Watercolor - Let's Paint a Piece of Pumpkin Pie! | Mary Evelyn Tucker | Skillshare

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Watercolor - Let's Paint a Piece of Pumpkin Pie!

teacher avatar Mary Evelyn Tucker, Full Time Artist & Coffee Aficionado

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

Watch this class and thousands more

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

Lessons in This Class

9 Lessons (51m)
    • 1. Watercolor - Let's Paint a Piece of Pumpkin Pie!

    • 2. Supplies

    • 3. Transferring

    • 4. Crust

    • 5. Custard

    • 6. Whipped Cream

    • 7. Cinnamon Sticks

    • 8. Shadow

    • 9. Thank You, and Please Share Your Project!

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About This Class


In this Skillshare class, we will explore the fundamentals needed, to create an 8” x 10” whimsical watercolor painting, of a slice of pumpkin pie. This class is a great starting point for those wanting to explore the world of painting texture using the wet on wet technique.

I’ll walk you through each step, so you’ll feel confident painting your very own slice of pumpkin pie. In this class, we will:

Explore transferring the outline
Explore painting the Crust
Explore painting the Custard (Filling)
Explore painting the Whipped Cream
Explore painting the Cinnamon Sticks
Explore painting the Shadow

Even if you don’t bake pumpkin pie this year, you can be proud knowing that you made pumpkin pie. I “crust” you will paint an amazing painting. I think that you’ll give them “pumpkin” to talk about.

If you have any questions, please comment in the discussions area. Once you completed the painting, be sure to share your “gourd” geous pumpkins in the projects area of the class! Happy painting!

Materials are listed in the "Projects & Resources" area of the class. There are resource download links for the supply list, the line drawing, the painting reference, the practice sheet, the quick guide, and the cut out for the whipped cream.

All music was sourced from mixkit.co. Mixkit offers completely free, royalty free music.

Meet Your Teacher

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Mary Evelyn Tucker

Full Time Artist & Coffee Aficionado


My name is Mary Evelyn Tucker.  I have been a full-time artist since 2015.  Over the last six years working on commissions for clients, I have painted hundreds of pet portraits.  I love capturing the unique qualities of each individual pet.

In 2020, I illustrated three children's books that were published.  I worked with author Susan Jones on "The Adventures of Cooper" and "The Adventures of Cooper: The Fire Breathing Machine."  We have a third project in the works, "The Adventure of Cooper: The Flowerbed Fiasco" that should be available in late 2021.  I also worked with author Tamara Menges (Light Filled Home) to illustrate her children's book "The Nativity Set," that was released Christmas of 2020.

I found a way to do water... See full profile

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1. Watercolor - Let's Paint a Piece of Pumpkin Pie!: Hi there and welcome back to another skill share class. My name is Mary Evelyn, and in today's class I've got something kind of fun for everyone for the season is a piece of pumpkin pie. My running joke is usually, I made pumpkin pie this year. You can paint pumpkin pie and still get away with saying that you made pumpkin pie. So in this class, I'm going to walk you through each step. We're gonna go through the crust. The custard, the whipped cream, the cinnamon stakes, and a final shadow at the bottom, optional, you may want to walk you through each one of those things. I've got some extra pieces to include with this class as far as a quick guide, I've got some fun techniques including a splatter paint brush effect that we're going to use to create some of the cinnamon on the whipped cream. And it's gonna be really fun. I crust you will make an amazing painting. Let's give him a pumpkin to talk about happy painting. 2. Supplies: Okay, let's start by going over some of the supplies that we're gonna be using in this class. As you can see, I've got my outline printed out. You can find that in our project area PDF, you can print out, I'm going to be using 300 pound Kilimanjaro paper today. I've got a little roll of masking tape just so I can tape my printout to my paper. And I've got a gel pen for tracing some graphite paper over here. I've selected are paints, which I have here, and we'll have a list come up for you. You can feel free to pause just so you can get the names of the paints, but those also will be in a supplies list. I've gotten some little samples up here. Again, feel free to print out the PDF of the practice guide. There's just gonna be some little pieces you can practice before committing to your full painting. It's very helpful to do. We're going to have our quick guide available. You can print that out to have alongside during this class if you want to make any notes on it. And it's just gonna be some little tips for each step that we're going to be doing during this class. We've also got our cut out that I have made for us. That you're simply just going to cut out the inside so you can overlay onto the whip cream so we can create that splatter effect. Okay, I'm going to be using two brushes in this class. A number for any number 12, round. These are both great brushes, nice pointy tips on them. They are Kulczynski, however, feel free to use your own round brushes, whatever you're comfortable with. If you want a smaller brush, if you want a bigger brush, totally up to you. I guess we've got our paints picked out. I did put these on a ceramic plate. I thought to tell everyone if you are not sure what kinda palette to start with, go pick up a ceramic plate from really anywhere. The dollar tree should actually have those plates as well. So if it's porcelain, ceramic, That's a really great palette to have for your watercolors. So the watercolors won't meet up on your surface when you're painting. And then we've got our water jar with some water. I've got some paper towels available here so I can constantly monitor my saturation in my brush. Also, for this class, we are going to be using a toothbrush. It can be any kind of toothbrush you want does not have to be this toothbrush. I know this looks funky. This is actually a dog toothbrush. I promise I didn't use it on my dog. But it has a small side and a bigger side AS brush is firm. So anyway, we're gonna be doing some cool splatter techniques using a toothbrush yet. So let's get started. I'm excited to help you explore this piece of pumpkin pie. Was him cinnamon sticks. And I know you're going to do great self with that. Lets go. 3. Transferring: Okay, we are going to transfer our print out to our Kilimanjaro paper or any type of watercolor paper that you choose to use. I've got 300 pound just so I simply don't have to tape it down to a foam board. This way. It's nice and thick and I can just proceed with the painting without worrying about that. I'm going to put those graphite paper down with the dark side down. So there's a gray side and a dark matt finished site. So that map finished side goes face down like self. I go and give it a little smoother. And then you just go to town with where you want to sketch out this does not have to be perfect. Can make it your own. You can freehand this if you'd like. Just like to have kind of a rough guideline. K. And just like that, we've got ourselves an outline. Feel free to use an eraser if you feel like this outline got a little too dark. I might do that with the Cool Whip or the whipped cream just so I have really faint to line since it's just, we're just going to be shadowing that. So with that, let's begin our painting journey. 4. Crust: Okay, let's dive into this painting. We're going to start with our pie crust. I want to show you a little bit of a different method than my typical goto wet on wet. And actually going to come over here and get a really light wash of the neutral tint color. This can also be done with a black watercolor, just super watered down. You don't want a whole lot. You want it to be very, very transparent. And I just want to come along and, and a little bit of depth to the edges. So if you think about a pie and you think about the crust, has Kinney, those darker edges to it. Just wanna kinda sweep along here. Just kind of add some texture. I'm going to dip my brush off in the water, tell it off just a little bit. And I'm going to pull that neutral tone around, softens the edges. White a bit. We can go back in here if you want a little darker, you just dab at that color. And you can just tap it in. And now that we've got a little bit of a wet on wet technique going here. From the wet on dry is what we started with. So I'm gonna come along the edges here again, I want to highlight where the edges would be for, like the crispy brown edges is kind of my my go-to thing here. Just following along those edges. Okay. Come along the bottom here. Don't have to be super precise because again, we're talking a crusty pie. Crust can dab off your brush. Tell it off. Come along here and just bring your brush up and around the edges of that. You can also take the side of your brush and kind of sweep across. It's going to give a little bit of texture, a little bit of variance. So it's not just a completely smooth piece. And same thing we can just kinda gently swipe across. And I'm going to pull up some of that dark that we had along the side here. Okay. I'm gonna go just a tad darker along the base here. And we're talking just the lightest of light washes over on our palette there. So just you can tap, tap, tap, tap, tap, tap. Okay. You can go along the edge here and the bottom if you feel like you want to just, just a bit darker. Okay. That's step one to r crust. Let that sit for just maybe a minute or so, maybe a little longer. And then we're gonna do our our warm brown wash on top of that. Okay. Once you've let that dry for just a bit, we're going to take some of that buff titanium and just do a nice wash over the top. Pretty straightforward, pretty simple. You just want to brush a nice coat. That creamy, buff titanium across the crust. Next part is where it gets really fun. Want just a nice sheen layer. Kind of look at your painting from side to side. Make sure it's got enough moisture on it. It's gonna look a little bit like a nice shine, equal shines if you tip it back and forth with the light. That's what we're looking for. Okay. We're going to use some of our burnt umber, which is a mission gold color spectrum over here. Grab some of that burnt umber again, just being mindful of my wash. And this is what's great about a ceramic palette that you can kind of really get the idea of how transparent your color is just by sweeping it back and forth across the palette. Okay? Just gonna go in here and do a little tap along the edges here. Along the side here again, just kind of thinking through how pie crust would react. Edges would be nice and crispy. You can take it all the way through if you want, or you can leave it separate. And depending on how bold you wanna go. And then take that buff titanium and take a little bit of a deeper wash across here. So we're just going or tapping, tap, tap, tap K just to get that nice creamy look on this crust. Now, we do have this other piece here, I would suggest start here simply because your hand is resting on top of here and you don't want to draw your hand through the paint. So once you feel like you've got this crust dark enough, then you can move on to that bottom level. I'm gonna do just a little bit of a deeper edging here. For that. Little bit would be kind of cooked darker. Suppose, you know, have a lot of experience making pies. And again, just kinda tap, tap, tap, just kind of give it some variance. It's going to dry a little different than what you lay down. Usually does. Okay. I'm just gonna come over here and quickly do our same process. I'm going to get a little bit of the neutral tint. So you need a little more practicing. Just take along the edge there. Top and bottom. Take your brush, rinse it off, tap it off in your paper towel, and then take that damp brush and run it along the edge there. Just like that. Okay. Let that dry and then you're going to repeat that same process. Okay, we're gonna take a little bit of buff titanium. So we built across the bottom here. A little bit more pigment of that buffer. Just tap, tap, tap. You'll notice it'll get more yellow, this more opaque pigment you have versus a transparent layer. And take a little bit of the burnt umber. And we're just going to tap it in. And really you can let the textures just kinda do what they want to do. And let it dry. Ok, if we want to add an extra little bit of texture onto this crust, we're gonna do that method that I showed you with the pulling of the side of the brush. So we can just take our pigment. If you feel like you've got too much as tapping on your paper towel and just drag it up. And you just pull it across. Just so you get a little bit of texture going. And if you'd like to detail things, feel free to edge along the bottom with some extra burnt umber or even some of the neutral tint. You can take this as far as you'd like, as far as details go. And you just take that brush and just pull it across. Okay, now we have our crust complete. So let's move on to the next step. 5. Custard: Okay, let's move on to painting the custard of this pi. So once your crust has dry, then you can dive into this lovely part of our painting. I'm going to do the same idea when I come over here, get some neutral tint. And I'm going to start with the edges here. As far as I know, that customer is going to be a bit darker towards the areas that are closer to where the pan would have been meanings. So the bottom and then the edges and across the top. So, so once I've edge here, I'm gonna take my brush that I've just dipped in some water. If you need to tell off a little piece of that, great. We're going to take it and we're just gonna edge. Cross that neutral tint. Feel free to kinda do a little back and forth strokes. It shouldn't disperse that pigment just a little bit easier. Kinda go little bit quickly to, or that paint will stick down on the paper. Depending on what paper use, you can really use whatever paper you'd like. You want a little bit darker. Grab some more of the neutral tint. Sweep along the bottom there. Cross here. And you can really take that up as far as you want. Get us some texture. Customers going to have some texture in it. It's not going to be completely smooth depending on the recipe or using in baking. Okay, I'm gonna take some neutral tint and line the top there. Nice light wash. Hey, we're just going to take our brush here. Go across. And I will show you two were gonna edge a little bit underneath our whipped cream. She can just come along here. Sweeps and dark tone. Okay. And we can go ahead and do a little bit of an outline on the outside edge here. So we're really doing a what on dry technique and then we're basically turning it into a wet on wet and allowing to dry because we're sweeping that wet brush on top of our wet on dry. You can come over here, get a little bit of a deeper tent up against that crust since it would create a little bit of a shadow. Plus it would be a little more brown. Just because we're golden. It would be more golden Just because it's closer again to the metal pan. So if you think through like cooking, if you already get really technical about it, you do not have to get technical about it. But if you want to, it's there for you to be technical. I like to think through things sometimes. Okay. And you just take as much pigment. You think I'm gonna make the top a little darker than aside here. You remember, you can always dab up a little bit with a paper towel if you feel like you need to. And again, just working on different areas You feel like need attention. So if you come over here to the edge, absolutely neutral tint, little bit of a deeper pigment tapping into the edge of the crust. That's what's going to give you that 3D effect. Same thing here. While this is still wet, just be tapping in. You can clean up those edges as you go along. If they're a little fuzzy. You can go right in there and just kinda work those edges. Nice and smooth. Kind of taking care of everything all at once. Tell him how I look at it. Okay. So there's the base of our custard. So let's let that dry and then we'll jump into our colour portion. For this part, we're gonna be using some fun colors. I've got the burnt sienna from Mission Gold, which is a really vibrant yellow orange tone, which I thought would be great for the base. We're going to be using some Nightingale from Pfeiffer art supply in a little bit of Falcon as well. Also from Pfeiffer art supply, a couple of colors that I thought were really pretty that we should include for this pumpkin Tutorial. Alright, I know we did the neutral tent with a smaller brush. I'm gonna switch over to the larger brush and we're gonna do a wet on wet technique with this section. So I'm just gonna go in here and get this whole section. What you can do a light base if you don't want to just put the water, you can come over here and get a little bit of the burnt sienna Mission Gold, or some type of, of all yellow, orange color. Again, these colors do not have to be exact. And the great part about putting a light wash on top of this as you know where your water wind. So you don't have any empty dry spots because that does happen. And that's okay. But a nice light wash will remedy that. All the way crops be mindful of. Who would cream. Alright, let's drop some darker pigment down onto the custard. Starting at the edges. And just kinda of letting the paint do what it wants to do. And have some fun with this. Every pie piece is going to be a little different. We're going to have different variances of color. Again, you can just be mindful of edges. And if you feel like you've gotten some areas that have already started to dry, you can just add some more water on top and just continue to find those areas that need attention. And that you can go darker. The cool thing about this particular pigment is, you know, really deep with this pigment. So I definitely want this area here to be a darker tone. So again, just kind of tapping the areas. Being mindful where my brushes going. And we must sweep some pigment over here on bottom. Salmons and font with it. You can totally leave it here if you want. I'm gonna take it a step further. And I'm gonna switch brushes now and don't need the big one. I'm gonna take some of the falcon is trying to get that payment going. Okay. And I just want to edge a little bit different areas just to kinda get some areas going here. Take it under the edge here, and then give that top Nice goal and top look. And I am going to take some burnt sienna from core. And it has a really cool grainy relating feature to it. So you can create some nice texture and it's got a nice bright orange color to it. So again, I have explained this in a couple of my videos, but you'll see me, I go from the side down. Anytime I go to get color, I don't put my brush straight down. I take it to the side. Just to preserve your tip on your brush. Your brush will, thank you. It really will. Tap, tap, tap. Just kinda have fun with this color. So good one. So nice. Pretty granular waiting. Texture paint. One of my favorites. It's just got some cool properties to it. Again, you can kinda take this as far as you want, as far as color goes, you can streak it through the crust. And some water in between there. Go cross the top variation. A little bit of a to being technique. Chore your water, you can tippett and pigment will run down. And I just kind of gently roll that way because of the tipping of the paper. So anytime you want to have a gradient effect, that's a great way to do it. Just gives you a nice pretty finish. Okay, I'm actually really pleased with that texture. Feel free to use a salt if you want to create a lot of variants in there, that'll create a lot of texture. And then if you want it darker underneath the whipped cream, you can certainly go darker. Make this your own. And we're ready to move on to our whipped cream. 6. Whipped Cream: Okay, we are ready to begin our Cool Whip painting. This area is all about shading. So we're going to focus with our neutral tint. We're going to use light washes to create depth. And then we're going to use a fun technique with a toothbrush. Okay, very, very light washes of grey. So we're just going to take an edging. So we're just gonna kinda edge first and then we're going to use that same technique that we used on the crust and the customer to kind of break up that darkness. So washing my brush off, taking Anish kind of going in little back-and-forth motions to feather out the neutral tenth. That's my goal. And I wanna just feather, feather, feather. Because it's part of what creates the cool hip are though very light light washes. And you're really just wanting to leave little bright white areas that would be the highlight on the coin flip. So that's kind of something to think about. We're taking those washes across the edges and then we're feathering out. Sometimes you can do it with a dry brush. Sometimes you have to come over here and get a little bit of moisture put back in. K. We're just basically just going around all the little edges where we think some Cool Whip textures happening. You can also pick up paint with a dry brush to something to keep in mind. You want to lighten up an area that you started. Soil area. Here's kind of an interesting p, so it kind of swoops up and then you have this deep little edging here and then it goes brighter. So that's kinda the shape. And this is definitely one of those pieces. It's great to do the practice. Just so you have an understanding of what's going on with this quote. And then taken a deep shadow here. There are some areas where it's going to be a little deeper as far as where the creases are in the whip. And then again, just kind of feathering down those areas, creating a really soft look. Just continuing on with those little in-between areas. And then coming back in and feathering out those hard lines. Really a right or wrong on this. It's more or less just creating the shape you want. You can do the other type of cool if, if you wanted. Or at squirrels up. I just kinda like this shape alot. Further where necessary. Here's a little bit of a sweep that comes down here. You can start to see the shape emerge as you continue. And you can go along edges. Once you've got your basic shadows down, you can take a darker edging and just kinda follow the insides of some of those lines you've made. But again, if you wanna get soft, take the brush with some moisture on it and run it along the edges. Filling is getting too dry, just go in and get some more water. And I think that is going to do it for Cool Whip base the shadow based. Only very light, very airy. We're gonna go in and do our next step for the Cu if this part is going to be cutting out the center from our printout. Gone ahead. Printed this out. We're going to cut this little section out here to overlay on our coop so we can do our splatter technique. Okay, so I've cut that out. And what we're gonna do is lay it on top of the coin. On the inside of that line just so that you give yourself a little bit of wiggle room. I have got my handy-dandy toothbrush. You can use really whatever toothbrush you want. This one's got really nice stiff bristles that two sizes I'm going to use the smaller one just for a little more control. You will most likely get a pretty big splatter effect. So just be mindful of your surroundings. But this is pretty fun. So for the cinnamon, We are going to use some burnt sienna on the mission goals. So those bright, bright orangey color. So I would make for a nice Cinnamon. I like to tap my brush off and go in and kinda give it a little scrub and then tap it off. And then just start spattering where you feel like you should. You can go you can go forward or backwards with us. You can run your finger. You can run it back like this, or you can write forward like this. I usually go from front, back. It's kinda my preferred method. So again, I'm just, I'm kind of tipping it into the painting. You can get little bursts. And this is where the practice will come into play. Do that practice just so you can get an idea of what this is going to look like. A little heavier on top. And the further away you get more financial beat. You really want these little, nice little speckles. But as you can see, we've got some really good. It's really good. Cinnamon, go on. You can, you can mix some colors too if you don't want to keep it. The one you can certainly mix in a little bit of the darker color. Okay, I don't wanna take away too much from my original under painting. That got some beautiful cinnamon going on there. Now, the fun part, if you want to take this further. So if you're looking at the reference photo, you're gonna notice it were the sim and falls, it falls into the little crevices so you can take some of your burnt sienna. And we're gonna just dab in some little points. And we can do this while the spattering is still wet. That's not a problem. But wherever we think the cinnamon would have kind of hit. And if you feel like you've got too much when your brushes for little, little dabs. This is where the detail part can kind of come out and shine. Can also take little bit of really any of these colors you can mix. Whatever you feel like is a better match. And planting a little bit of this darker, just where there's going to be a heavier cinnamon fall. What you want to take it up. Or that cinnamon fell. The cool thing about a lot of these colors is a more pigment you, you grab the deeper that color is going to be. And that's a pretty basic rule for most watercolors. Just kind of following along. You could certainly make this look like a Carmel drizzle too, if you'd like. And then I have to just be cinnamon. Style would be fun. I kinda just reinforce that. These colors, these tones, subtle. There's a reason that they're in their place. When you go to dump sentimental shaped like this, it's gonna settle on very specific areas. Just tapping. Or I think I should put it looking at the reference photo and just kind of picking and choosing where these things should go and taking a little bit of artistic license. No two whips will look alike. That's for sure. So be mindful that you don't have to worry about it looking exactly like mine. It needs to look like what it looks like for you. That's a very important okay, but that looks like we've got some cinnamon happening on our Cool Whip with green gigabit. Okay, let's move on to our cinnamon sticks. 7. Cinnamon Sticks: Same idea with what we've been doing before. This is just reinforcing that idea technique is to use the one on dry first for some shading. Then move on to your colour wash. So I'm just going to start down here where the darkest area of the cinnamon stick would be. Just going to be the inside little tunnel area. And you can take that pretty dark, so get a good basic good wash of that pigment. Don't be afraid. Okay. All right. Now we're just dab that off. It's so pretty dark. That's okay. It's going to take that wash here. Go across. Just taking that brush. Sui being some texture across here. It's pretty effective way to gain some texture. So we're gonna kinda do the same thing down here. Just taken aside, my brush is running it on the bottom there. I'm going to take a little bit of that wash. Kind of make, I kinda miss the edge there. So we're gonna kinda connect the two pieces. Okay? So gives us the curve. We want the inside words darker and then the curve on the outside. So add a tiny bit of the deeper area here in the middle. Right now where the cinnamon sake is on top of this other one. I'm going to take an even darker wash. Should be mindful of your paper dampness and whether or not how much it's going to bleed in from one thing to the other. So you just waiting if you have any reservations about that. And you just take your brush and kind of go back and forth with that. Nora, come over here, do the same thing. Back forth, bet for us. And that is the base for our cinnamon stick. And we're going to move into the wash. Okay, let's finish up with our colour wash. I'm actually going to use a bit of our burnt umber in nightingale and come over here and grandson that burnt umber. Really nice light wash. Again, you can kind of tell how transparent everything's going right here on your dish. And we're just going to start with the top one. He just wash you, just, just go over the whole thing. That neutral tint is acting like a shadow for you. Hopefully you'll find it as foreign as I do. Think it makes things pretty simple. Hey, come over here and get some of this nightingale. And want a bit of a deep texture when it comes to filling in this so it while it's still wet on wet, I'm going to take a pretty good amount of pigment in the middle here. And then most sweep it along the bottom. It's kinda gives it that cinnamon tone than I want. And you can just sweep it on over to top here. Fill in any little areas you feel like maybe you missed. You can take a damped brush and kind of add some water blooms on top of here to create some texture. It'll push that Nightingale tone out. Okay, and give it a really funky texture, which is great. Let's finish up our second cinnamon stick. Take some of that burden number. Sweep it across. Your entire area. Can always take these as far as you like with the color. Doesn't have to look just like mine. That's the whole thing about all of this. Every pie slice is different, every cinnamon stick is different, every piece of whipped cream is different. Tap, tap, tap. Tap. Again, if you feel like maybe you got too far over on an area, just take a little piece of paper towel and dab up. Where do you think he did? And then just go back with your color. And because this is darker behind this first one, I'm gonna take a little bit of a deeper Nightingale was a little bit of the burnt umber. And just edge it along an edge it down here. Create the illusion of a shadow is the goal. Okay, that's some pretty good cinnamon sticks going on here. I'm just gonna take this and sweep this up underneath. If you want this a little bit deeper, you can just take a little bit of your Nightingale or a color similar to nightingale which would be kind of a, it's almost a russet color. It's just a more red-brown. Let's put it that way. And just wanted to be a little bit different. And then you could even take some other burnt umber like we did with the neutral tint and then just pull that color out and away from itself. Basically like that dot looks like a pretty good cinnamon stick, if I do say so. We're just going to let that dry and then we're gonna move on to our shadow to anchor the whole piece together. You do not have to do that if you're happy with what you've got, congratulations, you're done. If you want to anchor it in a little bit of a shadow to the bottom, go to the next video. 8. Shadow: All right, let's move on to our shadow and continue using this number for the comin here and just getting nice wash of that neutral tint. All right, I'm going to follow underneath the edge. Swing it out here. Push gonna follow along the edge of the our work. Don't have to be super precise. We're going gonna pull it down. Poeple poll. If you like a rough edge, feel free to do that. Just have it kinda fade out. You really can't have it fade out pretty good. Actually, if you like, just take a damp, clean brush and just feather out. Depending on which direction the lighting coming. You can kinda Eve kinda got a pick. What you want. You can have it go straight down and you can have it go out. Now here's the part that you're going to have fun lists to get a really deep color of the neutral tint. To add along the edges. There's not going to stay exactly like that. I want to actually pull some of that down when I get my number 12, what and what I'm gonna do is come here and pull it down and see how that created a nice soft shadow. And we can go here and add a little bit more. Because we've kind of got the pie as a tall shape. We want that to go here and then we can pull up any of those colors that we want. For any amount of color, I should say. So we're not trying to say and like say you can take this as far as you want. I think that is a pretty good looking chateaux for our pumpkin pie and cinnamon stick combo. Alright. You know, you can take this as far as you like. You can go back through detail, some sayings. If you've got watercolor pencils, if you all know me, I usually go back over everything at the end. I'm very pleased with this. I wanted to keep this simple for everybody, just so you can have fun with it. I want to challenge you to either just leave it the way it is or if you want to go back in with more details, I want to see what that looks like. So with that, go forth and paint. And I want to hear your best pipelines as well when you go to post your project. 9. Thank You, and Please Share Your Project!: Congratulations, you have just finished your pumpkin pie, and now it looks delicious. Maybe I should make some real pie. But anyway, I crust. You made an amazing painting. So with that, I want to see those paintings posted to the project gallery. Please post those. I love to see them. I wanna see your take on this pumpkin pie piece. And if you're not following me already, please be sure to hit that follow button just so you're in the know you're up-to-date on all the new classes that I will post. And we are part of a community, so I'm hoping we can build that. If you have any questions, feel free to ask. So with that happy painting.