry. I'm going to use the Woodlands palette by art philosophy for this one, just because it has a lot of those natural colors which works really well. And again, I'm going to work with this idea of creating the pumpkin squash, making it look realistic, more like my first spread I showed you. I really want to think about the shape of my pumpkin, how it sits on the page. Because I'm not going to be able to go in and do any pen work on this because that's not the star we're doing that it's one. So with that in mind, you want to pick some colors that work. So I'm gonna go with some, start with this Redwood earthy color, match. It can add a little bit of yellow to it to make it more of an orange. And then I'm gonna do a very traditional pumpkin shape. Skinny use the brush to drop down, but my weight down and just sort of create the curves just with some loose sort of semicircular shapes. I guess you could call them semicircular lines. And I'm really concentrating on making it look from the get-go like a pumpkin. Because like I said, we're not going in and doing any pen work that can hide any imperfections. So it's kind of important to get that look, but I can still be fun and play with the movement. I'm adding in some darker color there and you know, letting it flow, I'm going to drop in some water some of the techniques I mentioned. And I guess I can, you know, I think I will, I'll add a little bit of salt as well as if this had some kind of texture to it as well. And on the very wet parts that will really showcase more because it really absorbs that water. Okay, so next one and again, I move very quickly. You do not have to move this fast. I just like to kind of flow were there and get my colors on the page quickly, but take your time. It's very relaxing. So this one, I'm gonna do a yellow board kind of shape with that sort of the body. That's very typical of these colored ones. And the reason I'm doing this yellow is because I've noticed recently when looking at pumpkins and squashed when I go out, there are a lot of yellow ones, which is actually really interesting to me. But they yellow with bits of green, almost like growing up the bottom. So I'm going to add some green hair, let it do it while it's wet because I will go in again. When this is dry. This is a particular look I really like. And I'm going to let us do this this way. But then I'm also like I said, going to go in while it's dry and do detail with my paint. As opposed to a pattern. So it's kinda the same idea where we're still playing with the same concepts here. We're just not going to be using the detailing of the pen afterwards. So I'm going to make more of a bell shape like a button not squash, feel like so and again, it's okay if it's not perfect because that's the beauty of pumpkins and squash them not perfect. My favorite things about them, they are imperfect like humans. And so I'm actually letting my brush kind of double back and forth here to create those bumps as if it was text you'd all the way round. I'm going to take the brown and kind of draw on my step like stem part now and let it bleed in. It's another look you can go for. I'm actually gonna do the same up here to take my brush and add in my stalk, like sun and doing it well, it's still a little bit wet so it can bleed and create some interest that way. I didn't some dots of that Brown to sort of tie it together. But you just have to kind of think about your placement because although there's an element of trust that you have to just let the paint and water do its thing because you can't completely control this. It's like about relinquishing control, which and when he knows me personally knows that's a big problem in my life is relinquishing control. So it can be very therapeutic for that reason too. But like I said, you can't completely determined where the paint is going to move or how it's going to drive. So you can't drive. So you kind of have to just let it go and hope for the best. And then I'm heavily watering down and I'm doing a circle like I did before. I'm going to take a thicker amount of paint to sort of draw with my paintbrush. The shape I really want it to be. Can even leave that gap. Make it feel like it goes around hearing curve sander, take a color wallets where I'm gonna go with a yellow kind of funky base like this. And again, I'm gonna do that green outline as if its optimum is green. I'm actually going to draw some lines up because there are some pumpkins seen recently that have this fabulous like lines that go up its body. And she gonna do one more over here with an orange. Like so. Again, letting the water do its thing that I'm kind of guiding and a little bit more than I did before in terms of shape, I wanted to feel more like a pumpkin from the get-go because it just makes it much easier later on to read as pumpkin. I should have let that dry a little bit more before I did this talk really. That's okay. Still. I'm using the Deci brushes I did before, trying to get more of that curve shape from the get-go. Like whether shadow would be I'm using more pigment, doing all vertical lines. This guy needs a stoke. Maybe like. And again, I've chosen a color that I've already used elsewhere to try and tie it all together and actually need to put a little. So this tends to be my go-to move is the salt. I know that I've mentioned all these other options, but salt and drops of water are usually my favorite options. And now I'm gonna go in with my detailing brush my small around and he's not completely dry but he's getting drier. And I'm gonna use this almost like I did with the pen. I'm gonna do my details with wet pain. So this is like the wet and dry look. It's not thoroughly dry but it's pretty much there. So I can get some details that way. And so I can get that almost scratchy look again. But now with my paint, this is append. So it's a little less harsh. And I'm just doing some dashes back and forth, which like I said, can make some really fun patterns. And I'm actually specifically going along the lines. Like I said, Where a pumpkin has those kind of groove. So it works quite well. And then again, just a wiggly, wobbly line to indicate a stalk. I don't have to do these details because then it can feel a little too structured. And the idea is to not feel too structured. But I just wanted to give you a selection of options that you have. And once these have dried and I've pushed off the salt, I might just leave those others, to be honest. I'm gonna just do a little stripe of color, darker again to really emphasize the grooves on my pumpkin. Going to add a couple of little leaves here. Just because and once, Well, I tell you why I love these swells. I just think they look so fun. Dirty brush and this will dry with really interesting textures. One of my favorite techniques, I'm just literally living, letting dirty water droplets dry. And it gives us very interesting bubbly effect, which works really well at pumpkins. I'm actually going to feel like there's a space here that's asking to be filled. It's going to do a very quick little kind of, I guess, like a button not score shape. Given you that yellowy color, maybe before the change. Just to fill in that gap because he feels a little bit. Okay and I'm gonna leave him alone and then we'll come back and see how these came out. Okay, and as before, PR magic of television, this is now dry. So I'm going to gently remove these. In fact, I want to show you that using a clean dry brush, it can be a little easier sometimes to get off that salt. It can be a bit stubborn and you might have to scratch it out, which is why you want to wait until your what's color is completely dry so as not to accidentally smudge and he paints anywhere. So this has made some gorgeous texture. Hope that's coming up on camera that is fabulous. And that's the thing, the beauty of doing it as a loose look and not doing any pen work is if you plan it accordingly, you can make some really fabulous natural-looking creations. And they are just different fields as you can see, we've got that look, that's the pen sketch. And then we've got that look, that's the loose look. And then this one up here, I'm gonna do some after, after coloring Just to add on a stem like this, maybe similar lines like this. The main work The main job was done when it was very wet. That's kind of how I like these to end up is very loose, very playful. Yeah, not as as intense as doing the paperwork, but now I got some great colors hair. I can also go in and maybe do a little bit more detail on here, make it a little richer and color. Love hada, oranges, can green have like melded together here. Really, really pretty. And so that's kind of a, I encourage you to have fun with it. You know, come up with your own designs. And again, by the end of this, you should hopefully have a couple of pages in your sketch book, some with pen, some with loose lurk. And then for the final piece you can mix and match. I'm actually going to be doing a page of pumpkins with both Penn work and some loose. And, yeah, that's basically what I'm gonna do for my project. I encourage you to do the same. But if you just want to showcase your progress and how you've done each stage, that's fine too. So if you just want to show your sketchbook spread with your pen work and your loose styles. Go for it. I encourage you to just share so that all your fellow students and myself can see what you've come up with. There we go. There's a go-to styles of pumpkin. 7. Class Project to Finish: Say here we have the two different designs. Somewhat pen, some as more of a lifestyle. And now I'm going to do a final piece that kind of mixes all the together, the styles together, and just makes for really fun decorations. And if you're not sure how you could use these in regular day to day life. I did want to show you this cover page that I've been using throughout this videos in class. This one has always depended Walk. This one is just like that loose style. I did a couple of leaves just for interest and show how it can make a really great, a little corner parts for a board or maybe for a cover of a page in your sketchbook, or for even creating cards full people, perhaps you'd like to make thanksgiving cod. I actually love to do this for the bottom corners of my place cards at Thanksgiving. So I'll do a couple little pumpkins and just feels really fun. And then I write the person's name there. So that is a practical way you can actually use these. So I'm going to speed up for this final piece, but it's going to be on fast so you can see it will go and yeah, just join in, make your own piece and then share it in the project section in the gallery. I'd love to see what you came up with. Yes. Okay. You have my final piece or use some metallic watercolors in there. I did a different selection of techniques to create my base is got some really fabulous textures on the head, a very organic feeling and natural. Somebody went with more stylized lines. And overall, I think it comes together as quite a fun piece. I did some sprinkles of color to kinda tie it together. There are a couple of gaps that perhaps I could have done my spacing a little better, but I'm gonna just remove the tape. Can now look at it as a piece. I could put it in a little frame if I wanted to put up up the holiday seasons for like October. Placement isn't perfect, which is fine like this, too many gaps here in here. So what I could do as well as another option is scan my walk and puts it into something like Photoshop or even procreate to an extent. And move my positioning around a little bit and maybe create a print or wrapping paper that the options are endless. And I wanted to show you in the sunlight to going with a metallic water color can also give you another dimension. As you can see, you've got some beautiful shimmer there in the sunlight. The color I used thou was golden pumpkin by autistic aisle. That's what's giving you that sparkle. And then that green one I think was, I think it's called guilded pine all say by autistic aisles at a sparkly paints I used today with the autistic Hall ones. The rest will all philosophy. But again, any woes collars will do. You can create fabulous pumpkins, creates the final piece. That's just a selection of all the different techniques that we've learned and share in the project section, in the project Galleria, can't wait, see what you come up with. Every single pumpkin will be unique in its own way as they are in real life. Have fun guys, and thank you for watching the clause that you'd like to please leave me a review or write me a comment. I do read them all. And if you wanna find me on Instagram at its underscore, underscore o'clock. I look forward to hearing from you. I hope you enjoy the class. 8. Add on: Colorful Pumpkins: Ok, just for fun because I have a little bit of time today, I'm going to do an entire new spread, Bop, weird, completely wacky designs of pumpkins and squash. Just to show you how you can create something totally unique with a color palette that might work well in your home that isn't necessarily neutral browns and stuff like that. So here we go. These beauties are currently drawing. As you can see, I went a little bit heavy with the salt crystals just because this is a slightly different paint that I used for this one. This is by Viva watch color psychology sheets that highly pigment heads so they don't necessarily lifted up as much. This I guess you could count as more natural colors. These guys totally wacky out their colors, and therefore, I'm going to use a totally out there purple micron pen to do the details when that time comes. And k, So these are all dry now I am going to use a clean brush to sort of flick off the soul because I didn't know if you noticed, but sometimes it can get really stuck into the pain and you don't want to push it around until it's completely dry. As you can see, it's created on this one and almost tie dye effect. It's very, very cool. It's like pushes that Tala, it's a less dramatic watermarks and you'd see on other types of wars kinda pain because V this like I said, a very high pigment so it can be quite hard to use salt to move color around how it required like how some of this is given it some real text. Yeah. And some of these you can even keep the salt crystals on if you wanted like crazy to x. Yeah, that's always an option of coals K. So all that salt is been removed. There's a little bit of a metallic Shamata, some of these Aswan specifically or just burgundies. I've got a list of Mr. piece itself there. And now I'm gonna do the same thing I did on my regular style pumpkins, but in purple, just to be sticking with this wacky kind of color palette. And let's see how that ends up. And as my wacky version, I went with autistic Carl metallic colours as well as my viva color sheets. The pens I used, I did use a micron, pn in purple, but then I ran out of being. So actually use my artistic, our pink and purple pens as well as my universal Juvenal. And as you can see, just even doing like nonsensical shapes and lines, trying to get some, say Omar pens or running out. And we could even just doing stripes where that shouldn't be stripes. It doesn't matter provided you've kept that shape in the same way as, you know, if I did natural colors and did a different kind of shape, that would work too. So it's always are consistent. You will be able to get away with whatever you come up with. I got I think I gotta stop. So that regard wacky omega naturals. We got all the above. Ip had fun in this class. Thanks so much.