Pumpkin Spice Watercolor Illustrations | Jessie Dodington | Skillshare

Pumpkin Spice Watercolor Illustrations

Jessie Dodington, Visual artist, Instructor, MFA

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11 Lessons (2h 8m)
    • 1. |ntroduction

    • 2. Materials

    • 3. Building a Palette

    • 4. Drawing and Painting Pumpkins

    • 5. Sketching

    • 6. Painting Time

    • 7. Second Painting

    • 8. Third & Fourth Paintings

    • 9. Finishing the Paintings

    • 10. Adding Ink

    • 11. Final Touches


About This Class

Join me in painting four fun watercolor and ink illustrations inspired by PUMPKIN SPICE. 

First we work on a fall palette or color scheme. You can follow along as I mix mine, or invent your own. 

Next, we go over the basics of drawing pumpkins and shading them with layers of watercolor. 

After that we begin sketching and then painting our four pumpkin-spice inspired illustrations.

Lastly we apply pen and ink techniques to make our illustrations pop. 

Credit for music: 

Journey Of Hope by Alexander Nakarada | https://www.serpentsoundstudios.com

Music promoted by https://www.free-stock-music.com

Attribution 4.0 International (CC BY 4.0)



1. |ntroduction: Hello and welcome to my skill share class on pumpkin Spice paintings. Today we will be painting four little pumpkin Spice inspired food illustrations in watercolor and ink. You can do these two by three, which is what I paint them in, or you could blow them up. You could paint them for by six or whatever size you would like, but I will be teaching a quite a small sighs little painting workshop here. The main differences between working large and small are smaller brushes, sometimes more hand control. When you're working across the whole page, you have to use control of your whole arm, your whole wrist. And when we're working nice and small, it's mainly just hand control, fine motor skills for those little details. That said, these are very fun and simple little paintings. They don't require a lot of fitness. Um, and I will be painting them step by step right along with you so you can follow along also while we're painting, have the originals in in view so that you can look at the final outcome while seeing the step that we're on a swell. It will be great for you to have some confidence in drawing or watercolor painting to take this class, but it's not very necessary. Um, I would practice a little bit before jumping into this class just with what is wet on wet painting technique. What is what on dry? Um, just understanding how dry part of your painting has to be before you can go back over it. That's something that we deal with a lot in this class is if a certain area of your painting is too wet and you try to add some definitions, some shading on top of it, it will just lead into whatever you just drew. So we're painted, so it would be great for you to practice. A little bit of that went on wet technique and wet on dry. Let's go over some supplies that we will use in this class. 2. Materials: Let's talk about what supplies we're going to need for this class today. I am using a nine by 12 watercolor mosque in watercolor sketch book, and you could use any watercolor paper that you wish does not have to be in a sketchbook. It could just be loose pages as well. And because we're working small as long as your paper is thick enough to not buckle to too much, Um so I would recommend using some sort of watercolor mixed media paper. And then you'll be fine. I am using shrink, uh, 12 color from Pan set, and I've added a purple, a cerulean blue and a sap green. I use the purple and cerulean blue in this class, but I also show you how you can mix those with what blue and red to mix thumb and how to go about not using all the colors I have. It doesn't have to match mine perfectly. Another color I use is Naples yellow. This is from the prima marketing decadent pies set. This is the whole set right here. I've taken it out of its original 10. I wanted to use that for something else, and it lives in this t 10. Now again, I show you how to mix a sort of Naples yellow using yellow Oakar and burnt umber. So if you have a couple basic colors, we could get through this. The whole part of this class is that we're choosing a limited palette. So if you don't have exactly my colors, pick something else you enjoy and we're going to stick within that limited six colors. I believe it is. So you really don't need a ton, a ton of different colors. That's another reason this is going to be a bit easier on the supplies for you. I am using Princeton Velvet Touch. It has a very soft handle. Um, round brushes in sizes 84 and two. You can use a six for these, uh, the size of painting. It works really well. I'm mostly end up using my four. I believe eight is handy for bigger washes. The two is 84 tiny little details. I will also be using a Faber Castell Pitt artist pin in dark CP on number 175 It has an f here for fine, and you could also use the small which hasn't s right here, the little felt tip pen. Other options for you are the micron, the Pigna micron pen. They are excellent little felt tip pens also waterproof, and you nibble Signal. This is a 0.5 again waterproof so that we can, um, draw and then draw on our little paintings. And then we can go back and paint over them once the Incas dry and they won't bleed. So I love. And what suggest using a water proof 10 don't have to go up to you. Another tool I use in these little illustrations is three Unipol signal broad, and this is a white gel pen. It's not necessary, but it's a nice little trick if you weren't able to maintain some highlights by leaving the white on the page like the white of the page to show through. Sometimes I paint over it, and it's really nice to have this option so I could go back in and make highlights so you could use this. You could use white wash paint, which is like a watercolor, but more opaque. You could use white ink or white acrylic paint. Even so, there's lots of ways around that if you don't have a white Gilpin. Um, I'm also going to use a pencil to draw out some of the little illustrations You don't need to. You could just dive right in with the painting, but I'll be using a mechanical pencil. I like him because they don't have to sharpen them. And I had my own erasers on to the end. Find them more enjoyable and they last longer. Another tool we will be using isn't kneaded Eraser. This is again not necessary. This kneaded eraser allows you to make a little sketch and sort of dab the drawing, and it lifts up the pencil without totally erasing your sketch so you can still see where you're painting. You could still see your marks that they're not as heavy, and they're not as dark and how they recommend that if you continue on doing more watercolor, work some paper towel so that you can quickly dab and lift mistakes that you make so that you can work on water control by dabbing your brush on here. After rinsing it etcetera and you'll need a cup of water, you and I believe that. Is it for this class? Is that enough I didn't mention yet, but if you'd like to know, these are two by three frames that I got at Michael's craft store. I got 44 about 7 99 Make sure use a coupon and you can frame your little illustrations afterwards, too. 3. Building a Palette: in terms of palate, it is a lot of fun to experiment with, mixing your own little combinations and sticking within that set for a whole group of cards . So, as you will see with the Little Pumpkins vice illustrations that we were going to do together, they all fit within a very particular, um, palette. And we will mix those colors together. So the first thing we're going to do together is we're going to mix our palate and you don't have to copy the pellet that I'm doing today. But if you would like to, um, you can see that all these little paintings fit within a certain color scheme. So I'm leaving one here for you to see on screen while we work. And you are welcome to mix up a couple of different palates and pick your favorite one. So we do have a pale blue, so I'm just growing my cerulean. Now, if you don't have saru lian in your set, do not fret you could use. This is ultra marine blue. It's going to be ah bit different in nature. Just wet it down so that it is not very intense. We just wants us sort of a pale blue as part of our palate. It's a little bit on the gray side, with all color mixing. You can use the same color but get a range of values from pale, two more intense or from pale to dark and from very saturated, which means bright and full of color to de saturated more like this one, that sort of been watered down a bit. Let's mix in a gray, so I got a black here. You could use a Payne's gray, but we want some sort of shadow color in our fall palette. I'm rinsing my brush in between here we want a nice rusty orange, so I'm going to use cad medium and a little bit of Well, that's the cad yellow medium and then cad red light to get a very rich, fun orange and maybe a shadow orange color. So let's add in a bit of burnt sienna. John, it's own is quite fabulous, but I I highly encourage you in all the art that you dio to. Unless there's a specific reason for it. Mix all of your colors, so don't use them right out of the pan. Always mixed them even just slightly. I know that looks very close to the Sienna, but by mixing in tiny increments of other colors you are creating, uh, are color that will look more riel and more interesting on the page in your final piece, and it won't look quite as a beginner. Now, what else do we have? We have a really nice pale pumpkin color. You can't see it, but it's in these ones. So we're going to grab this yellow Oakar. You might need to mix in a bit of this like a burnt umber brown. We're just really water down a brown. The Naples yellow in here is just absolutely perfect for this yellow pumpkin, but as you can see, so here's the Naples yellow right out of the tin. Here, I'll put it down here makes the perfect color of for shading those white pumpkins or lighter color pumpkins that you see. But you can also makes it by using, um, yellow Oakar and some burnt number, and we got pretty close. That's a little brown, but you can just adjust by adding more yellow so you don't need the perfect colors you can work with what you've got and learn a whole bunch of new mixes. It's the reason that's not too dark as I had it, a lot of water. It's quite deluded. Let's put that color up here in our palate. Now I'm looking and looking for other colors in here. I think there's not a ton. We kept it pretty limited, but there is a purple that I'm using sort of in the backgrounds here and sort of as a table color. So here's the mixed purple right out of the tube there. And if we use a read, not the cadmium red. But if you use, um, a Eliza in crimson or a rose type of red that already leans towards blue, and then you mix that with a blue that leans towards red like ultra Marine, you can make your approval. Now I'm having some believe there, so I think I'm just gonna do this. If you're having a lot of trouble mixing your purple, it might be because you're using blue that has too much green in it, or read that has too much yellow in it because every color has a lean to it. Every color, no color just balances in the middle. Every color has a lean to it. So there is the one I mixed. It's a bit more ready, but you you can just tweak that slightly more blue. And there we've got something closer to keep purple That was right from that pan. So as I was saying, there are ranges within all those colors we we made so you could lay them out like that. Or it is. I find it really helpful to les your colors out where they can fade so you can see the whole range of them. So we will just be using these six colors. But we are going to have a full range of what they'll do for us in terms of intensity and dilute, how deluded they are and value. So let's do that with all the colors. Now that we've chosen our colors, you can see I just start with, um, the original color, and I just add more water, see what will happen for me. As I drag it down, you can see me dabbing my brush on the paper towel between rinsing it and that, or even just I pick up more water from there. But for water control purposes, I dab it on the paper towel. And that really, really helps me get the exact effect that I'm looking for. Keep going along here. If you want a nice blend, do you have to pull it down? Well, it's still what if you let it dry? Obviously, you're going to get a little blind. They're a little block. It won't blend as easily down. Let's use purple for the sake of recording a little quicker, this class for you. I'm just going to use the purple out of my pan, so I'm not constantly mixing. I'm also really low on Ultra Marine. I run through that color a lot quicker than others. Here we go. There are all of our colors in our fall palette that we will now use to begin our little pumpkin spice paintings. 4. Drawing and Painting Pumpkins: So now we've established a palette of six colors, and we've laid them down in a value range from dark to light to see what all we're going to get to work with today and our little illustrations. It would be amazing if you didn't pick the same sex is me if you went off with your own color preferences. There are so many different Fall Palace out there. If you want inspiration, just jump on Pinterest or instagram right in fall palette or full color, and you'll get lots of ideas of different color combinations you can use for these illustrations. Next, we're going to do a little pumpkin drawing practice and pumpkin painting practice. So let's start. Our little illustrations are little Pumpkin Spice paintings with pumpkin practice. All of my little paintings today are going to feature this large weight pumpkin and this small little one. And if you want to rush up to your grocery store and grab some little guys, too, they're super helpful to have around. But you can also just copy along with me or find some royalty free photographs on the interwebs. So let's start by practising the larger paler pumpkin that appears in thes paintings. I've got my eight round in my hand and I'm going to start with the middle of the pumpkin by painting a sliver, See? And then it's opposite. So I have this little shape that forms the center section of my pumpkin. Next, I'm going to go up to the side and frame it with a second piece and 1/3. The 3rd 1 is going to be smaller and not go down as faras thes ones. I'm going to repeat that on the other side. This is just one way to make your pumpkins by making the ones that slices on the edge not go down. This far you're creating that illusion that these are circular objects and they do have a section on the back as well. So that could be just filled in, sort of like this. It could be a little bulb iss and poke up a little bit as they do so that's one way we've left the section separate, so they have their own unique shading. It isn't the way that I made these pumpkins thes. I worked up in layers. Um, basically, you're drawing with your paint. You don't have to, but it's a nice, easy, quick way to do this. You can see the shapes I'm making these lumpy shapes got 123 for bumps on this one, and it isn't just the top. That's bumpy. Ah, lot of these ones. You don't really see the bottom the pumpkin, so you don't have to stress about that if you don't want to. But if you dio, you can turn these into Little Boggess sections as well as we let that dry. Let's move on to doing an orange one. I'm going to move to my smaller brush. This is four, and I'm going to mix some more vibrance orange because we always want to start in watercolor with the lightest color, because you can always make a darker by Larry layering, and you cannot always make it fighter. It's almost like you're making a little cloud shape except the little cartoon cloud, except the sides are flat. Do that again. The top doesn't have to have the same amount of bumps is the bottom, I actually think makes you look a little better if it's different because thes bumps back here just indicate Thesixties around the backside and these ones down here will indicate the front sections. Now, if you are somebody who likes to sketch them out first you can start by that I'm I'm going to sketch this much darker than I normally would if I were going to do a watercolor over it just so that you can see it on the camera. But I'm was building it with each little section. That's one that you're looking at. That's a pumpkin you're looking at kind of straight on. If you want a more aerial view of that pumpkin, simply start with the sphere. But be prepared to put the top of your pumpkin not at the top here, but down a little bit. Third of the way in and that will make it look like you're looking down on the spoke it. So all of your sections have to originate from this center. They can't come up, come from up here. They all have to come from here and we're not going to see all of the back ones where we go and then this center areas where you're little stem will come from. Let's try that one more time. If you just wanted to paint this, Um, again, I think that you're going to take it just is a building approach, so all right, let's try to sketch pumpkin from the angle of slightly looking down on it. But we will do this all with paint. If you don't have to leave these parts white, I'm just sort of showing you how I'm going about drawing it. And if I don't leave those white sections, you won't really see the shapes I'm making. Okay, I just went really intense red. There were orange de porch. You want to stick with the the lights orange to begin and then shade with these darker colors, adding a little bumps on the bottom to delineate each little pumpkin section just like that . And the top parts all have to go into that center. The's back pieces are triangles, basically with throwing pieces of pizza. See that they're curved. But then they come to a point. We'll just do to back here. And that's all we needed to sort of fill that spherical shape that you saw how I drew it. And now I'm just going to just sort of make it uniform, and we'll add shading on top of that. So it is time. We can now shade these because they are dry. Watercolor takes a lot of patients because it is you have. But you get so many great effects from working wet on wet. But if you want to control what you're up to, you often have to let things dry. So I am now adding the little sections. You can see I'm not going right to the top here because I want this to be where my a little stem pops out of get a whole nother section and then I can add a bit of this gray has, uh, wait a shade. You can see that there is a darker sort of brownie cream color, but there's also gray. So I'm going to add that to the bottom of these sections. What? My brush Dab it off and well in that in a little bit. See how I'm doing that. I've got a damp brush, but not wet brush. I zoomed in a little bit so you can see in better detail because I realized I am working quite small here. So let's work on shading this pumpkin. Have a little bit of that around. Try not to put your hand in other West illustrations. There's a trick you can do. It's not too wet. You could lay down a piece of paper to keep your hand from touching that other little drawing there. Or just do your best to stay aware that that they're there got sections delineated. They're a little better. It's mix a tiny bit more brown and to our cream color, and I want to test it because there's not a whole lot of room for error. When you're working with very subtle color changes, so great you can just make tests on the side. I will do the same method of blending in. Actually, I'll leave one less blended in because that is an aesthetic that I find really beautiful on effective. You can see in this one there are areas that just aren't blended, and you can just see brushstrokes. There are two white spots there. They don't quite line up with the sections of the pumpkin and left. Um um, where else? The shading in this cup is not smooth. There's, ah, lighter color plunked down, and there's a darker color plunked on top of it, and that is just another style that you can employ. So for this one, I will just loosely shade in the sections and I'll walk away, mixing a bit brown into my gray to get a more natural color. This is a bit tricky because it is still wet, so I'm working slightly. What, on what here? And it is bleeding a little, and I like it if you don't want that. If you want more control, have patience. Let it dry. Let's at a bit more to the 1st 1 and I think I'd like more depth. Oh, I just tried to put my brush in the flame of my candle. Don't do that, but I think I would like more like thes sections to pop a bit more. So I'm going in with a darker color here, Brown mixed with our darker grey. You will notice that every single one of the little paintings I did the little illustrations has pen and ink in it, so you don't need to get a super dark, uh, at line going or anything like that, because you can definitely add more definition afterwards when we add the Micron pen. But I already enjoy this a lot more, with a tiny bit more contrast between the darks and lights, and I can still go over that with pen and really emphasize it and make it pop out. But it's nice to not need and depend on the pen. It's nice to just have that as like an extra that you that is optional. The end Let's shade are orange pumpkin, annexing more orange here after the side and allowing it to be slightly more. I might have slightly more cadmium residence. It's going to look a little more red, but most importantly, it's going to look a little darker. It might look a little half hazard what I'm doing, but basically I'm sort of outlining the sections and then pulling a little bit of that darkness into the bottom of the pumpkin. If you over paint a little too much like I just did There you can clean your brush dried off, and you can pull sort of wiped the color right out. So that's a technique. It doesn't work a lot over and over and over, because if your paper isn't the most expensive and even the most expensive, it still has a limit to how much you can sort of scrub on it before it breaks down, and you don't get the best techniques. So this isn't it, you know, a super advisable technique, but it's one that you can use if you could get yourself into it a pickle. So I'm mixing a bit of sienna into my orange, but a brown sienna too deep in it. I'm going to shade this whole center area and at a time, but more brown burned. Number two, the Sienna for even more contrast. All right, I'm going to stop there for the shading of the pumpkins, but you get an idea of how to build them with the sections. And now let's just dive into our individual little paintings. 5. Sketching: All right, let's get to drawing out our four little sketches. I'm going to use a mechanical pencil. Doesn't matter what pencil you use, but maybe, um, a smaller number would be better. So an HB A to B. You could use a three B, maybe a floor B. But I wouldn't go much higher than that because the graphite gets softer, it gets darker, and it will interfere with your cute little painting, especially because watercolor is very transparent. Just be sure when we get into this graphite stage that you're not pressing down too hard with your pencil such that you make an indentation in the painting. Because then when you add water color over top, there's really not going to be a way to erase that markets. You've made an indentation in the paper, so have a light touch with this next step. For the 1st 2 paintings, I've zoomed you in so that you can watch me sketch because I don't want to make these sketches to to dark. But hopefully with you zoomed in, you'll be able to see D. B. Marx. I'm laying out. You don't have to sketch it out in advance, a lot of times I just skip this step. But, um, for those of you who might be doing this for the first time, it's a nice when I stepped added So I'm starting with the mug in the background here, and I'm slightly curving the top. So I've done sort of three like a very melted snowman. Done three blobs on top here and we come down the side and curve it under a little bit. But then our pumpkin's gonna jump in so we won't finish the bottom here. Gonna bring my handle out pretty straight. Curve it slightly. It was a little wonky looking, so I'm bringing not. It's not starting at the very top, but pretty close to the top of the mug. And we're going to leave a little line here alongside sort of showing the glass before we paint. Her insides were going to paint the insides, but not that little white line there once at the foam inside the cup. So pretty much like that, Blobby doesn't have to be straight cross. Now let's add the pumpkin. He's he's waited to draw. This is to just start with a sphere. He squished circle. How about and add the center. The pumpkin there were going to have the stem. Bia Awesome, Crazy, curly, Big one And then have our sections come out from there? I think, my pumpkin, When I'm looking at this and looking that I think I want to make it larger. This is why it's great to sketch it out first, I would like to nearly go off the page there. There are much happier with that composition. I might make slight indication where each section is gonna go, but I don't really wanna have to have that pencil showing through. Ah, wonderful little tool you could use is this does not look great, but it is a kneaded eraser. And once you've done your drawing, you can just dab it on top and it lifts thes sketch without completely erasing it. So it lives a lot of that graphite off, so it won't be in your final painting. Once you lay down watercolor, you cannot erase the pencil very easily. So for the 2nd 1 I'm going to start by dividing my space in 1/3. Here were just slightly more than third, but I don't want to divide my composition. in half If you've watched my other skill share class on sketching, landscapes in watercolor in ink, I talk about compositional, um, strategy. So you could just hop over to that class and watch the beginning where I lay out a whole lot of composition rules if his soled shoes. But you don't have to. Then now that I have that in there, it's going to be a lot easier to see this little area here where the piece of scrumptious cake comes off the plate. It's gonna go straight down to about here, flat across the top, gonna form a triangle here, but not to come to a complete tip here because we want to kind of show the side of the crumbling piece of cake. I made the top too long. So you fix that. That's better. We're going to have stripes in there, but I don't really think I need to pencil that in. I'm going to lighten the top there because, as you can see, we add a whole lot of a little topping to this piece of cake. Let's draw in the pumpkin closest to us. I'm going to start with be stem there. But If you want to make sure you may get the right size, you could just start by playing in the hole circle. First the whole sphere, then the one behind it is going to be off the page a little, and it's going to overlap. So we wanted behind this one. Overlap. Overlapping things in your still lives or landscapes is such a great way to show depth. It is. It creates such a great illusion of depth in your pieces. So that's all the sketching that we need for that for these two drawings. What sketch In our third little drawing and we're going to start with the plates and a cup on top of it. I want to move this down a little so that it is not in the very, very center of our peace. This is a novel of squashed circle, otherwise known as an ellipse. I'm going to make the handle, comes straight out a little, and then curve, and I'm going to show the plate through that handle and let's draw the biggest pump get in first doing the bare minimum. There's the main shape, and there's where the center will be. Same here bare minimum. Now what I've noticed is the top of this cup isn't quite as wide as this one. It's a bit taller. Adjustments happen even to people who have been drawing forever. I can also tend to be a perfectionist on certain things, trying lately just to loosen up, enjoy the sketching process. Enjoy the quirkiness that emerges there. I have more surface area so I could add in that lovely little cream dollop in the center. The last little sketch we're going to do is the little cupcake or muffin, and I'm going to start at the tip of this whipped cream or icing actually draw my melted blobby snowman and three parts. I want the top of the muffin to not be completely centered in the piece, and I want to start the muffin rapper not at the very edge, but cut in a little bit. That would make it look like the muffin is sort of spilling over and out of the rapper There. Now the top is going to be zigzag e. We can have that in later, you could add it, and now it's totally up to you that's going to be accordion folded and the bottom technically is. But that never really happens once you I don't know if you bake very often, but it just ends up getting squished City. So again, lines. I think we're gonna add that detail in later rather than now. And starting again with the Big Pumpkin. This start in this sketch starts right at the tip. But I don't think that's compositionally very strong. So I'm moving over a little bit to the left. I'm going to make this a very squashed pumpkins. Not going to be very round. It's going to be fat and long. So there it is. And my little one just off to the side and behind the other two objects in our drawing. There you have it. We're ready to begin painting 6. Painting Time: So we sketched out our four little illustrations. Maybe more, and it's time to grab your paint, grab some clean water, some paper towel and let's begin painting them. Let's begin painting our first little pumpkin spice sketch here or illustration. Whatever you wanna call it, I assume you in as much as possible so you can see the tiny little details We're going to start with mixing and orange because the pumpkins are going to take layers to sort of shade and make them spherical. So by getting a head start here on the pumpkins, that's very, very yellow. It's a had a bit of cadmium red to that by laying down the base color for the pumpkin first weekend. Give it time to dry. You can leave the whites of the page if you want for highlights. I did not do that here. There's just some some paler areas. Uh, I'll show you trickier for just creating even more shading when you're doing a sphere like this. So I've got the the main orange lee down, and I'm going to take a tiny bit of kitchen towels or paper tell, and I'm going to just dab at the top here, and it will lift a bit of that color off the top, leaving the bottom more shaded once that's late in. We don't really want to paint anything right next to it right away. We need to let this dry so that everything doesn't just bleed into each other. I didn't say what I'm using. A four round. You could also use a six round. I believe on these things, So let's move to a different area of the painting. Let's jump to the background, which is nice, pale blue that is dirty. So I'm going to clean it off a little because it is the background. You may choose to jump up size, um, for your brush, or you don't have to, as long as you keep working rapidly enough that it doesn't dry and in sections, you know that it kind of you get blending all over. It's much harder to do with a smaller brush, and you'll see much easier to cover effortlessly like in one go just block in this background, and you might have areas that have blooms in areas that have mawr darker light, and that just adds to the character of it. That just adds to the beauty of it. This one has that, too. It's hard to see because you're getting a bit of glare there, but it's definitely not one solid, perfect, seamless background. I'm touching the pumpkin there, and it is dry enough that I can start adding some more shading, making a slightly darker orange by adding just a little bit more cadmium red to it. That is a lot of waters dabbing it off on my paper toe, effectively drawing but with a paintbrush. And if you feel that those lines air to obvious too bold and take a clean, damp Russian smooth amount, blend them in a little bit and get safe, too. Add the's them at this point, so I'm just grabbing a burger number. Now, if you're not careful, this will. This brown will bleed into your orange if your oranges like very, very wet. Still, I am going to leave a little bit the top of this stem that was the highlight, a little white area and jumped to see shading in the whipped cream. We're using a pale blue OK, that's slightly grave, and it's not really connecting with the background or anything so shouldn't bleed into anything Too bad. See, this looks more gray than the one I had originally done. That's fine. I'm even going to add a little bit of blue to the whipped cream that's in the drink itself , but not that much. So I adapt it off. There always have a little piece of paper to already to going on. Quote a race a little bit just helps with water control. Now I'm going to grab that more vibrant, slightly driver orange and add in the little tiny. This is not tiny at all, because it's too much water on my brush hints of this and I'm doing it now. You may ask, Why is she doing it now? That would cream. She just painted. It's wet. It's going to bleed out a little bit into the whipped cream, and I think that will have a nice effect. No, I will do the purple background. It, too, will be Have some shading in here, but first layer is pretty simple. You can see there's really nothing to crazy to that step. It's all wet. I moved quickly enough that it's all wet, so it's all going to form sort of a general neutral wash. It was bleeding a tiny bit into my pumpkin, so I just grabbed a clean, damp brush and pulled some of the paint off of that pumpkin. Let's do the insides of art beverage. I did it in sort of stripes to kind of show, basically still a cylinder. So you're going to have shading. It's going to start orange on the edges, more orange on the edges, going to get deeper into a deeper orange next, and it's it's bleeding from one to the next. That's totally fine. What's blended into even more of a deep color? Think of Brown. Take some fine motor skills to go around the stem here around the pumpkins. I'm letting it bleed together. I think it'll probably just add to the effect, and we can always dark in it. And, you know, get those stripes back later. If we want Teoh think it is safe to keep working of our pumpkin. So that same dark brown that we just used there, I'm going to use a little bit in here for shading when you let the purple mix in with the orange, it does make a really nice from I want this pumpkin to have a bit more of the medium bright orange to it. I've gone back to add that in before continuing on to the darker brown. I have left that ever so slight line there because I am afraid of the two blending it together. One technique you could do in approaching these because we have four little paintings were doing at once. You can jump from painting to painting as well as jumping around the little sketch itself. And that way you don't risk everything just bleeding in together. So on that note, let's hop over to our kick painting. 7. Second Painting: walking. Let's also add the topping to the cake and the insides. I'm being quite loose and rough with this because it adds to the charm of the little paintings. Well, that is still wet. I'm going to drop in brown, not everywhere, but just here and there, and it will bleed into the rest of the cake period. Be sure to leave your layers of icing in between white. For now. I'm gonna use that same brand we just mixed. Go back into this pumpkin yet again. Now remember, we're adding 10 at the end so we don't have to get the really dark, crisp lines. In contrast, inner shady. It's very forgiving. Way to work, you know, a sort of tighten things up with the pen. Correct your drawing a little bit. There's so much that happens in that last stage. We're going to leave that just darken the strike on the beverage, using a clean, damp brush, blending that in just ever so slightly different, more orange. It's on the edge here just because, and now that the top is dry, I think we could go for crisper little spice drops on the top. So I've switched to my to to round so that there's some bleeding and then some crispness. Both is better. I'm going to with this tiny brush crop a little blue and paint it inside handle because it is not just clear white. The glass has reflections and all sorts of stuff going on the purple in the blue mix together. It's kind of like a gray can be added for shading on the whipped cream. Now, there is a lot of shading down here, but that pumpkin is pretty wet still. So I'm gonna jump over to the next one and gives some definition to our little orange pumpkin. I'm still using a little too gonna let that dry, adding some more color to this. I I want to add a couple but of the topping has fallen off when the cake was cut and it is down below on the plate, and I believe that we can start this pumpkin right here. So could you use my four and I'm also going to use my Naples yellow? I would like to leave some white highlights on this one, so I'm gonna try to preserve the whites of the page if that doesn't work out. And don't sweat it. We will. I will tell you other ways to make sure you can always add highlights to your watercolor. All right, We can use our brown dark brown and add in some stems. I'm even gonna leave some white on the stem. This might not be the best situation. I'm OK with it, but because we just painted this punk in the brown from the stem is pleading a little. I am perfectly okay with that. I don't mind losing control my watercolor down it, but in case you want more control over it, um, don't do that. Making this pumpkin schtum darker, but not the whole thing. Just, you know, half of it. A bit of it. I think that's dry enough. Let's add in some deep purple shading. So I'm going to mix bird number with my purple and burn number. I don't know if you just browns and purples in general look amazing both together and mixed together so you can add in some shading on the table. I am just going to believe it out with water here, blended out sort of by adding more and more water to it, and that just gives it a bit more of a softer edge to the shadow. All right, I like that. I am happy leaving this to the drawing stage next with the pen, and let's finish up our cake piece so we can paint in the pale blue of the plate. So makes a lot of water into your plate color here so that it's nice and pale. We want the cake to stand out against it, and if you wish, you can leave a little highlight on the edge of the plate like I did here. Just leave a little bit of white there. You could also leave a little bit of white if you wanted. Not necessary. But if you want, you can leave a little bit of white around the topping here that it looks like icing and the topping I sing and the topping fell on tuba. Like there, Let's shade our pumpkins just a tiny bit more. We're going to use browns in the orange ones, just like that. Not everywhere just here and there. I'm good with that and let's use what's darkened our Naples yellow with a bit of her number . We'll use that for shading it. It will bleed into your plate if you didn't leave this white here, so just give it time. Let it dry. Let the plate dry before you add more shading into this one if you need to. This is what on what? What I'm doing right now is just dropping a darker brown into the wet paint, and it will believe itself up. Justus Faras. The wet paint goes, we're gonna dark, understand? And I can do that because there's no wet area next to it. Have a little shading to that stem even going to add a little more darkness to the cake section, especially the end here, where it's in shadow. And speaking of shadow now that our plate has had a little bit of time to dry, when you use a bit of ultra marine blue and the purple and I'm going to paint in a shadow, I'm I would recommend you wait until this edge of the cake has dried, but I'm going to just not care about it. For the sake of recording a quicker video, I'm going to just be careful not to touch it too much, and it's bleeding a little bit, and I think that it's just fine by me. So I'm adding a bit of shadow to both the topping and take their, and we can paint in our purple e background. It's very pail up here. If your pumpkins air wet, be careful. It's not that great toe. Have your background bleed into your main subject matter, so make sure those pumpkins air dry. Then, as it's table is down here, it's a lot darker. It's in shadow because of these pumpkins. So there's the base purple a little bit too much water there. So I'm taking it off with my brush, dabbing my brush on my paper towel to make it more dry and then picking the pain up. I don't know if you knew you could do that, but you can so mixing a bit of brown like burnt umber into the purple, we're going to use that for shadow over here. And why not? Let's just add a little bit of black. I don't paint with a ton of black, but here and there, if you're selective with it, it can look really sharp, having a hard time getting darker just because There is a lot of water on here, so I might just have to do a second code of that in a minute. Second, the layer a tiny bit of table over here as well. Okay. Using a gray, I would recommend to like the pale blue or pale grey. You can add a little bit of shading to the icing portion of your cake. Last thing I'm going to dio you don't have to, but I just feel like my pumpkin wants to be slightly darker. There you go. You had one more layer of dark paint to that, if you would like. 8. Third & Fourth Paintings: All right, we are down to our last two little paintings. Gonna do what I did with the other two and start with the orange pumpkin that is too dark. I'm going to mix a later orange because I want those lighter layers to show through later. Are you feeling more confident in painting pumpkins yet now that you've done three? All right, we got that in. Let's paint in the actual coffee. I wanna make mine a little spicier, a little darker brown brownie ones for this year. Definitely going to want to leave a little white patch in the middle is if there's a design or just even a dollop of cream there in the center design. I can't do that on coffee, but I'm sure many of you can. It's pretty cool skill. Okay, I'm happy with that. But you know what? Well, it's what I might as well grabbing even darker brown, brawny red and just touch the corners and it will bleed out. So it's kind of just another way to add some variety and some variation within your piece. I feel confident that I can shade this cup right now because there is a white lipped between the coffee inside and the cup. There's the white top, and so I'm going to retain that white and paint the cup. If there wasn't that white lip, these would bleed in together and make a total mess. But I feel comfortable painting the cup right now. If you are nervous that you're going to touch the coffee, then just jump to another section entirely. Maybe do the plate down here first. You can even begin on this next painting, too. Um, get fast forward and hop around the video if you'd like. So using. I think that's a bit too great for me. I'm going to mix a nice light blue. I really like blue and orange or complementary colors on the color wheel there opposite. And so they really complement each other. So I want more of that blue, that brighter blue to show through in this piece. Here we go. That's better. Something to leave a white edge and a white lip. I'm even gonna leave a little bit of weight on this side, too, because it's a little highlight on our shiny porcelain cut. I'm going to paint half of the handle blue shading it and of the plate as well. But not all a blade. I'm leaving, Ah, white lip, So pay attention to this finished piece. You see that there is a white lipped around. A lot of things in this piece do not despair. As I said before, if you accidentally connect the sections, there are ways to fix it. You'll want to dab it off immediately if there's bleeding happening. If you're just sad that you lost the white highlight than we can add that and later with pen or something. So our for our first little orange pumpkin there is dry, if enough, so I'm going to use the medium ready orange and block. In some sections, leaving some parts has highlights. And because this is there's a lot of what stuff happening there. I'm going to jump to painting number two or four, depending how you look at it. Let's begin. Can you guessed? I'll give you one? Guess how we're beginning with the pumpkin, the orange one. The first layer is quite yellowy. That's cool. Then diving into the next section that has the same orange. I am really loosely painting in the top of really cupcake. Could we call it a muffin if it has with cream on it? I don't know. Thought muffins were supposed to be healthier. I don't know. You can see there's orange that's seeped through. You kind of see it through the, uh, little cupcake paper here. So I'm going to put that just along the bottom. And while sweat, why not? I'm going to at an area of slightly darker orange on the edges and even a bit throughout here. Okay, this pumpkin isn't touching anything. So the loan lonely pumping. So that means we can paint. It's at least the first layer come to keep some of the top white, - and we can add in a bit of shading right off the bat. If you'd like, it's going to just plead in, but that's OK. You can grab some of that really pale blue or pale grey and give a bit of shadowing, too. The whipped cream. Notice how I had a little too much pigment on there and I just pain and water, and I just lifted it off. Same thing with this, so just laid it in. It is puzzling a lot. I'm going to dry my brush and lift it off. And that leaves just the faintest little shadow there that I think is really effective for trying to, you know, shade something that's white. So just lifting it back off. But there's it's leaving a stain. Very effective. Okay, I'm going to use going to go back to that pumpkin right now, actually leaving some highlights. All right, we're just hopping around here, grabbing some brown. I'm not going to do that one yet because that pumpkin is definitely still wet. Let's hope back up to this one, okay? I love the white highlights on this one. So I'm going to leave some sections white being careful not to paint into the white edge of your coffee cup. You don't eat every single section to have a white highlight just here and there. Sometimes you don't know it's overkill until you've painted it. And you're like, OK, that's it's too much consistency. Continuity. We want variety variations. So paint things out. Just what the highlights sing here. They're not everywhere. In a house with a mouse with the cats under a barn. Just getting doesn't ride. Anybody out there talk to themselves. Well, they paint. I don't think I'm crazy, but sometimes I dio It's very natural for me to record a sculpture class because I probably be talking to myself. Anyway. At least now I have an audience and see him adding in even while it's what bit of what on what shading here, batting in a bit of darker brown. And I can jump back up that pumpkin because it is dryer more dry. Nice. Dropping a bit of CNN into the bottom of that pumpkin, just going to let it bleed up. See how this dried, with some blending from dark to light dark again. That's what we want in some areas of our painting. Okay, we can work on my cuppa. Been more Let's mix are blue with a bit of black or bit of burnt umber. There's lots different things You could mix in a bit of purple to get, um, a less vibrant gray, and we're not going to go over everything but just create and a little section of shadow that is darker on our first section. Here we go, and I'm going to add this darker shadow back here on the plate and right under the handle. There's a deeper shadow. You can even add it to the plate of the saucer right under the cup, and I want to add it up here and down here. But those sections touch wet places. So we're not doing that. We're going instead back to this one, adding in some shading on the white pumpkin, white ish pumpkin and some intensity in the top Pumpkin, the little one same brownie orange to add some contour, some shading to the top of this MoveOn cupcake thing. And also, we're going to add some shading down here where it curbs under to meet the paper. And now I'm adding in that little zigzag e edge. Little according injured, the paper there making sure I have the perfect orange to plop down here, wanting those two areas together going to use a damp, not wet brush. It's a clean, damp brush, and I'm just softening these edges here, all right. Going to add a little bit, uh, stem to this pumpkin and some more shading to this pumpkin damn clean brush. Softening some of that shading 9. Finishing the Paintings: we've let things dry a little, and this means we can paint some of the more delicate little areas like of a blue on the inside of this cup. A little shading as well as the gray table or base this illustration way have the over. We have the shading and are the main ground there in, but I think we might want to make it darker. Give it shadows around pumpkins. If you just want them to blend out. It's easier to do this well still wet, wet on wet technique. But then I think I'll also wait for it to dry and maybe oh, no, that's dry enough right there. So this is dry enough to create a little bit of a sharper shadow line on for just under the cup. I'm using just regular gray like black, basically with some brown and purple in it, and just now I want different colors in the shadows. So I grab some ultra marine blue and mixed. That in just makes your paintings a lot more interesting if there's dimension and variation in the shadows. So I'm happy with that. Um, let's let's add in the background here the light blue. Same washy, washy technique. You could go up in brush size if that helps you. And with washes, you just is definitely not a brush for what doing washes. But because we're working so small, it'll be fine. But you just dragged the beat of water down and keep it going before it drives. I'm letting mine dragging it down with water, letting it get paler and paler as it gets towards the pumpkins. So sort of diluting it as it came closer, haven't decided. If that's the way it's going to stay in, we could add a tiny bit of but more paint here and there. Okay, let's jump on to the last one are. Actually we didn't do the pumpkins just now, so that means they are dry and we can use a dark brown. Get in there. I'm not going to go into the background blue there cause it will bleed. So there is some gray shading in the paper here, words which are hard, and I think we're ready to paint table. I'm starting with a paler purple and we can push it into gray here and there. One reason I love working so small watercolor is that you can jump all around and stays wet enough with this small surface area that you can complete your washes without areas drawing and having lines, and in it everywhere. So even with a small brush, we just covered all of that. It looks very flat right now, so we will give it some shadowing, just mixing a brown into the purple. It's a bit of black containing it to see how I'm on and painting right there containing the shadow. And I just did that by making sure my brush had less paint and water on it. So I dabbed it off. So it was more just empty, just clean and damp and then painted over, and it lifted that paint or right back up for the background. I'm going to move more into a gray like more black than purple for a shadow. As things moved farther away from you in a composition, they are less warm. They fall more into cool tones. Um, just helps with the illusion of depth, and one reason for that is just atmospheric perspective. Things that have more air between you and them take on the the view of the take on the appearance of being more blue because of all the water molecules in the air between you and the thing you're looking at. So I kind of wanted out a tiny bit more, um, darkness to this. What creams here. So maybe not that dark cleaning and drawing my brush and lifting a bit of the paint back up . It looks like it has more volume, so I could leave this as is, and we can make up the rest of the marks in pen. But I do just have this desire to go back into the lighter pumpkins. I really like how this has a light orange, a medium orange and a dark. This has a light and medium in a dark but just doesn't have the same value. Ranges that as the smaller little orange pumpkin. So let's try that Doing a test here on the side in the original, this pumpkin really didn't get his dark. Is it much darker now than the original? But that's okay, - that's all. The variation that I really desired. There. Okay, for this last pumpkin, I'm using a bit of gray to enhance the shadow a little bit just a little bit. Not a lot. Volume created by value, light and dark is what makes a painting look realistic. I'm very happy with the state of all these little sketches, and I believe that it is now time to dive into our drawing over top of them, we think. 10. Adding Ink: all right. It is the pen stage. I love this stage. I add pen to a lot of my watercolor drawings, especially in my sketchbook. There are some paintings I make final paintings on watercolor paper that I frame that have no pen in them at all. But it is such a nice, fun, easy, quick way to add definition to your little sketches. And so I do it a lot in my sketchbooks. I actually chose to use a browning on these little paintings because I thought it was a bit softer, warmer and fall appropriate. But you can definitely definitely get a very similar effect with a regular black pen, if that's what you have. Okay, so on to our next step, let's add some pen to these beautiful little paintings. If you would like, you don't have to. You could do this step with ah, you know, very thin brush. You could use a round two or one, and you could also use a liner brush. So something more like this This is a zero, and you get quite a lot of fine detail with that, and you could just use a brush in some dark or black water color paint, but we're going to use just because it's my method and a lot of my sketchbooks to put pen over watercolor. We're using a Faber Castell Pitt artist pen in dark sea. Pia says number 175 right there and we're using the size. Fine. There's F there. So when you are trying to make something that looked not too cartoony but you still want to add pen, you can add sort of a dashed line or implied line, and that is on. A good example of that is right in the whipped cream part of this beverage. Here, it's just implied the outline you don't really draw in the whole outline of the whipped cream just because it's not necessary. Our brains can fill in the gaps of what we're not drawing. We just wanted to find a teensy tiny picked, so there's the top of my mug and going to bring the line down the side in the interior glass section as well did the same on the other side. So along the outside of that white that we left and now let's to the inside doesn't have to be perfect. You can add in a couple of very light little detail lines to give it interest and give that glass handle and mug a sense of having dimension having reflections in it. I'm happy with that. I'm not going to outline the difference between the coffee and the whipped cream in the inside here. Nor am I going to outline the background. I'm just going to let that be pretty pale, pretty on detailed. So when you're in this stage, you're not only just outlining the drawing that you made in watercolor, this is your chance to to redraw. So if you find mistakes or you want to enhance your drawing, now is the chance. So I'm adding, I get a couple extra lines in here on the stem. Now you're going to want to get this part right, so you're going to have to take a minute. Look at the way your pumpkin is formed and make sure that your the lines you're adding and now match the shading you've already done. So don't put a line down the middle here, you want the lines to follow. That might be obvious, but thought I'd mention it anyway. You want the lines to follow the shading you already made. All right, I'm quite happy with that. Last thing to do is make sure to sign it somewhere. I'm just using my initials because on a piece this small, if you write your whole name, that's a bit overkill. It will take away from the drawing. We went on to our next little one. Let's start with the foreground. It's always better to start with a foreground so that you don't end up with lines. You need you accidentally, you know, Put a line back here first and it went crossed over with your cake or something. I just want always start with the foreground. You can see I'm really not making these straight lines. You can if you like that aesthetic just, you know, outline and make thes straight. Graphic type sketching lines over top. That's fine, but I am doing mine much more like this. Sort of like I said, implied and also irregular. So you want the toppings in the foreground to go over top of that piece of cake. So I Onley drew that piece of cake going to hear into here, and then I drew in my toppings If you're having a hard time making a nice, long, smooth line like this right here, you can easily. It's it's totally okay free to rotate your paper to make it easier to draw, rather than trying to move your hand in these awkward positions for me in the sake of recording this class, I'm just leaving everything where it is and moving my hand around. But, um, it is a lot easier to just move your paper so that all of your pen lines or brush strokes are easiest to make. Pinning on what direction you're going in, there's our pumpkin number one. I don't need to, you know, draw this line all the way over the edge. I think it's probably better to leave it paying attention to where my shading is, not the end of the world if you make a mistake. But when you're doing the pen stage, it is a good idea to take your time and think out your lines before you land down. Don number two All right. Same is before let's start with the cup. Instead of outlining the whole thing, I'm going to lay in a line there, sort of indicating the top the rim of the cup from drawing in the top there and going down the sides going to outline this handle. You don't have to to get our cup there or mug rather, and I think that it would be greatly enhanced by, Ah highlight right here. So you might decide to quote unquote cheat. I'm going to use a universal signal. This is broad, but they come in different sizes. It's an excellent gel pen. It's white, so we can add highlights after the fact. I just think I couldn't retain this highlight when we actually painted in painted it in. I think that the little drawing would be served well by adding it. Not sure this is curry helpful with when we try different one. It doesn't matter how good a gel pen you get. They get. They are finicky, and they will stop working from time to time so you can see I just very lightly went back and forth to try to urge the ink to come out of the pen. And I think that makes for a nice, crisp lip around the look there. So you're welcome to do that. Let's get back to our drawing right there. You haven't. You could outline the coffee that's sitting in this mug, but I think it's pretty nice just leaving it painted only and for our last one. Just implying the whipped cream outline here. This is an important part of the drawing because we want to retain that sort of accordion folded paper muffin or cupcake edge along the bottom. I'm gonna make mine slightly wobbly. I didn't worry too much about lining those up with the top. It's just a fun little illustration. Now these pens are waterproof, so if I wanted to add a little bit more shading in here right now, it looks a little bit bright to me. Um, once this pen drive, I can go back in and out a bit more shading to that area if I so desire. - So we finished adding to our four paintings, and we're going to give it five minutes. Just make sure it's dry. Then we're going to go back in and add final touches of watercolor or highlights to our paintings. 11. Final Touches: So we finished adding to our four paintings, and we're going to give it five minutes. Just make sure it's dry. Then we're going to go back in and add final touches of watercolor or highlights to our paintings. So let's think about any finishing touches we might be able to add. You could add a bit more of a highlight to the top of this stem here, in case you didn't manage to retain the white of the page. There, you could add a bit of white highlight to the whipped cream itself. It doesn't need it everywhere, but selectively. It can look quite good. You could draw design in here if you so choose. Instead of using a little help in right now, you could use a little bit of gua sh paint. It is like water color but opaque and has sort of a chalk. Chalky effect has some chalk in the pigment in the paint, so that's one thing you could add. You could also add. You'd also use like a tiny bit of acrylic paint. Acrylic white is they're very opaque. These other mediums, more so than watercolor. A white water color doesn't really have the effect you'd assume, do you think? Certainly not to mask areas like I'm kind of doing right now, not masking, but I'm covering them up. That's fine by me. We've given this a chance to dry a little bit, so I'm going to add a little bit of shading, a little bit more shading to the paper cup. There from That's right, a tiny bit more gray to the top. And I'm going to add a darker, orangey brown down here because that orange that's in there just looks like it's glowing. And that's not really what a cupcake does. They don't glow almost, perhaps, the radioactive already. I'm liking that more. There's more contrast between that and the whipped cream. Now, in terms of finishing touches, this is also the time that you could enhance your shadows. You have. They're much darker in my original, so you're welcome to mix a bit of a gray gray seems to be quite a autumn color. Gray skies, gray snow, depending on where you're living. My brother has already been in snow, and we're only at October 15th. We're from Canada, though, so that is normal. Just enhancing the shadows. A little bit black mixed into the purple to make a more stark shadow. Damp, clean brush to kind of softened that a little bit. This one we already darkened, so I'm pretty happy with the way it's already looking. But it never hurts to pump up the contrast by adding darker darks. I just went right over that little signature and does not heard it at all because it is dry starting a gray here and once I have dropped in a bit of that, I'm going to rinse, Dad my brush drive so that it is just damp and clean. And I'm going to smooth out these lines. They're not so stark. Here we go very happy with that outcome. Make sure to sign your work and post it here on the class page on as one of your projects. So hopefully you waited long enough for your ink for your pen to dry so that when you went back in with some water color here and there, nothing bled. If it if it did bleed, maybe just double check that brand pen. Make sure it's water, uh, water proof and that you gave it enough time to dry in between and that brings us to the end of our little painting session today. I hope you had a great time. I really encourage you to share your little paintings. You don't need to be done. All four of them. You could just share your favorite one in the project section below. And, um, if you chose a different palette, you could just share a picture of the pilot. You don't have to share a picture of the final project, but if you did a different design entirely for one of your paintings, we would love to see it. So please share if you're at all interested in the learning to sketch landscapes in watercolor and ink. Um, I have a very loose, fast and fun approach to it. It's have another sculpture class on it, so please go check that out. And in it I talk about composition. Compositional rules break some of those down for you. I also, uh, go over hatching and cross hatching as a petting technique. So you could use that to shade your paintings going forward. And it's just another way for you to practice what we did today. The watercolor followed by the ink. Thank you for joining me. And I can't wait to see you in the next class.