Watercolor - Let's Paint a Pumpkin Patch | Mary Evelyn Tucker | Skillshare

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Watercolor - Let's Paint a Pumpkin Patch

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

10 Lessons (1h 35m)
    • 1. Let's Paint a Pumpkin Patch!

    • 2. Supplies

    • 3. Transferring

    • 4. Wheat

    • 5. Eucalyptus Leaves

    • 6. Pumpkins

    • 7. Branches (Stems)

    • 8. Maple Leaves

    • 9. Final Details

    • 10. Thanks & Share Your Project!

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About This Class


In this Skillshare class, we will explore the fundamentals needed, to create an 11” x 14” whimsical watercolor painting of a grouping of pumpkins surrounded by eucalyptus leaves, wheat and sitting atop some maple leaves, just in time for Fall.  Feel free to scale the outline to a smaller size, if needed.

In this class, we will:

Explore transferring the outline sketch
Explore painting the Wheat
Explore painting the Eucalyptus Leaves
Explore painting the Pumpkins
Explore painting the Branches (Stems)
Explore painting the Maple Leaves
Explore adding the Final Details

This class is a great starting point for those wanting to explore the world of painting pumpkins and some dried naturals using the wet on wet technique. I’ll walk you through each step, so you’ll feel confident painting your very own pumpkin patch. So, if you’ve always wanted to paint pumpkins let me give you an experience that will "leaf" you wanting more.

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

If you would like to practice painting pumpkins before jumping to this Pumpkin Patch, please check out my very first Skillshare "Watercolor: Let's Paint a Pumpkin."

Materials are listed in the "Projects & Resources" area of the class. There are resource download links for the supplies list, the line drawing, and the painting reference.

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. Let's Paint a Pumpkin Patch!: Hey everyone, welcome back to another skill share class. My name is Mary Evelyn, and in today's class we're going to paint a pumpkin patch. I've chosen three pumpkins for us to paint. I'm going to walk you through each step from painting the wheat, So the eucalyptus leaves to the three pumpkins. And then we'll finally finish with the maple leaves on the bottom. So if you've always wanted to explore watercolor, but aren't really sure quite how to do that. I want to show you in this class, be sure to hit that follow button. You'll get email notifications on up-to-date classes and when I post new ones. So that way you're in the loop and you know what's going on, when it's going on and any announcements I decide to make. So with that, remember, be kind to yourself and let's go. 2. Supplies: Okay, I'm going to go over our supplies for this class quickly. We're not using too many tools for this one. So that's gonna be a nice starter point for anyone trying to dive into watercolor. We've got our foam board underneath the watercolor paper. I have it taped down with some masking tape. I've gone ahead and transferred our image down with the graphite paper. Dark side down. There's a nice light side, goes up underneath the pronounce. I would say, feel free to hand draw this as well, does not have to be transferred, but this outline is available for you. So if you choose to do that, okay, we are going to use two brushes in this class. I've got to Kulczynski brushes. Actually, they're both round. One is a number for the other is a number 12. Nice tips once they're wet, they offer a lot of variety for painting different surfaces. We've got our paints here. Got those off to the side, just for fun. We've got some salt. I've got my water jar off to the side. And then don't forget about either some paper towels or a towel or a rag of some sort. So you can consistently monitor your brush saturation and how much water is in your brush on a regular basis. And then also if you'd like to, you feel free to print out our little quick guide. You can write notes if you'd like on this. This is just a breakdown. Some of the things we're gonna do in this class. So with that, let's get started. 3. Transferring: I'm going to take down our paper to the foam boards simply to keep it tight while we're painting. It really helps with preventing buckling. And then I'm going to lay my transfer paper face the dark side down. Transfer, print out on top, follow as many lines as you feel like you want to follow, give yourself some direction. That's the point of transferring your image. And from there, we're going to get going with our project. 4. Wheat: Okay, we are going to dive right into this painting and want to start with the wheat branches first. So to do that, I want to actually have a mixture of this ocher along with a little bit of the burnt sienna. Just tell here. And really I'm just going to have the two together. You can mix them as you want. But the idea is to create a nice light wash because I want to add in color after I add in these bits here. So technically I guess this is a wet on dry because I have a really ery light wash. You can take some of that tone and dab at the ends of each of those little pieces. Oh, I missed that one. So you can just fill them in. Tap, tap, tap with the color. You can grab some of the french grade. Just gonna kinda like trying to stick it over here. A ceramic dish works a little bit better. This is a new plastic palette that I just got. When you use them a few times, it kind of builds up a nice mat area and the paint sticks to it just a little bit better than it is now. Right now it's beating up. But just know that you can get a little palette like this from Hobby Lobby, which is a great little introduction. Palate when you're just trying to learn watercolor, not wanting to invest too much into our products because you're not sure if you're going to like it or not. So just a little, little tidbit. Alright, you can kind of work that. I'm going to let that sit for just a minute. I'm going to just continue putting those little pieces down. I am using that number four round. Feel free to use a number two or a smaller brush depending on your workflow is how my classes go. We'd like you to figure out what works for you and go from there. So I'm just kind of pulling some of that center through. That's all I was doing. And grab a little bit of that ochre. Put it tap, tap, tap throughout, fair? No, I'll just take this and actually go ahead and I know this is a little bit bolder. And I'm just gonna take a little bit and that swing it there. If you want a premier version, feel free to add a little bit of French gray. Or if you have a buff titanium or some sort of a creamy color for a wheat, and even like CBO or a brown tone, feel free to explore with those colors that this does not have to be exact, does not have to be exact tones. Some French, some of that burnt sienna. Let's just see if we can get a little bit of a richer tone. So you can either have it be more of the gold wheat or you can take it a step further and add a little bit of tone to it. So with that pigment, I'm just going to continue on this bottom section here. Adding those little strips of the little wheat tips or we can just call them dried naturals. I'm not entirely sure that's what this is. I like to think that their wheat they look like wheat anyway. It really can be whatever you want it to be. That's the cool thing about art. Now if you feel like you've kind of gone outside of a line just a little bit. Just bring your color out a little bit. It's not a big deal because we'll actually go out and do a little bit outlining once this is dry and our final details. So again, whitewash. Don't be afraid to just lay down some water. And if you want it to all connect, water has skin. So if you want to drag that center piece along with those little heads, feel free to do that. Not a big deal if you want it a little darker. Just tap, tap, tap. Let it do its thing. If you want to lighter, grab some of that French Gray. Don't be afraid to just experiment and see what happens. And we'll about texture. So I say let it, let it just happen. And the center one appears actually so wet, so I could drop a little bit more of the French Gray On top of that just for a little bit of pizzazz. And take another little bit of whitewash. Now between this branch right here and that one, I'm just going to let them be. And what don't touch. The name of the game on this tutorial is going to be skipping different pieces. Again, water has skin, so the pigments gonna go where the water goes. So if you've got two things touching each other, you're going to end up with some pretty interesting things happening. And just grabbing some of that burnt sienna with the French gray, that little bit of mixture I had again, feel free not to do that much mixing. I'm just wanting some variation and let's just put it that way. Some darker areas and then some lighter areas. So that's really just the point of me mixing. I don't want you to feel overwhelmed or, you know, like this is complicated. It's really not. It's just taking two things and just making it a little bit more of a, a really pretty gold tone. But again, this is your painting. Feel free to approach it. How ever you want. I know I'm kinda moving fast. And the goal of that is so that I can go back in and kinda dab a little bit of the darker color in here while it's damp. I tend to like to work that way. No one likes to pick it something too long. Okay, so jab, jab, jab, cross and up. And then while this is kinda of settling into the paper, go ahead and keep going. Swinging over here, just kicking each one of those leaves or catching each one of those wheat tips. As it were. Whatever we're calling these little guys. Sprigs, Winckelmann springs, but we call them Springs, wheat springs and like K. And then they're going to continue on just filling in. Can take those lines up and over. If you really want to create some depth. If you wanted to take this a bit further, you could start with the neutral tint and add the depth to the bottom of each piece and then just coat over the top once it's dry with some light washer, the ochre, and you'll be probably happily surprised how well that works. It's a really nice technique. I'll show you how to do that in R. Stems with the pumpkins will do that little bit of technique. Okay, this is still damp. So take a little bit of French gray color here, the burnt sienna a little darker. If you want to create a cooler tone with this burnt sienna, bring some of your neutral tint over. We've kind of lost some of the red, orangey tone on this side. And I'm okay with that is not a big deal. So I can always add that back in if I feel like it's needed. And we can always go back over this an outline just a bit. Once it's done, drying, somebody's little pieces of hub dried Just a bit. Again, just the lightest stroke on top of that stem chose to create a little bit about wine, kinda of an anchor for the little sprigs. And also feel free to add gold if you have some sparkle pigments. And you want these wheat springs to sparkle, go for it. And I want to see it to, if you love Sparkles has gone out to all you lovely sparkle pigment lovers. I myself never thought I would get into a bunch of pigments with sparkle or shimmer. But I kinda fell down that road just a little bit and it's so much fun. So feel free to grab some of that glitter. Actually, I've got some right here at that, a little bit of water in it. So it's extra pigment T. And you can just tap some pigment in on that. It has got the coolest shimmer properties to it. Not cool, very cool texture. Okay, so while we're waiting for that to dry, we are going to move on to the eucalyptus leaves. 5. Eucalyptus Leaves: Or the eucalyptus leaves, we are going to dive into our mint julep in our Cascade green. The cascade Green has some really neat granulation properties, which is a lot of fun. As you can see, you've got some really nice jewel tones here. If you want to soften those, just add some French Gray. So I'm just going to pull some of that up here. And we'll just dab it on the outside of the leaves. So to begin with, we are going to do a wet on wet variation. So I'm just gonna take my brush, lay down a nice light wash of this. You don't have to clean out your brush entirely. If you want to clean out your brush entirely, feel free. It's going to maintain a little bit more highlight if you clean your brush out thoroughly before laying down your wet base. Now, what I want to do is I'm going to skip this center because we don't want the two to touch the center and then we're not really going to muddy it. However, we could end up with an interesting just blob shapes. So we're gonna come over here and fill that in with some water as well. Okay. And you just want to make sure and Scott just enough sheen on it to not necessarily pool up. You want to just enough. We're gonna see that nice reflection. Okay? Alright, let's see some magic happen. So I'm gonna take a little bit, both of those again, feel free to take one or the other, both. Mix them. However you want. You can even take a little bit of that neutral tint to kinda calm down the tones. I kinda like the idea of doing a bright version of this. With these colors, you really can create some extremely vibrant textures versus a very soft texture. So you don't know how I like to do things. I like to kind of move things around where we want, put them wherever we want and take a little bit of this French Gray. If you've seen eucalyptus leaves, you know, they have kind of a frosty look to them. So when I was picking out colors for this tutorial, I thought the French Gray would probably really create that frosty look that we're going for. So again, just kinda blend those round on the paper. Have fun with it. And then if you want to take some of that cascading deep right up next to the pumpkin, their stuff spreads. Look at that CO. That is awesome. You'll know I love texture. So this has a bit of a blue base to it. So it's going to separate. With someone that blue you can go and with some gold if you wanted to add a little bit of gold to that leaf. But for this, I just want to keep it fairly simple. So you can go in and dab Some of the French Gray. And there's really not a right or wrong to how far you can take these leaves while those are drying. We're going to move over to one of those leaves. Just pick one. I'm going to start with this one here. Just grab some of that mixture and look at it, go. And then my dad my brush off, I'm going to pick up some of that water. Actually had quite a bit on the paper. So you actually do have control over what you're watercolor does for the most part, it takes some practice. It takes some getting used to, but it can't be done. You just have to know how much water's in your brush. Her much water to pick a buff that paper. It's all in timing. It's like a sport. I think I've mentioned that before and it's worth mentioning again. It's like anything you'll get better and better with practice. And you'll just know when to let things go. So my eucalyptus leaves are much more TO, I'm noticing. Then I was originally thinking. So again, very damp here. So we could add a little bit more of a warm tone and we could add that to the just the edge. So let's take a little bit of the ochre. And let's just see what happens. You can add the gold too if you want. The swinging along the edge there. And then I'm actually picking up some water with my brush, dry it off. Picking that water up and go back in and some more French gray. If you feel like you want it. If you want to soften that a bit, okay. Now, before we tackle those other two leaves, we're going to have to let these dry just so that we're maintaining the edges and that we're not bleeding over into the others. So with that said, let's let those dry and their wall snap over and get going into the other leaves. Ok, those are dry, so let's continue on our journey. So I'm gonna come in here to the center. Still on and with some water. You will all notice as we go along, I'm going to be repeating the same type of thing over and over again. And that's not bad because that plays into that practicing that we need to be doing for ourselves with watercolor teaches us control, maintaining, you know, moisture in our brushes. So on this I'm just gonna take, and I'm gonna go here in the corner, take a little bit of that cascade, a little bit more pigment of the cascade. And I'm just going to dab down here at the base because actually want this to be a little bit darker. And you can really do a nice edge there and there. And hear and feel free to have fun with these leaves as well. Don't feel like you have to do them a certain way. And some of that French Gray, we're gonna do some edging and some feigning. Towards the end. If you want, you can even go in and do a little bit of water balloon, where the water pushes the pigment out of the way. That's a really nice effect. So yeah, a little bit of Bloom. Now notice how damp that pedal that leaf is. Okay. And let's jump over here to this top leaf. Filling with water. Grab some pigment, drop it on top. And that's about it. And a lot a lot that goes into this. It's just going to be knowing how much pigment you want to put it and how much texture you're gonna get out of the pigment. That's what it comes down to. A French grain here. I actually had a lot of French Gray and the data quite that much. But that's the cool thing about botanic goals in general. You can kinda do what you want with it. Dab some of that cascade green. And when you've got extra fringe grey down in there, it tends to suspend that cascade in there just a little bit, which is kinda neat. And I am just like the tiniest bit of ochre and K. And we're going to let that dry. And we will move on to our pumpkin. Alright, so let that dry and let's move on. 6. Pumpkins: Okay, we are back and we are ready to jump into our pumpkins. Feel free with this painting to choose any of the colors, even if its colors that you have. If you decide you want to do, Bright lime, green, and purple, go for it. This is not a, you have to do these colors tutorial at all. I'd actually like to see some creativity and see what you come up with was the colors that you have that would make me really happy. So overall though, with the picture that I have for reference, we're gonna go with a teal pumpkin and kind of a mauve coloured pumpkin, which we'll use our paralleling violet and then the traditional orange pumpkin. So I do want to go ahead and start with the T01 first. And again, it's gonna be a similar process to the leaves, except we're going to add salt this time, which is really fun and exciting. K. So what we want to do is we want to start with, we'll start with this one right here. I'm going to lay down our water. Very exciting stuff happen in here. You want to kind of lean a bit, get the light to catch. Kind of look at your painting, you know, back and forth. Kinda make sure you've got all those little spaces filled in with the water. So like if I took this up, okay, there we are able to see that reflection. That's what we wanna see. Okay? Alright, I'm gonna grab again some of the cascade. And the mint. Feel free not to have to mix those two. We can mix a little bit of the French to get it. A really soft teal. And then the name of the game with each sliver of pumpkin is really to just start in the edge. Let it start to fade out this direction. And then take a little bit, an edge it here along the outside. And you can use them down, down, dab, dab. And if you really wanna get into it with a little extra depth, craftsman a neutral tint. And just swinging along the edge here. Let's get a fade quite a bit when it dries, so don't worry about that part. And then I go over here, go moreover French Gray. And the long edge here is we actually want the salt to kinda do some work for us. So I'm just going to, I'm pulling that water in this direction is as you can see, this color is starting to push this direction. Okay, And that's because I pulled the water up here. So therefore, that surface tension is pulling that direction, ok. You can certainly add any other tones to that. It does not have to be that exact color. You can add a little bit of the yellow. The edging if you want to warm it up. For the ochre, just like we did with the leaves. That's really what it comes down to, is some of that French and just kinda mix it. Okay. I'm not quite yet to put salt on that, so we're going to jump over to this next one. We're going to skip a sliver and go right over to the other one. Same idea. Just swing the color along the edge, let it fill out. Swing on edges there. And you can pull some of that water off the edge so that you can kind of go either direction without. Now if I want to pull a little bit of that neutral tint, I can sum the cascade green. Just because I like what it does. That's cranial eating properties. A little bit of the ochre. This one is ready for some salt. So I'm just going to sprinkle just a little bit. I'm not gonna go too, too crazy. This one might be a little too damp, but I kind of want to see what's going to happen with it. I'm gonna skip a sliver. Go to the next side being mindful of that tip right there. You don't want to touch it with the other. It's going to swing in. And actually I've done some pumpkins were the two edges have met and they've got pulled into each other and it's not about look, so it's really going to come down to look, do you want for your pumpkin? That's all. That's going to come down to u, k, French gray. So you're going to, you can pick either mint, julep, cascade green. You can mix both. You can add French Gray. I am going to add a little bit of that ochre. Just going to dot it on there so that it can kind of just do its thing, can a melt into the painting. And yet we're just going to let it sit there for just a minute. I'm going to skip a sliver. Right? I had this planned out. Just so, so and then I ended up skipping the wrong one. So skip the stem, go to this one, then that way you can skip it, go here and you still have room to skip. But that's okay. The magic of editing. I can wait for this to dry and then it'll just be a snap for y'all and then we'll be on to the next one. But just do if you are following along this section, not the MIT and a little bit of the cascade. We'll put some Payne's gray Again, this is just creating a frosty look. It's part of why they picked it. I thought it would be pretty I'm gonna go ahead and add a little bit of salt on to that little piece there. That neutral tint right down in the base. So it can be kind of a deep, deeper tone. And you can take this as far as you want with detail. A little bit of the ogre. This one, just to create some warmth. And we'll go there. Now, I could let this dry and just heat going from piece to piece if you wanna follow along, which is kinda the point here, I'm gonna go ahead and just continue showing you how I would be working on this. However, I'm just gonna kinda keep going from piece to piece until it's complete. And then we'll circle back around to our first pumpkin. That's kinda how I want to show you how this works versus finishing each one. And then moving on because that would just take it does take extra time to wait for something to dry. So I'm going to show you how to speed that process up by going and picking different sections. Have picking like like a pumpkin patch, picking, anybody, get it. Okay. Alright. So to get our kind of mauve color, the pair lean is going to be our friend when it comes to this. So again, fringe, grey, parallel, parallel when Violet and got time, I think that's how you pronounce it. I'm not entirely sure. Need to look that up. And there's some of that lucky penny or quinacridone, scarlet I think is what they call it new. You know, they change the name. You can still get it. They just changed the name. Alright, so I'm just gonna take a light wash that tone. And if you have a pretty color you want to use, Go for it. I'm gonna go ahead and just continue. I'm gonna do this like I did with the wheat. I'm just gonna go ahead and fill in several sections. This is really again how I work because it's the process is just a little bit quicker. And let's be honest, who doesn't want to finish a really pretty painting quickly. Okay, and then those to touch that one. So we're just going to avoid those for now. Okay. And take a little bit of pigment. Swinging along edge, one edge there. And then deep brain data. You can smooth those lines out a little bit. Be mindful not to touch those two unless you want to touch the Jew. And then, in which case is perfectly fine. There's nothing wrong with that. And you can take this as deep or as light as you want now because this little guy is in front of that one, can just take that engine up. Same thing here. Just chill out. So it's really the, the nicest, easiest way to get pumpkins pretty effectively with that dark edge. And then we've got the highlight. And then you're on a skip that you've got the dark edge as if the pumpkin little bump is casting a shadow on the inside of that piece. So that's kinda how I look at pumpkins. Alright, who's ready to jump in to the big pumpkin? Let's go. Alright, obvious. Let's not start with this one because it's touching this. Let's skip over and go here. If you feel like this is to damp right here, don't start with ao and go ahead and skip it. Same principle applies. What on what? So? Make sure your brush is clean as we're going into some orange tones. Since I have a lot of water, a brush understandable head and sweep. Some of that water above that first little bit, had a little too much. So we're just gonna borrow water from that first sliver. Okay. And I'm gonna go ahead and do this one way like the water to soak in just a little bit before we put the pigment on. It's just a habit that I have. So I think once you start painting pumpkins, you realize how fun they are and then you just want to paint all the pumpkins. And I don't blame anyone for wanting to paint all of the pumpkins. All right. We've got our quinacridone Gold, which is the main tone I want to use. I put in some yellow orange just in case you wanted to do a more orange colored pumpkin. But for now, we're just going to stick with kind of the cone acronym gold and maybe a little bit of that orange color. So same principle. We're going to follow along the edge. Same thing here. We're gonna fall on the inside edge and go up, up, up, up, up. And I would say too, if you've got like there's, there's a pyro, transparent orange that's really pretty by core. But any kind of an orange color is perfectly fine and you can mix them with a lucky penny or quinacridone, scarlet, I believe it's called into this because this is actually a pretty bold yellow compared to the orange that's shown in the example image. So I'm just gonna grab a little bit of that. Yellow, orange, and that's actually really pretty color and I'm just gonna put it on the one side, the right side. Okay, I'm gonna follow the same principle that I took me use the acronym and follow along edge here. It's okay if I get a little bit outside the line, I'm not too concerned about that. Okay, I'm gonna get a little bit of a deeper pigment. Follow along here. The quinacridone has a very wide range of value, which I find really neat. Offers a lot. A little bit of that yellow, orange here. And then we can take a little bit of that lucky penny. That's it. Yeah, that's it. So dark in when it's in its full pigment form, but I want it's kind of like a, a pretty rust color. So we're going to just take some and go up. Up. And again, you can kind of just reshaped edges if you go over the lines. That's the cool thing about pumpkin. And I like them bottoms to be a little bit darker just because they're sitting down. I feel like they need a little a little something. And then over here, unintended, just kinda swing that pigment out and just tap, tap, tap. We're going to get really creative. You can kinda just, you can tap your brush and sling the paint around just a little bit. And then if you were just going to add some of that payment, just tap in that highlight area. And I'm going to add just a little bit more down here at the base. Because what I really want that like shadow to hit. And now we can add some salt. You can add kind of as much as you want. If you keep it, separate it out, it will should pull bigger pieces. And depending on how damp the papers like this one's less saturated, then this piece is off the one we just tackled. Again over here. This is drawing a little bit different than this part of what I love about this process. You never really know how much payment you're getting. I'm going to tap off the salt. Okay. I think we're good over here to go ahead and fill in the sections. I'm just gonna make sure there's no salt sitting on my slivers. I'm going to leave what's there right now. Make sure you get that fresh, clean out. Okay. We're just gonna take and do this one here. She's going to fill in sections here, grabs them in that mixture. And you can always mix your own color before you start, you just decide what kind of tone you want and then you can just mix the two to create your own pigment. So we're gonna have in the mix while you're painting. You could certainly do this with how I like a Sap Green and buffed titanium one probably make for a really pretty green pumpkin. C. I'm just going to add that little bit of depth right there. I want to maintain the highlight on that edge. Must swing over to this one here. And I'll let that settle for just a few minutes before I go to put salt on it? No, I kinda seeing real time how the salt dries and pulls the paint pigments around. It's also very cool. Oh, we need to add some fringe greater than just for that like Frosty, Frosty feel. And if you want to add the deeper tone of the bottom, Go for it. So I'm going to grab a little bit of that neutral tint and just a little bit of this for the warmth. And I'm sure that orange pumpkin is kinda reflecting a little bit off onto this, so it's okay to have that warm tone right in here. M101 spill in this section here. Gram or green mixture. Too worried about that stem, what's going to be a darker tone? I do love that cascading green node's properties are really, really cool. And just a little dab of that ochre color. Go ahead and put some salt down there since it's such a small section right now because those two touch here, here and that one touches there and jump up to this pumpkin. And be mindful of just to this. I May skip over. I'm gonna skip over here because that's actually still damp. So I'm just gonna skip over here, let that water sit on her. Anything? No, skip over here. Just got excited. I just wanted to do the middle one. Shows honor owner wants to it. So I'm gonna fill in Miller and I'm going to fill in this psi one less than water over here and grab mixture we made earlier. But just getting excited about the middle. And something to think about. If you're one that has a hard time maintaining color tones throughout a painting, just mix up what you want first so that you're not having to mix up small quantities. Just do a bigger sections of paint like the paint you want. Just go ahead and mix them up before you start your painting and test it out on some scrap paper. And that's usually a good way to, to figure out how you want to maintain your tones throughout your painting. Ready for some salt here, here, here, and we can go ahead and do this little piece right there. Let's not touching anything. If you ever need to feather out a piece, if you feel like you're, you're tones Gallo crazy, just, just feather out the tone with the side of your brush. Just clean it off and then take the angle and just gently sweep over the shape. That's how I do a lot of shading when it comes to under the eaves of houses or things. I just take my brush and go on. It's edge. Soloman at the two of those together. It's just really a matter of just tapping, getting just a little tiny edges there and throw Lobo salt on there. This piece is probably dry enough. We can go ahead and finish up this intersection. Just be mindful if you have more water on yours, then to do that, if you immediately followed me, if you watch this before you started the project, you know, you know which one to start with. So you just go for it. And avoid the touching of the sections is how I'm gonna say it. Incredible little bit of that fringe grey with that make sure in our Michigan era and the color around this is my favorite part because of all that wonderful texture. And again, kind of leaving that highlight in the middle. A little tiny piece of soul iconic grabbed it with the tip of my brush. Yeah, hose dry enough. Okay. Salt. You can kinda just gauge this. If your paper absorbs water faster, you might have a chance of doing sections a little quicker than how I'm showing this to you. So just be monitoring how that's going like this right here. Still really damped so I can't really go into there. This one I feel pretty good going into. However, we're going to jump back over here and then I'll, then I'll be able to finish up the teal pumpkin in that one. So again, I'm just making sure there's not little pieces of salt kinda hanging out. Or miss engines. Now I'm gonna take the number 12 and I'm going to fill in this piece here. The number 12 didn't really come into play too much. But again, it's, it's what you're comfortable with, what you feel good using. I'm gonna get that nice detail, but not too damp. Otherwise your pigments are gonna be crazy. But that's okay too. I don't really foresee anyone as they might think, messing this up. There's really no messing it up. It's really just filling in, in trying to find some pretty texture. I'm, my goal is to just show you how to create some shadows within the textures. So there's Matt, so I'm just gonna go ahead and use this number 12 and fill in the rest of these little guys here. And then I'm gonna do, and do this outside one here. I'm going to take a smaller brush. Grammar, quinacridone, gold. You could mix the two of those if you want or if you have a pretty orange color that you want to use, Go for it. That is the purpose. You do not have to have similar colors. For this tutorial. Is running that color along the edge up and over. You feel like you went over a little too much. You can always just kinda push the water out of the way. Let's mix a little bit of that orange along the edge here. And then we'll put some in that lucky penny. When that pea color, let's go along the edge here. Not too much though, since we gotta give me illusion that each bump is going into a different direction here. Huge kind of guiding my watercolor where I want to go. You can always add a little, little variations wherever you want. While that is soaking into the paper, I'm going to go ahead and put some color over here. Alright, quinacridone. And then I'm actually going to do some lucky penny on that one with that orange color. I'm just gonna go in here. And that because we are just going with depth and sat sitting behind that edge there. I did it again with that water. Can always take a little piece of paper towels in dab up, any little extra outside water pieces that you get a hold of him that way can't keep dumping pigment in that area. Because pigment has a mind of its own, of course. Okay, now we can add salt, run and run and my mouth. They're not paying attention. Sets on training. And on how much salt you put where actually I feel pretty good to go ahead and fill in just small sliver and shouldn't go ahead and fill it in. It's lucky penny on my brush here. Should we go ahead and just put in what on dry? Lucky penny down here. Orange. And then put some salt on top of it. Who doesn't want to do that? Oh, and over here we're going to add some salt over here. Okay, let's dive in and finish up our little sections we have left for the pumpkin and then we'll jump into the branches. And we're gonna fill in this little section here first just because it's the smallest. And that just sounds like fun to me. So therefore, I will do that. Same process, wet on wet. I fill that in with a little bit of clear water and I'm just going to go around the edge of it. Was some of that mixture of the paralleling violent in the lucky penny. Not going to fuss too much with it since it is a small section. A little bit of salt on there. And a jump down here to the teal pumpkin. Fill light and with a bit of water, make sure your brushes cleaned off. Apparently likes to stay in the brush. I'm gonna go ahead and fill in this side. Again, taking a little bit of water from that, borrowing it and putting it on this side, because I'm not really borrowing it, getting the water back. So taking the water from the other side, we'll just say it's that. Okay. So we've done that, a little bit of that cascade green, some mint julep. Swing it on the edge. Once you do this, a few times, you'll really get the hang of it. And I feel like you'll get confident with creating this type of texture. Because it's easy to do. Just takes a little bit of practice and go in a little bit of that neutral tint. Place along the side. You can go ahead and round out some of your edges to swing a little bit over here. Just to kind of define the edge. And then put a little down of ochre along the edge there. And then take a look at what you've got, See if you need anything. I'm going to add just a little bit more of this cascade over here. Just to give a little more, variants will salt on there. And that will take care of our pumpkin basis. So we're gonna go and finish the branches in our next video. See you then. 7. Branches (Stems): Okay, let's jump into our little stems on the pumpkin. So what I want to show you is actually we're going to use a little bit of this neutral tint to add some line work. So I'm just kinda going from getting a wash. To just dabbing my brush off over here on a paper towel to make sure I don't have a super dark pigment that are about to put on this paper. So I wanna just take a little bit and just run it right up and around down and just kind of outlining it. Then we're that base is we just kinda run little bitty lines up like that. And we're going to do the same to each of these stems. So just follow your outline. You don't have to be super precise if you want to add a little extra something, feel free to do that. Swings up and if you feel like it's not dark enough, just grab some more pigment. It doesn't take much to neutral tint has a violet base to it, but it's great for adding those shadows N, and then you can just run your top color over it. It's a great pigment for shading. So you just kinda wanna add a little extra down here. Just find what suits you and go with it. Okay? See how it's bringing some shape to our stems. And then we're going to finish up with this big one here. I'm just taking and I'm just going to run that shade right over. Me, dabbed my brush off on the paper towel because they noticed I had a little too much water and it created that kind of stick line. So knowing how much water pigment ratio you have in your brush at any given time is going to help you with stroke control. Okay. And I'm okay, kinda just filling that little section in there. Again, if I want even a thinner line, just gonna dab that brush off and then come over here. Those little like a knotted piece of wood or Twisted, Bent, that kind of a thing. So I'm pretty happy with that. Looks twisted. It looks good. You can add a little darker if you wanted the little base. That's perfectly fine. Now that we did those three, we're going to go back to the first one. I'm going to grab a little bit of the burnt sienna mix that actually with well neutral tint. If you want a cool tone brown mix, a warm round with a neutral tint, and it's going to cool it on down. You can stick with the burnt sienna if you want a brighter stim. That's perfectly fine. New problem there. Right? If I want to pick up a little bit of that pigment, just gonna take my brush and scoop it up. And again, just play with the pigment. Depth is you might want to just play and see what works. I'm pretty happy with that. So let's move on to the next one. Describe a little bit of both. You can grab just one. It's not a big deal, I'd say practice with one, see how it feels. And then if you want to add a little bit of a variable, you can't, you see how that, that base painting just makes the stem pop? That's part of what I love about that process. Just find it very cool, very fun to do. Because it's easy once you get, once you lay the brickwork down, you've got kind of smooth sailing ahead. Which is great. That's what I1 and painting won't be fun, simple, and relaxing and enjoyable. Of course, if you want that base to be just a little bit darker, you can just tap, tap, tap, some darker tone along the edge there. Super easy. See you did it. Okay, we're gonna dive into our leaves in our next video. 8. Maple Leaves: Okay, time to tackle the maple leaves. So we've got one that's a little more yellow, orange, one that is darker. As far as the example goes, you can make them whatever color you want. If you've got some green tones you want to put in there, feel free to do so. I want you to have fun with this. Ok, so the way I laid the leaves out, I've got this little section here that's actually part of this leaf. So we're going to start with this section. I'm just going to lay down some water. I know big reveal shocker. Now what this process looks like, I didn't fully clean my brush out. And that's okay. It's not a big deal. Just following edges. K, kind of moving quickly, tend to not dawdle when it comes to laying down water because your paper's going to start to absorb it. And you really want a fairly even coat of water across your section that you're wanting to paint. Ok, we are going to lay in some of that yellow orange first. And then I will lay in a little bit of that burnt sienna. So orange is going to be a little bit more vibrant. So I did a tutorial on a black Lab will then Maple Leaf in it's mouth. And so you, you can also apply the same techniques that can be variable colors throughout. And you can kind of put polka dots here and there. They'll blend in with the pigments as you go along. You just feel free to have fun with it. I'm going to grab a little bit of this burnt sienna and run it along the edge. Since those pumps as the pumpkin and the edge of this leaf is sitting on top. And then I'm going to get some of that lucky penny or quinacridone, Scarlet and run it even further. To get that shadow effect. Really create some depth here. And if you wanna take it a step further, go grab some of that powerline Violet. And I run it underneath the edge of the pumpkin. And of the other leaf. It's really going to make it pop. And since this leaf is on top of that one, you can run some of that color along the edge there. Okay, now we'll salt on top of that. We're going to wait for that to dry. Since we're coming towards the end, you're going to need to be patient with this one. Let your edges dry before you jump over here. And a little bit of pain to the edge of the leaf. Just to give it kind of weathered. Look. Okay, I feel confident that the edges are fairly dry enough for me to go ahead and tap into this next leaf. So for this one, I'm going to have a little more of a red tone. But same idea. What on what? Okay. We're gonna go in with that lucky penny. And a little bit of the quinacridone gold. So I'm just going to mix those two together. And then you know that I'll grab some of the parallel line, violet as well. And you can mix a little bit of the French Gray in there if you want to just create kind of more of a purple, Deep Purple tone, more Fall tone colors. And then while that's just kinda hanging out and come over here and fill in this section. Fill in this section. Okay. Super exciting. Making sure I have lean back and look at your paper if you need to tilt it up just to see the xin, see how, what that section is. And just kinda mixing those two really whatever tone you want, it came out more brown. But that's okay. So I'm going to add that parenting violet. In just a moment. We can just have fun with this just edge or you want, let it kinda just do its thing. Come underneath here. Really make a statement. This kind of following along the edges of the pumpkin. And then you can even edge here leaf with some of this darker pigment. Just a kinda really get it to pop. And then you can just barely take your brush and just tap into that section there. And a little bit lucky with someone that yellow, orange and just damned him down. And let me take just a tiny bit of that yellow pop it in there. And I probably should have used more of the gold I just realized. For someone that said they loved pigment to not do justice. Super satisfying, remembering camera closer. So I want to show the cold. Such a pretty effect. Okay, and let's put a little salt and missed that. Dried. Or I was overhearing, fascinated by the gold. Paint. Should be able to just kinda brush over this a little bit, add a little pigment to the top. And through some salt on that. And now we wait. Alright, in our next video, I'm going to just clean up some edges, show you how to add some details in here. Get it tidied up a bit, and then we will be complete. We will be finished with our pumpkin patch painting. 9. Final Details: Okay, let's go in and finish up some detail work for our pumpkin patch. I've mixed a little bit of some neutral burnt sienna just to make our darker brown told. So this one, I just mixed a little French Gray with that ochre and then I just the tiniest bit of neutral tint. So again, taking that brush and just dabbing off on the paper towel just a little bit. I'm just going to come over here and start working on pulling small outlines. If you want, if you're happy with what you have so far, don't worry about the outlining. That is not a big deal. This will allow you to create, you want to create some wisps, some texture. So variance. Yeah, if you want to create like little tips on the branches here, you can just take and swing out some of those details. You really can get into it and create little designs on each of these as far as like you could do line work across them. Really could do some intricate things to this painting, if you so desire. Are just going to go along here and just gently drag some outlines are really gets too thick. You just go over there and dab it off on the paper towel. And then when you say you can take little tiny wisps, cross their small little lines. Depending on how you like to work, you can either pull the wines out or you can start from the tip and pulled down. I would just say, do what feels good to you and what feels like you have the most control. It's going to be a good determination on what direction you should go. And sometimes if you need to turn the painting, you can turn it to accommodate the angle that best suits you for the most steady stroke depending on what you're working on. And just kinda picked which ones to start on. My just kinda I'm looking at I'm like, hey, what do we want to add to that? So, and I'll swing over here and pulling down. And then again, you can just kind of add what you want. Make it your own. And if you're happy with the way it was before, don't worry about it. Don't worry about adding any line works. I'm just one that I kind of like to have things tidied up a bit. I'm not really sure why and probably shouldn't. Be like that. But I just am. So for me, I like to just simply outline things. Makes a crisp, clean. But not everybody goes for that, so that is okay and that's the cool thing about art. Art offers so many things to so many people. And it just makes sense to have so many different styles up there. Just kinda continuing along along my set. And if you wanted to add some sprigs, just like some straight lines, you could add those to like just like wisps out here. You've got a nice steady hand and feel confident doing sin wisps. I say go for it. It's depending on your brush. You really can get some nice points going depending on your, your stroke. Just almost like too little small curves around each one if you want to just kind of make it just a swish swish mindset. If you want to add anything to each one, you may do so. I'm just kinda go along. We're going to do some line work around the leaf edges and then the centers. You can mix a little bit of that cascade green with the parallel violet it makes for a very pretty color. And then come over here and just kind of gently and a little bit of a line. And the lighter your wash is, the lighter, the outside edging there's going to be you don't need it super dark. I say I don't think I want super dark. I like to kinda feel through how I want things to be right now for what I'm doing. I'm just going to dabbing my brush off and I'm running the pigment I did put on there just for like a little shadow and then you can clean your brush off and you can keep going just to create that little bit of depth. And then gonna come back and yellow pigment and then kind of dotted in there. Same thing here. Create a little wine edging. You could also do those. So for watercolor pencils, which is great if you have a set or if you want to pick up a few colors, if that feels better to you. If you're more comfortable using pencils, I find that I really like drawing. So adding the element with the watercolor is. Awesome. And a lot of my tutorials are going to include watercolor pencils. So that is usually my go-to and I'm a fabric Gastel gal. So those are usually good ones to go after. He had just kind of get a feel for how far you want to take your outlining. You really could probably get into it as far as fussing over details and things. Because I know I can it's easy to do. So easy to do. And I'm just taking just the shapes that I feel like. I ought to take. Just the directional areas of finding my way. Okay. Now the fun part with the pumpkins. So I've mixed a little bit of a darker teal with that paralleling again, I don't want it super dark, but I went dark enough to create some depths here in between. And up and over. And again. Be careful that tips in terms of tickers, moment crazy. Marianne, if you want to pull that shadow, you just get your brush and just run it along the edge there and pull like pull some of that pigment out. And then you can kinda just feather it as you go. Same thing here. And just kind of pull that dark tone up and over. And if you want to run that color up, and you can always take a little bit of paper towel, dabbed at it if you feel like you've got maybe a little too dark and will maintain as much texture as possible. And I achieved during the salt laying process. So I'm not gonna go too crazy. They're just kinda an evening out. The value in this in between each sliver. And again, I just kinda decided to jump up can my I caught this upper pumpkin area and I went, Oh, camera and a catch that real quick. Usually a reason behind why I do things. Or sometimes there's not. Sometimes i have no explanations for things. And that's okay. There's nothing wrong with that. So you can probably see by now how we're gaining a little bit of like a punch to this pumpkin as far as the depth is concerned. When you want to take. Some of that cascade green and run it on the inside there. Create some of that deep tone. And I'm just going to swing that out, feathered out a little bit with a little bit harsh line for me personally. And then I'm just gonna run engine here and here, fill in that side. And then I dabbed my brush into the water. So I'm just kind of gently running along the edges just to kind of feather out that tone so that it's not quite so, so harsh. And you'll notice with some pigments you can move things around a little bit once you put them down, but some other pigments, you you can't do that. Okay. So yes, fill in some gaps. They're now here and actually add a little bit of a shadow image you is when I connect feather that out as well. Tiki here and kind of go up with it. So there's not quite a hard line. It's subtle. Like the marbling texture. We got in the here, in this area. This nice k. I'm going to take here outline that makes it, if you want a more pinky tone, mix them of the powerline myelinate in with the lucky penny. Yo have to leave me a comment. If you end up picking up the quinacridone, scarlet, it's an American journey paint. It's got some really nice tones to it. I can see it doing well with certain pets as well. So I've just got a nice russet tone to it. See it doing really well and some of the ai's. So dogs have those really nice deep brown eyes with a red base to it. Okay, and again, you can just kinda feather out further, further, further. Alright, let's jump over to our pumpkin and use that quinacridone shown in orange, yellow. See if we can create kind of a nice tone that's deeper than what's there, but isn't necessarily super distracting. Oh, and say no if you were like me and realized by the time we got to the leaf, this little section here needs to be filled in as part of the pumpkin. So just make a note of that. You are wondering, probably noticed times you can take your brush and kind of use the edge there to kind of widen that stroke there. And then you can take it and kind of figure it out and go between the two there. If you feel like you need a darker tone, like I feel like any down here at the base of the pumpkin. Please grab some of that really nice lucky penny color. And just remember when it comes to pigments, pigments offering you a very wide range of value. So you can take the corn acronym gold and do all the pumpkins with them. You can do different values on each pumpkin. As far as the tone. One might be Lego light gold, one would be more orange if used more pigment. Just some really nice things to offer. Okay, I'm gonna go in with some neutral tint and add a little bit more here underneath the edge of the leaf. And I'm going to kind of feather it out. Same thing here. I'm just going to, I want to deepen that so that you get the illusion that that leaf is sitting on top of the other. Vs it Can I like meld together, taking it even deeper pigment along the edge there. And following along here, it's almost gonna look black. You do not have to go that dark. It's just a suggestion. Can wash your brush off to have it on your paper towel and you can pull that pigment so that it is not a hard line. Okay. And we can do the same thing over here along the edge. Just because at pumpkin is sitting on top of this leaf, we've already got a really dark base there, but we can take it a little darker in, feather it out. And if you want to pull some of that tone up into the pumpkin to create some depth. You can do that as well. And taking some of those Lucky Penny can make some parenting to get a deep tone expose, you can make some orange if you want to, give it a warmer tone. You can use that for some main work. Just gently run your brush down that off so you have just the slightest amount of pigment and then you can take this. And jester. Go to town, listen veins. You could also take a pencil and do the same thing. Or age open and outline, kinda like I did with the black lab painting of the leaf. I added some white gel pen marks to the leaf thing. So there are options. Do not have to stick with this. Can march to the beat of your own home. If you have not realized by now, I am going to always give you praise first and then we can discuss details later because that's what I'm here for. You feel good, don't you feel confident? And will you feel accomplished? Which I'm sure you are accomplished, NO matter your starting range. The fact that you're doing this class is telling me that you are accomplished. So remember that we're going to be kind to yourself. We're far too hard on ourselves these days. I'm just saying, be kind to yourself. Give yourself grace. Your learning. Takes lots of practice. Patients trying to get the hang of how to hold a brush, how to navigate, how the chip handles. Every time you do a painting, you're going to learn something new. You're going to learn how to approach something. And you may be differently or you may say, well, I don't wanna do that next time. And that's the cool part. And so in each of my videos, you're probably going to learn a little something different about the painting that we're working on. Okay, let's finish up with the brown and then we're going to be done. Just want to add a little bit of a pop. So probably go deeper with that under painting to not have to go back over. It is probably my suggestion. It tends to do that where I paint something and it's still a really light tone, but I want it to pop. So I'm just going to add a few little lines just to add depth. Because right now it's kind of a light looks like our light grey to me. And he just wanted to it a little darker. Feel free to add shadow under here if you'd like. I did a little bit of a shadow guide in the black lab tutorial. So if you feel like it needs to be anchored, doing shadow if you like it in the center with all the weight, Believe it, or you can shrink this down and write some words and say Give thanks or be thankful or whatever you want to do with this. I'd love to see someone go crazy with the glitter pigment. Yeah, I want to see your finished projects, so please post those. Asked me questions if you have them, and I will be here for the next tutorial. Thanks everyone and happy painting. 10. Thanks & Share Your Project!: Congratulations, you've just finished your pumpkin patch. Well-done. I'm sure each and every one of you did a fantastic job. I had find teaching you how to create the texture with the salt and just working with you on practicing the way I'm wet technique to achieve the very cool texture that's a part of this painting. And you can paint publics, pumpkins whenever you want. You don't have to pay them once a year. Anytime anytime Hopkins are great, you might get a little bit pumpkin happy Some people do. When you start to faint. You just want to keep painting more. I'll give you that. You just keep painting focus. So I want to see your projects. Post those to the project gallery if you have any questions, please leave those in the discussion. I will be on the lookout for those so I can get back to you as quick as possible. While using those projects. I'd love to give you a little bit of feedback and hope to kind of guide you on your painting journey. So I don't have the date, please reach out if you're not already be sure to give me a follow on skill share so that you'll be the first to know when I post new classes and I send out updates. I'm going to try to get into the habit of possibly leading like a class discussions on time. So be sure you're doing that so you can be involved in their community here on skill share. And I would love to read some reviews if he'll feel free to leave a review once you've taken the class. So thanks for taking this class if you are interested, if this has piqued your interest in watercolor feel for you takes all my other classes. I have 12 available from beginner level to intermediate. So go check those out and we will see you next time. Bye.