Watercolor Christmas Truck Cookie | Daniela Mellen | Skillshare

Watercolor Christmas Truck Cookie

Daniela Mellen, Artist & Author

Watercolor Christmas Truck Cookie

Daniela Mellen, Artist & Author

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14 Lessons (47m)
    • 1. Class Intro

    • 2. Class Supplies

    • 3. Using the Template

    • 4. Painting Layer #1: Cookie

    • 5. Painting Layer #2: Truck

    • 6. Painting Layer #3: Truck

    • 7. Painting Layer #4: Truck

    • 8. Painting Layer #5: Tires

    • 9. Painting Layer #6: Fender & Light

    • 10. Painting Layer #7: Hubcaps

    • 11. Painting Layer #8: Tree

    • 12. Painting Layer #9: Tree

    • 13. Painting Layer #10: Details

    • 14. Class Wrap Up & Variation

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About This Class

Watercolor Christmas Truck Cookie is a class that creates a trendy illustration of Christmas Cookie in the shape of a truck bringing home a freshly cut Christmas tree. Using multiple layers, and simple watercolor techniques, this 10 Step Class breaks down each layer into one or two techniques. When combined, the result is a brilliantly colored and familiarly festive image.

A classic red pick up, with a spiral frosting tree is demonstrated in class, but modifications are also shown, so you can alter the image as desired.

Other Watercolor Christmas Skillshare Classes:

Meet Your Teacher

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Daniela Mellen

Artist & Author


I'm an artist and author living in coastal Florida and surrounded by plants, animals, marine life, and the warm sun - all things that inspire me.

I am drawn to creating things and love to get lost in projects. Each day is a opportunity to learn something new, build on existing skills, and branch out to new ones. I was formally trained as a educator which is my passion and incorporating art into teaching makes my life complete.

I upload art classes every Friday, here on Skillshare. You'll see handmade books, memory keeping, watercolor, acrylic paint, unique art supplies, and photography composition. Thanks for joining me and I look forward to seeing your work.

Check out my blog for additional info on my website danielamellen.com

You can contact me at [email protected] See full profile

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1. Class Intro: Hello, I'm Daniella melon and author and artist in today's class, Christmas truck cookie. I'll show techniques to paint this whimsical and very trendy Christmas inspired illustration. It's a combination of a Christmas ornament and a tasty cookie. I'll take you through all the steps of this painting, from using the template to modifying it. If that's what you like, to painting a cookie with great colors and texture. We'll use standard watercolor techniques, but with lots and lots of layers to create a complex image. And you don't have to paint just a red truck. I'll show variations in a couple of additional colors to hopefully inspire you to create your own painting. Now let's get started. 2. Class Supplies: For today's watercolor Christmas truck cookie, we're going to use the watercolor template that comes with the class that you can just download. I'm using eight different pigments of watercolor and you can use any colors you'd like, but I'll give you the specific colors that we use in class today. I just have three paint brushes to number sixes and a one. I have some eight by ten watercolor paper. And then I have my light source. And this is just a light pad that illuminates so that I can make my tracing. You can either freehand your cookie, you can cut it out and use it as a stencil, or you could trace over that and we'll go over that in the next chapter. And then I have, today I'm going to use a watercolor pencil. And this is just like a soft brown shade to do my Tracing, but you can use a regular pencil and eraser and then we'll erase those pencil marks at the end. The reason I use the watercolor pencils just a choice is because I know I want my edges of the cookie to be a little darker anyway in brown. And the water will activate the pencil marks and just add to the complexity of the image. The next chapter we'll go over using the template. 3. Using the Template: Now to use the template, I have my light source, which can be just a window as well. I haven't my template which I'm going to put down on my light source. And if I'm using a window, I'll probably tape it down. And then when the light comes in, I'll put my watercolor paper over my template. And that way I can see the image behind it. I'll take whatever pencil I'm going to use, whether it's my watercolor pencil that's going to activate with the water, or just my regular pencil. And I'll trace my marks. And I lightly trace, I try not to etch the paper. Now the watercolor pencil you can try and erase if you make an error, it doesn't tend to erase very well. So I just try and be a little more cautious when I'm using it. Again, I'm going light penciling and in lightly so that if I do make a mistake when I add water to it, it'll just blur the lines. So this line isn't permanent, but it will create a little bit of a shadow in my work once it's activated with my wet watercolor pigments. Now once you have your sketch complete, just go over it and make sure it's exactly the way you want. Finish up any lines here, connect, any lines that need connecting, and so forth. Also before you make your sketches as the point where you can modify your sketch. So at the final chapter of our class today, I'll show some variations on this tree shape. It'll still be the shape of the cookie, but the tree will be vary a little bit different and you can use any type you want. You don't have to use this winding tree. You could also round the edges further or square them off as you like. And this way you can modify the template according to your needs and what you like. In the next chapter, we'll start our painting. 4. Painting Layer #1: Cookie: Now because this is a cookie with a truck on it. So it's supposed to look like maybe royal frosting or butter cream frosting that decorates the cookie. I'm going to start with a cookie layer. So to do that, we're going to build that up in many layers. Could start with my pointing number six brush. And I'm gonna put some water on my palette. And then I'm going to just take a little bit of yellow ochre and I want to get a faint color. So I'm not looking for really intense color. I can mix in a little Scipio with that just to tone that down somewhat. But I still want like a sugar cookie color. So I'll mix a couple of brushstrokes of water. So I have a very loose color here. And I'm gonna turn my paper and I'm going to start making my cookie. And because I'm trying to make this look like in actual watercolor cookie. I'll take my color, my pigment. And very gently, I'm going to just brush that color all around the perimeter of where that cookie will be. Now at this point, I'm not taking the pigment to the edge. I'm just trying to put that color down on the base of that cookie. And as you can see here, when I bring my brush, my wet brush over to where my watercolor pencil is, I get a little bleed of a line and I think that's a beautiful look. Again, it's optional if you're using pencil, try and leave a tiny little gap between your wet pigment and that pencil so that you can erase it without any problem. And right now I'm just creating a very light color. I'm not worrying about coloring it all in. If you like that, look to make it really uniform, go right ahead and do that. My two concerns are covering the line that I sketched in. So I don't mind if I leave a little dry spot in between, but I definitely want to soften that edge, that line. I can get my brush and more water if I want a lighter look. And I can come back in and pick up some pigment if I want a little bit of a darker look. I also know that when this layer dries, it will dry lighter. So I'll continue around the perimeter of the cookie using this technique. Or I'm introducing a little bit of wetness and a little bit of pigment fading, that sketched line that we did if we're using the watercolor pencil and just bring me it just shy of a standard pencil. Another thing to keep in mind when doing the cookie is that ultimately we want the edges, the further exterior edges to be darker. And that's because that's where a cookie tends to Brown when it bakes. We also do want a little bit of darkness where the frosting is just to create a shadow. So that's why we're going in, softening the edges by the the cookie is the cookie frosting is and on the edge where it would be baking on a baking sheet. So I'll just continue all around the perimeter of a cookie doing this. Take your time. This is the first layer, one of many layers that we're going to add to get this cookie effect. And then for this particular tree, because it's kind of a wire tree, a spiral wire. I'm going in between my little lines, a frosting. And again, I'm trying to make sure that I activate all that watercolor pencil. This is probably the trickiest part of this layer, is in-between these frosting. Dollops. If you don't do this type of tree on your cookie, which is totally fine. There are others you can do and they're not as complicated. I'll continue around. I like to bring my brush kind of in-between my frosting and the edge of the cookie. And then I go in and I can switch to a smaller brush to get a little more control if I want. But I like to make sure I have these edges done nicely. Now one look I really like with this cookie is the variation on the edge. So it's not a solid yellow ochre or solid light brown or golden brown. So after we have that first layer Don, while it's still damp or wet, I'm gonna come in with my pigment and just put some brushstrokes here and there. And as it dries, there'll be areas that are just a little more intense with color. So it'll be a little, little variation, just like it would be on a really, on a baked cookie. Some areas are a little thinner and some thicker. And once I have that done, I'll let this layer dry. So just like this. And I left this layer dry. 5. Painting Layer #2: Truck: So now our first layer is dried, right, for that cookie. I'm going to go in there and start my first layer on the truck. I'm going to paint the truck read today, but you can pay that truck any color you want. Red trucks with Christmas trees tends to be very trendy right now. And I think it's a cute look. It's kind of almost a toy truck look. So what I'm gonna do is I'm gonna paint this part, read these parts. I'm not really sure if that's the fender or wet though. We'll cover and the back read to paid them whatever color you want. But then this is either going to be a light or a Fender. I haven't decided yet. This is going to be a light in the back and then I have other parts to paint. But for this layer we're just going to paint the red of the truck. So I'm just going to whet I'm gonna start with this big section here, going around the window, putting some water down. And I'll do the same thing here on this little wheel. Well, then I'm gonna put some water on my palette and put some parallely in red in there. And I want this color to be fairly strong. But it's not going to be our only layer, at least not for now. And I'm going to take a little deep green and mix that in with the powerline red, and that changes the color ever so slightly, mixing a little more water. And then I'm going to carefully start underneath the window here, depositing my pigment and it'll bleed when it hits the wet of the paper. And I'm not going to worry about that just yet, but I am going to try and avoid the door handle. And I'm going to avoid this wheel wells for now. I'll come in and bring my pigment right to my pencil mark. And I'll do the same thing down here. Now read is such a bold color that I'm, I think I'm going to switch to a smaller brush so I have a little more control over it. I'm gonna do my big areas first and the bottom half of this truck. Once I'm happy with that, I'll switch to my smaller brush. I have my pigment down. I'll take a little more pigment before I do the brush switch. Just really add that color to the edges underneath that window one more time. And right on the edge. I'll switch to my number one brush. And I'll work on creating that nice line, leaving just a teeny bit of space between my cookie and this red frosting here. And I'm gonna bring my line right up to that. We'll cover. Go all the way around making that nice rounded shape. Again, I want to connect it to the already wet pigment we placed on the truck here. Turned my piece to the side, continue working on the front of the truck. And I like this little light patch here, so I'm going to avoid putting more pigment in it. Come around. I'm gonna continue up here on the roof. A goal around this window. Again, I'll start at the side with the watercolor pencil mark. Create my perimeter. And then I'm very carefully going to go in and create the perimeter of this red on this roof. There'll be a little gap in between for now, and I'll get to that in a moment. I find this the easiest technique for working with such a bright color. Then I'm gonna get my brush and water and slowly blend out our edges. Again, I'll dip my brush and water and blend those two areas. Create a nice neat edge right down the side of the truck here. And this red is such a bold color. And now I'm gonna take a little step ea, right here on my brush. And I'm gonna go around the top of this wheel. Well, my red pigment has dried a little bit. That's not a problem. I'm going to create that shadow on the wheel. Well, rinse my brush and come back in with that red pigment and just introduce it right on top of the separate we just added. Then I'm gonna come back in with that step yet again and introduce it along the bottom of this window. If it's dried, the red is dried. I'll go back in there with a little more red to reintroduce it. And they just want a gentle shadow. And then I'm gonna take the red on my small brush and go around this door handle, creating that shape and leaving it white. Going to take my number six brush again. Nice and thick. And just really wet the paint. And this way it will dry a little more uniform. Can also wet my brush and push that pigment. I can push it over here as well. I really want to push it to make a light spot so that when it dries, there'll be a little variation. And I'll let this dry and then we'll come back and do another section of the read. 6. Painting Layer #3: Truck: So now our first section is, has dried in this red truck and you can see all these little variations. And I think that's so interesting. We're going to do the next major piece here in red. So I'm taking my number six brush with a point, going to add a little water to my paper. And then I'm going to mix my color again. I'll do the same procedure on makes a lot of parallely in red with just a little bit of the Deep Green to tone it down. And then I'm going to go about painting it. Now I want the darkest point of this section to be underneath this little lip of the truck on the top of the bed here, and around this little wheel hub. So I'm gonna add my pigments accordingly. Add my pigment straight across underneath that section first. And I'm just not painting right to the edge. I'm going to go in with my smaller brush to do that. I'm just gonna paint and add a bulk of my color. I'm going to leave a little gap of dry white paper and just add my pigment to this big section. I'll go back in there with a smaller brush to tackle those edges. But I want that color to bleed nicely. Comeback in. Turn my paper around. I always get a little intimidated by working with this parallely in red because it's such a bold color and it tends to reactivate very easily. It's smear is very easily. I seem to be particularly klutzy with smearing it when it's always the red pigment as well. So I try and be overly cautious with it. Good, wet my brush, deposit water just to keep that color wet on the paper. And while I have that big section done, going to switch to my smaller brush, my number one brush, and go in there and really tidy that up. So once again, I'm going to bring my edge right to that pencil mark that I made with a watercolor pencil. Create that nice rounded shape. Go all the way around. And then finish that part of that cookie. I like to work on opposite ends. There we go. I have that shape. Put down nicely. I want to tidy up over here where the two Cook parts of the truck meet. I'm just going to leave a little teeny little gap, almost imperceptible, but just enough that my colors will not run together. And then I want to make sure that underneath the top of this bed here is still wet. Go in there, add another layer, sharpen up any edges that remain. And then I'm going to take more sepia on my palette and more water to that. And then I'm gonna go and create that shadow over this little hub here. And then I'm going to go underneath this little section. The lip of the bed here. I'll rinse my brush. I'll go back in there with my number six brush with the point with the red. Just introduce some red. I can introduce it everywhere. Just want to make sure that a little bit of a shadow where that step yet and that red meat. And then I really liked this little light section here, so I'm not going to interfere with that. And I'll let this layer completely dry. 7. Painting Layer #4: Truck: So now that both of our layers have dried, I'm gonna go in there and start working on these little hubcaps. Turn my paper to the side, and with my large number six pointy brush, I'm gonna wet those areas. And it's the same procedure. I'll do one a speed up the second one. Go in there with my parallel in red, just a little deep green. And when I put my pigment down here, I want to leave a perfectly spaced little gap between these parts here to really show the different sections. So I'm gonna go in here and very generous with my spacing with my large brush. Just like this. And then I'll take my small brush and I'll go in and really fine tune that piece. I'm going to bring the bottom right to the edge, However, bringing lots of pigment. And keep that shape and nice and rounded and very thin. The spacing. Mary had one of the hubcaps. I'll do the second one off-camera, but I'll blend any areas that I think are a little heavily pigmented. And I do like that little white area. I also want to work here on this piece, the top of the truck bed. So I'm gonna take my color again. I'm just going to use my small brush this time. And I'll start right at the top where I'm going to create. It's a thin line right at the top. And I'm doing this right on the dry paper. And I'm gonna create a little space at the bottom here. Again, just to separate our two sections. I'll bring my pigment all the way to the edge. And I'm just going to pull that in a little bit. And I'll do the same thing over here where I create my edge, creating a nice boundary First, pulling my pigment in and then creating that baseline. So now I have about the hollow rectangle. Dip my brush and water, and I want to create a little highlight on the top. So I'm just going to leave a little bite up top here. It can be one continuous line. It can just be a few little pieces of a line. And then I'll go back in there with intense pigment and drop that in so we get a nice contrast. And then I'll let this layer dry. 8. Painting Layer #5: Tires: So now that the layers of red have dried and I want to be really careful because I know that any drop of water will reactivate that color. I'm gonna work on the tires. I'll do one tire here. Good to go with my smallest brush, my number one brush. And as the way the tire set up, here, we have three rings. You can do three different colors. The hub cap, maybe a white old-fashioned tire, and the tire itself. Or you can color them both in the darker color and leave the center color a hub cap, which is what I think I'm gonna do. I'm gonna take my smallest brush just cuz it's easier to control and it's a small area. And I'm just going to colour in between the center here. And because I'm not doing all three layers, I don't mind wedding that center line and it just blends out. I'm a power, I'll put a little water. And then I'm going to take some of this Payne's gray. It's not quite black and has a little bit of blue in it. It's a beautiful color. And I'm gonna just follow that line, that watercolor pencil line that we made to create that nice rounded shape. And it'll blend and bleed up in the wet area of that paper. So I have that rounded shape. And then I'll come over here and create the top of this wheel tyre. And I'll do the same thing around the edges here. And I personally like to leave a small little gap of space of white paper. Once I have my nice shape to it, my brush and water and go in there and activated just so that there's no harsh lines. Come back in with a little more pigment and deposit that in. So they're a little areas of more intensity. Bring more pigment. Really emphasized that rounded shape of the tire. But I'm not coloring it in solid black. Once again, I'll go in, deposit a little more intensity underneath the little metal fender here where the shade would naturally be. And then following on the bottom, I think the key part for these tires is to really get that nice rounded shape. Just like that. I'll do the same procedure to this one. And then we'll come back and work on the lights or the fender. 9. Painting Layer #6: Fender & Light: And now to work on the lights, I think I'm going to make this fender and this alight because it's a small area. I'm going to use my small brush. I'm gonna go in there and just paint some water on the light here. And then I'll take the whatever's left on my brush, put a little water on my palette and add some of this deep yellow. I'll go around depositing that color into that tail light. And that will drive very light. So I'll go in there with a little more color deposited in and leaving a little bit of a gap between the truck and that tail light. And then I wanna take just a little paralleling read, smallest amount possible really. And just deposit a little bit at over here. That'll blend out and the light will have a little orange hue. Now for the fender, I'm gonna go in here, show my brush is clean and what the fender. And then I'm going to take just a little bit of that gray and some of this Prussian blue. So it's a little more blue than gray. And I want it to still be light, wanted to look almost silvery. Gonna go just around the exterior of it. Just like this. And I leave a little highlight on the far right. Lastly, when I'm here, I'm going to switch to my larger brush. I'm gonna wet this window here. I'm gonna go in with that color, having just a little more grey to it. Still a very light color. And I'm just going to create the outline, the window, leaving a little gap between the truck and that window. And because it's the area was wet first, it will blend. So I have a little white border and then a little deep color on the background here. The area closest to the tree. I can go in here and straightened out any lines. And I really like the way that looks. I'll let this dry and then we'll come back and work on the center of the wheel and a little door handle. 10. Painting Layer #7: Hubcaps: So now I want to work on the door handle as well as the wheels here. Whenever one brush I'm gonna put a little Payne's gray on my palette at a couple of brushstrokes of water. And then very carefully I'm just gonna paint from the back of the door handle forward who just little brushstrokes, not even gonna color in the entire door handle. Just like that. We're going to take the same color and I'm gonna use it for the tires here, the wheels. And then do the same thing that I did before is I'm gonna make my outline of my shape, leaving a little white gap between the actual tire and the wheel here. And then at the backend of the truck here, I'm just going to pull that pigment out. I can go back in if I think my little border is too thick. And then I'll rinse my brush, pull off most of the water so that it's just mostly damp and just blend out that edge. Soft little edge. I'll do the same procedure for this. We'll create my outline. A little border of white. And I pull my color in. Then I rinse my brush, remove a bunch of the water so that's just damp. And I can blend that edge. I'll make sure that this little gap isn't too thick of white. And then I can take a look here and I think I want to go in with that same color on my handle, just add another layer covering just part of it again. And I also want to go over my Fender with this grey color just so that it's a little different color than my window. And I'm happy with that. I'll let that dry and we'll come back and work on our tree. 11. Painting Layer #8: Tree: So now that our truck has dried, the base of the cookie has dried. We're gonna work on this tree for this formation. In any of the formations you make, you can do the same procedure. This is just a little trickier because it's thin little spirals. Going to turn my piece to the side with my sharp number six brush. I'm just going to whet each of those spirals. I want just enough water on the brush to wet the spiral and good. Try and treat each one individually following the lines that we created. Trying not to have them blend into each other. And then I'm going to switch to my smaller brush. Could take some yellow green. Will it just a little bit of deep green in it? And then I'm gonna go and I'm going to work on creating, just depositing a little bit of color on each of these little sections. Again, treating each one individually can go in there. And to create a little variation, just dip my brush in water, not in pigment. And then occasionally dip it in pigment. So right now I'm just trying to fill in, I would say 90% of each of these sections with pigment. Again, i'm going to alternate between dipping it and refreshing it with pigment and just with water. So I my first layer on my tree, going to make a little puddle of the Deep Green. And I'll mix it with whatever is existing on my palette. And now I want to go in and just on the areas where there's overlap, I'm going to introduce that deep green. And I'll work on one section at a time because it does dry very quickly. There's not a lot of water here. I'll rinse my brush and just wet that deep green and let that blend. Then I'll go back and pick that darker color up and deposited on the next section. Again, dip my brush in and help it to blend. I could come around here. And now any of the areas that didn't get colored with pigment the first time, I'll just take my damped brush and make that color Move. It won't be as strong, but it'll blend a little more. And I'll continue this. The darker color going around and treating each section individually. I don't want this to blend as one layer. I want it to look like the frosting was beating up on top of itself. So it's just a little time consuming. But I want to make sure that a white of the paper isn't really showing through. At this point. I didn't have to do that all in the first layer. I could come in and just deposit a little green, darker green in sections. But I do keep each section individually. Each strand, where there's overlap, I'll create a shadow with a darker green. And then I can always blend it out with the lighter green or with just water on my brush. So we still have variation, but we do have a little colour intensity as well. They can go up a few here at the end because the pieces are smaller. And really pull that color. And then I just play with it and want to fill in all those areas of weight in the green. And just make sure there's no harsh areas of the green, no straight edges. And I keep doing this until I'm happy with the results. I know it's going to dry lighter and depending on how it drives, we might add another layer. Lastly, I'll go in there real wet the darker green with a couple of brushstrokes of water and just deposit a little more pigment across a straight edge here. Creates a little variation. Will hint a frosting to look like a tree. You can take a little bit of the color, very intense and deposit that in areas as well. I want a thick in this line up. I'll do that now. Always creating that soft edge. And I'll let this layer dry. 12. Painting Layer #9: Tree: Our tree has dried and I want to go in there with my sharp brush. I'm gonna rewrite what's on my palette, but I'm also going to introduce a little more of this deep green. I'll mix it with whatever's there. And that will create kind of a cohesive blend that with a very sharp point and just enough to control, I'm going to go over any areas of his pencil mark that remain. And I'll just line it up and the step is optional. Turn my piece around. I'll come in here and mix a little of this yellow green and blend those areas I just put down with the deep green with this yellow green. And I just like the way that looks. I don't really want to see pencil and that's why I'm going over and blending it and activating it with my green pigment. It produces an automatic shadow which I really like. But I also want to make sure that I'm seeing watercolor pencil go back in with a lighter color. And any areas, they're being stubborn. I'll make sure I get just like this. They're like that much better. And I'm quite pleased with that tree. Well, let this dry and then we'll come back and add our final touches to make this look more like a cookie. 13. Painting Layer #10: Details: So now to make this look like a cookie, a frosted tree on a cookie, here's what we're going to add a little depth with my large pointy brush. I'm gonna go in there, wet my brush and very carefully and slowly I'm gonna take the clear water and go right over that line, staying within the cookie, not going onto the white of the paper. And I'll just do about three-quarters of a cookie. It's not super wet that water is beating up. I'm just activating the ink that's on the paper. They pigment that's on the paper. And now I'm going to take some sepia and a little yellow ochre. I want it to be darker than the colour that's down there, but still just a teeny bit warm. And with my brush, my number one brush, I'm just going to create long strokes. And I'm working on about three-quarters of the cookie at first because it's easier for me. And I'm bringing my pigment right to the edge of the first layer we created. I'm going to create another puddle here with more yellow ochre. And I'm just going to overlap. And I'm bringing the cookie and all the areas we added together. So I'm combining those two areas of the sepia with this area of yellow ochre. And because we put that wet area first, there'll be a little bit of bleeding and blending and it should be fairly soft. If it's not. I'll go in there with a wet brush and just blend it just so it's soft, you still see a little variation. And that's the look or going for. I'll continue around going right here to the Fender. That same technique. I'll add a little of the sepia. And then I'll come in with that yellow ochre. Again, I'm working only on the edges of the cookie. That's the area that on a cookie sheet, it'll turn golden, the sugar will caramelize and it'll get a little crispy looking. So I had my first layer of water mix a little more of the sepia and yellow ochre. And then I'll go back in with the sepia. Once it's down. Gotta damped brush. Blend this out smoothly. Try not to hit the red because you will reactivate the red. If in fact you do, and that happens. It's not the end of the world. Just take a piece of paper, towel and damp Lee absorbed that red and then you can replace it. Once that section of red is dry. We'll just finish up clear water, introducing a little more pigment. And I always find that the edges of the cookie where it intersects the shapes tend to be the darkest. Maybe they're the thinnest. So I'm going to deposit a little more sepia there. Go in, blend out this color, pull it all the way underneath that tree, and continue around. And this will help create a nice border for our cookie. And it will make it look like it's cookie. So there's a spot that I activated a little red, can't really see it. But I would just put my paper towel down and pick up that color. And then I'd go in and very carefully deposit the yellow ochre. I just don't want the red to bleed. Now blend, doubt any of these colors. And if there's any area here that looks a little pale, now's my chance to remedy it. It's a subtle effect, especially when it dries, it'll dry much lighter. But you can take your time and really go to town adding a little more depth with each layer that you add. And so as you can see here, and get a little more intensity. Adding more and more layers. Think I'll add a little bit more layer just around the edge, just with my sepia, blending it out with my yellow ochre. And then we'll come back, do a class wrap-up. I'll show a few variations. 14. Class Wrap Up & Variation: So here we have our finished Christmas truck cookie. I went over it, I added the edging of the dark sepia just to give a little hint more of a cookie. And you could even go further and add more brushstrokes depending on the look you're going for. What I think is so effective about this particular illustration is that water color red and that shape is just so beautiful, especially all the variations you get within that just simple red and sepia color. Now, for a couple of variations using the same template, you can flip your template over. So when you're tracing it, instead of tracing it this way, you flip it over this way so you can get the reverse image and you can change the shape of your Christmas tree. So here's one that I did where I flipped the template. I made my truck yellow y-naught. And then I just put different layers of a simple shapes for that Christmas tree. And I also like the way that looks as well. Instead of the spiral, there are different variations you can use. I also did one more variation. And this one, I used a blue truck because that's also cute. And instead of the squiggles, I just did the rounded edge for each layer. And then I after it was dry, I added some striping on the tree. So that's another variation you can use as well. Again, flipping the template. I hope you try your hand at one of these red Christmas truck cookies, maybe making them purple or yellow or even polka dot. Take a photo of your work and post it in the project section. 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