Watercolor Pumpkins: Paint a Pumpkin Tower | Madi Smit-Kliffen Madiliefje | Skillshare

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

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

Lessons in This Class

8 Lessons (1h 39m)
    • 1. Welcome!

      1:13
    • 2. Materials

      2:22
    • 3. Colors

      7:51
    • 4. Painting the first pumpkin

      39:27
    • 5. Painting the second pumpkin

      24:05
    • 6. Painting the third pumpkin

      16:18
    • 7. Painting the stem

      6:06
    • 8. Final thoughts

      1:09
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21

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3

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About This Class

GIVEAWAY!
Watch the class and upload a project before November 30th and win a Watercolor Confections Vintage Pastels palette!
I love this palette so much! It has the best colors that work for every season! I use it in this class as well and I wanted a lucky student to be able to try one of these watercolor confections. They are just the best quality and in such a great, compact package. 

cfa49718

Hi there fellow art lover!

Thank you so much for stopping by here on Skillshare. I have a wonderful and fun autumn class for you! We will be painting pumpkins :-) And not just any pumpkins, but a cute pumpkin tower in lovely autumn colors. 

This is a beginners class, so no previous knowledge necessary, although some knowledge of the medium always helps! Hopefully though, it will also be interesting enough for more intermediate and expert students. I will show you the two basic techniques in watercolor: wet-on-wet and wet-on-dry. We're gonna have a lot of fun and watch that pumpkin tower grow!

In this class I do not show how to draw the pumpkin tower, but I have made a traceable outline available in the resources section of this class. Head on over there to download!

Let's make some pumpkins! 

You might also be interested in some of my other classes:

Meet Your Teacher

Teacher Profile Image

Madi Smit-Kliffen Madiliefje

"Creativity is contagious. Pass it on."

Teacher


Hi there my fellow art lovers! :-)

My name is Madi and I'm a watercolor artist based in the Netherlands. I fell in love with watercolor about 2 years ago and it has brought me so much joy since! Skillshare has taught me so much (and still does!), I've met
amazing people and teachers on here and that's one of the reason why I started teaching. I wanted other creative enthousiasts to have the same experiences that I had. I started teaching in May 2019 and will continue to upload classes as I go!

Behind the scenes I'm currently working on a webshop and I would love to teach some workshops in real life as well :-)

I hope you enjoy my classes! Feel free to contact me if you have any questions via instagram (@madiliefje) or e-mail ([email protected]) ;-)See full profile

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Transcripts

1. Welcome!: Hi there and welcome to my skill share class on how to paint watercolor pumpkins. Not just any pumpkins though, we will be painting a pumpkin tower. I've chosen a design that has freed pumpkins stacked on top of each other from big to small. Now, the reason I chose this design is because I really wanted to show you the two beginner techniques of watercolor. Wet on wet and wet and dry. So we will be doing one pumpkin wet on wet among pumpkin went on dry. And then for the third one, and you can choose whichever technique you thought was the nicest or work the best for you, or was the most fun. So I've had a lot of fun making this class and I hope you will have a lot of fun painting along with me. It's recorded in real time so you can just paint alone. I will not be discussing the drawing in this class, but I do have an outline in the project resources section. So you can find that there. And yeah, I'm really excited. Let's go make some beautiful pumpkins. 2. Materials: I'm very excited that you're here to paint this pumpkin terror with me today. Let me show you which materials we will use will be painting. This mixed media, watercolor paper, royal talents. This isn't an A4 format and it's 250 grams. Of course, any watercolor paper you have will do. If you have one that's 300 grams or more, I would recommend that because we will be doing some wet on wet techniques and that requires a little bit thicker paper, pencil and an eraser to draw the pumpkin tower. I will be using my size four round brush. Like this brush because it has a good tip. So for those pumpkins slices, I can get in there real nice at this brush. And also, I'd just like to work with a little smaller brush because it gives me a little more control. Of course, whatever brush you are comfortable with, that one and you can change throughout if you want to use a big brush for the bigger pumpkin and smaller virtue to smaller pumpkins. Of course, you can do that. I have a ceramic paint palette to mix my colors. And if you don't have a pallet, or you could also use a ceramic plate. I have two containers of water, one with clear water and rinse your crush in. The clear water is especially important for low metal wet technique. I've a paper towel to dry my brush and a variety of paints that I'll be using. My big pain set, which are Van Gogh paints with all their normal colors, let's call it. And I have a vintage test cells palette from premium marketing. If you don't have these, these colors, I'll be using two from the vintage cells. I will show you how to mix them with just your normal colors. So don't worry if you don't have that. We're going to be alright. And of course, if you want to choose different colors than I am using, That's alright too. It's your party, your pumpkin tower, and let's just go and have fun. So these lighter materials we'll use. And next up, I'll show you the colors. 3. Colors: Let's take a look at the colors that we will be using today for our pumpkin tower. I will show you the colors that I'll be using. First, just from my pallets, also from the vintage hassles pad. And then I will show you if you do not have these colors, how you can mix them with your regular colours. So we have three pumpkins and our pumpkin tower. For the bottom one, I wanted to be like a dark orange. So I'll be using some burn CNR or any mix these colors for you. And some cold, dark red. You mix those two. So you get to those really nice orangey color. So that's cool. It's almost brown. Maybe it's even two grand now, but you can always adjust. Keep in mind that this is like the darkness that it'll get. So we'll be using the runaway technique and also show you read on dry technique. And then just start contrast. When you want it is down, you get this nice orange glow and that's just gonna grill next. So see if you can get a similar color like this. Maybe you like it a little more orange, maybe like a little more red. Just whatever you like. Then for the next pumpkins, middle one, I'm gonna take my dark rooms. This is a pretty mapped to color. The pink with the G2 brown. And then for the little pumpkin, I will be using terracotta. It's cold. It's kinda this bg color. Now, if you don't have the vintage pastel color and you want to get a color similar to dark rooms. You could use. I'm just getting some RED. Choose normal red. And my college it's called Permanent red, deep red thread. And then you could add some Payne's gray. You get kind of a similar. Of course it's hard to replicate exactly. And then this one is a little bit darker. Then the dark rows that I still think it's pretty pretty cool, autumn color. And if you think, well, it's a little too dark for me, then you could add some more, read more like it. So just play around with that a little. And I think whatever color you choose, really nice with it. If you don't have the terracotta. And I'm going to show you how to mix that. You could use some yellow ochre. Too much though it can already be pretty light. And then if you have a white watercolor set, you could add that. You get this really kind of nude color, which is a Terracotta, is actually and then C, So it has a little more yellowish undertone Because we use the other ochre of course, but it is kind of similar. And then of course we will have the stamp. And I want to use, because these colors are quite light. Yeah. I want to use a bold green color. So I'm using my parodying green. And it's just as you're the nice dark green one P n. Now if you don't have this color, you could also make SAT. You can take some sap green, which is in most color sets. Just the normal thermal green. And then you add some pain screen to that as well. And what that does is just darken it up. And you get this nice dark green card, which is a little less intense, then the parodying green is similar and you might even prefer, right? So there we have the colors that we will be using. So this is burnt sienna, parallelly maroon. This is the dark rows from the vintage test cells pellet or a red mixed with pain scrape in ferrying type cells red and rate. This is the total cutoff from the vintage vessels or some yellow ochre with white. And we have for the stem parodying green, some sap green and Payne's gray. So I hope you're excited to get started. Next step, I'll show you the pumpkin tower, how to draw it, or at least swear to fight the drawing. And then we'll get started on painting our pumpkins. 4. Painting the first pumpkin: Alright, so I have drawn my pumpkin tower. I will make this sketch available to you in the project resources section. So you can either download it and trace it or you can draw it from their renewed try to draw it yourself. One thing to pay attention to or the easiest way for me to dry it was to start with this big section in the middle, which has this kind of like like a corn seed shape. Maybe that makes sense. So you start from there and then you make like these half-moon shapes that go smaller the further you go and it goes a little up to make sure that it looks rounded. And then I have just repeated data and I've made the position a little bit different for each pumpkin so that it looks like they're stacked onto each other. And I've only drawn a stamp at the top one because here you would not be able to see it. What we are going to do is we are going to paint the pumpkins from the bottom to the top. And I will show you some different techniques. I will show you the wet on wet technique, which I will do on the pumpkin here, the bottom one. And I will show you the wet and dry technique, this middle one. And then I'll see what I feel like doing on this coupling. But I wanted to show you both of those techniques because they're really important in watercolor and it's fun to see what difference it makes to you can also start to figure out for yourself what kind of technique you like and what works for you. Some people love wet in wet technique, others love the wet and dry technique. And the Effexor are different and it also depends on, on your paper, depends on your paints, depends on so many things. Water colors, so unique and that. So don't worry if it doesn't look at all the same. As long as it looks like a pumpkin, you're doing all right? And we're just going to have some fun with this. So you can download it in the project resources section. I will make it available. Make sure your version though, mine has pretty thick lines, so that is visible on camera. But make sure that yours are erased, at least slightly so that you don't see it through to paint, especially if you use the lighter paints for the top pumpkin. Alright? So I'm assuming that you have drawn your pumpkin and you're ready to go. My paints here, I took these two panes out of the pallet so that I have a little more space. And we'll start. The bottom one, which was going to be the dark orange one. And I'm going to show you the wet on wet technique. What went on. What means is you put wet paint on the paper that is already wet. So we will wet the paper first with some clear water. And that's why the clear water containers so important. Because if you don't have a clear winner container than the water you put on, it'll already have colour in it, and that's not what we want. So we will wet the paper first and then go in with the paint because it's wet on wet, but also with wet and dry really. Were these alternating? They have a chance to dry before we do the one that lives next to it. So I'm going to mix the paint first because after we've wet eggs, we have to work pretty quickly. So I'm gonna make the color for this pumpkins on my palette and then I'm going to wet it. So I'll be taking some friends, Yana, if you need, you can have some scrap paper on hand to test out the colors that he was looking for. Alright, so I'm going to clean my brush, my paint mixed. Now I'm going to clear water. And I'm going to start with the one here on the left, the big one. And I'm going to put down code of clear water to slowly make sure you follow your sketch. Whose, where the water goes. That page will, will to God says your lines then the people go outside to plausible. Now what you want is you want this to be wet, but you don't want like a big colored water. You want make a nice on the paper and you're sitting in the nighttime, you can see them. So this area now, I'm gonna go in with my paint and I want to have the darkest part of the outside. Yeah, this is it on the outside. I'm not very good with shadows, so it might actually be on the inside, but yeah, let's do the insight. So you're gonna take your paint and you're gonna go pass this. Here, as you see, it already already booms out new nicely into water. And now like I said, depending on your paper and your pain will go out. A lot of oranges smell. And you can help goodbye for me somewhere. Painting their arrangement, brush, brush. You can help the paint by. So still going as long as it's wet on this side will be pulled into there. So I'm going to help it a little now because I want the other part of this pumpkin to be. So I have a little bit of color as well. Alright. So now I want to have, I want this, this section like where it will not exactly overlaps, but where it crosses the other section. I want that to be really dark so that you really see these lines very well. So I'm just next to this. I'm gonna mix up the same color but a little bit more pigment and so more paint, less water. And then I'm going to, I'm going to go over it again and it's still wet. So you see that? So it goes into each other. And if you think, Well, I wonder a little bit more color on this and just take some of this will be lighter. And you can always adjust. What are some lines in here, as you can see, I'm not very good at wet and wet because I like to play with my pain too much. Basically, you when you're doing homework, you should just let the pain do its work. And I'm gonna try to do that for the next one. You can get all sorts of fun textures, especially if you put some more water in sudden believe. Okay, so I'm gonna stop now. Let's paint this mental. Wow, so we're gonna went this, but here we are going to be hitting the most shadow on this side, but also a little bit on this side. And I want to highlight to be in the middle so that it looks the most refined. Alright? So I'm taking some clear water. And by this time you're clear, Warner has a little bit of orange in it. You know, that's okay. Because you wanted to be orange anyway. But just be mindful of where you run sphere and you leave your clean water. A good amount and what follows? You will see how to Pete 3x. If you're if you have enough water or not, it doesn't show at all or you will see that and you can just suggest putting in some more water. So I'm going with this one more watered-down version first. Let's see. All right. So this is just my paper. I know that there are different types of paper where it leads way more into it. But yeah, working on this fever and I don't mind putting in some extra water to make it make it move. Here. Will stripes, you know, who can have some texture. Now I'm gonna go ahead and lives this, pigment it. And just go over that. Again. You don't have to think carefully. A little more pronounced here. Because here we are going to have the other shadow part. There is no right or wrong. Now then art, especially none and watercolor. As far as I'm concerned. You to play with my little especially, you know, you can get some people might not like this effect. But it's just, yeah, it's like no other medium. That's all I can say. So I'm going to make a bit more of that really pink luncheon. Pain because I want this shadow to be more pronounced. If, if one time you mix it up into subtle redder or it's a little more brown. That's right. Nature and that everything is the same car everywhere. In part C. Now here it's still wet and dry it now you see the difference in what that does is easily fixed condition. Well, some water. That's also a lot of things in water polling can be fixed by just putting more water on there. So if you don't know what to do, put more one on there and just see what is meant. Everything got me fixed that way, but a lot can be fixed. So I'm just going to get some clear water and I'm going to drop the sin. And that will be some nice textures, kinda like that one, which I like. So you don't have to do it if you don't like that. Alright, let's let this one dry and then we will move on to this one. And like I said, I'm not very good with shadows. You should read up a little more before I made this class. I'm just gonna go with me. You go that way. The shadow is here because the other one is in front of it that way. And to the right, the shadow will be undecided because, yeah, yeah, shadow created by the inner part of the pumpkin. Danger. That makes sense. If it doesn't, I'm really sorry for it and trying to be too realistic here, so it never really mattered that much. Alright, so I have this part. As you can see, my, my wonder is getting a little more orange as well. So I'm going to take some paint. And so this is basically what, what are, what is it? That paper first and then somewhere, pizza. And it is especially used a lot and landscapes because you get really nice. Even blends. Like if you were to do a landscape and you want to do a sunset or something, when the page first then predominate, you could code of pink and orange and you can just. And to each other and just way more than it would if you were to do it went on dry. But it also works before. Well, pumpkins, obviously. It works for flowers as well. When you've got like pedals and you want to put down a layer of really liked pink if you're making a pink flower first, and then you could go in with some more colors and just really got this nice flow going. Me I like to do when I'm wet. Especially when I feel stuck creatively. I will just paint a white omelet or something. Just put a little water on a paper on some pain and just see what it does. You know, don't have to worry about much shadows or are teaching within lines. Well, mostly you have to worry about continuing lines, but it's just really relaxing way of painting anything. But it is something that you learn, especially for me. It was hard at the beginning because and pretty much perfectionist and I wanted to control where everything goes. And yeah, that just doesn't work. It doesn't work in watercolor. Abode definitely doesn't work with wet in wet technique. So I'm just I'm just tinkering with this. I'm just like I said, pretty nouns, Some of them no more watered-down pain first and then some clear what our to draw the Colorado little gnomes. I'm just making, mixing up some more pigment. Just dropping it within there and just seeing how flows. And sometimes it needs a little more help and sometimes a bit slow to hope at least that you are having fun. Because that is the most important. And as you can see, it tries up really differently. You know, like when you look at it now you may be going like, hmm, yeah. And that's just sharing this going to work. But when a dries up, at least for me, when this is dry it up and this has dried up. I'm like, yeah, That's exactly the color that I wanted. The kind of texture that I wanted. You know, basically I used too much water on this. That's, that's what you got then, but I really like that texture. So I'm just that's why I put in some what are NET honest and clear water. And you just push that into the pain and then you get these nice textures, which I like. And I hope you do too, or otherwise probably wouldn't be following this class. So I have painted this slice. I am going to see if this one is dry. And it is. And this is also tracked. So you can do this one in the middle. Now. It is dry. But of course we always have to be very mindful of how we painted. Because it is watercolor. Again, it gets reactivated with water. So if you put too much water near the edge or too much paint, none will flow into each other even if in his driveway. So just be mindful that that's more than what I like to do is to not let it touch. So just leave Lake gap in-between. Notice I'm calling it slices. It's not a word but English isn't my first language. Was just saying like maybe half a millimeter. That one that one. And if it touches and that's okay because it's all gonna be the same color. All right, so somewhere here, maybe you have a nice orange color and you don't even need to mix it up. But I thought my oranges were just too orange. That's possible. So I'm gonna make the shadow on this side. So what are the page? Taking my paint. Yeah. Stripes. Thanks. Chin. And then if you touch the other pumpkins, you see it's not that fast that just being mindful movement and movement pulls these gaps here. So below or you can leave them open. Like that. It's possible to want a little bit of that darker and more pigment paint. And I'm going to get that next year. Slowly build up the color without trying to touch that one. Tends to see. You may think it looks a little bit too. I'm just gonna take some clear water and just think that affect aloneness. Just barely visible but something went wrong. You know. And really this is just plain. Like normally I would smooth this down because I don't know it's going to look it up, but let's leave it like this. You have to experiment sometimes, like this and I'll take a look at it. All right. Try as well and that one as well. Really make sure it's dry though if it's still like a little or you still see a little Xin. Don't do it yet, just wait, because otherwise you get one big blob and we don't want that. So I'm taking my Clearwater putting a code of one. There are no holes. Everything is alright. I'll do shadow on this side. We've got the feeling I got this all wrong. And there's about a grade. And so I'm gonna take some clear winner. Is Clara somewhere those stripes because I think, I see and think, what are the known too much so you want exactly see it. So leave these for now. Tinker with them so that they have a chance to dry up a texture. And instead of just one solid color, I'm taking somewhere of that pigment paint. That shadow is what do we do. So basically for every, for every slice makes some new paint, at least for the pigmented part because I wanted to be really dark. And so you can see with this one, does triangle darker color in there. And just keep adding until careful not to touch the other one. So it was drying up pretty orangey color in there. So I put down a line of darker color and water. But man, I just have to take some more clear winners, fade it out into a fan. Okay, we're almost there for bottom pumpkin. So that's keep going along. That acid is one who can take over this part. But sticking with it. Make sure you sketch though because that is your guide, especially when you're working with them wet, drying my brush and just taking a little bit. So you really do have puddles because you took hold so much water, just dry brush and go with it and absorb it. So now as you can see, my wonder, already too quickly enough and a pick up access water as my piece to drive. But that's okay. We'll just go with the smaller load time. Look at I'm gonna take the pigment into three to turn your page by the way, whenever you need to. So it gets less pigment. Go in there with brush double time and fun isn't always. So right now, you would think we are done, but we got this small part over here. We still have to paint. Thankfully, this one is already drives so we can take some clear water. I'm gonna turn my page now. There's one. Make it to easily done peacemakers. And because it is tiny and also it also clean my brush and I made it a pretty dry my paper towel and pick up from that pain, just push it back to the site where I felt none of that. And CEQ bitmen to try my regression again. Back. Alright, there we have our first come K. Now as you can see, these gaps are closed all the way. So if you want that I think immediately become better. You take some paint, maybe went down a bit. And this part is light and paint and spread that out with some clear water. Now when you're fixing things like this, be sure to always come to him that work nearly enough to paint the entire slice again was just some slightly clear water. Not everything, but just enough so that it's blended in again or you will get weird looking straight. On this side. You could just some things if you want, like if you're like, I wasn't a part of this bill and more darker or anything you want to fix, you can do that now. I'm going to get a clean paper towel and a clean palette. And then we'll meet you back to the middle pumpkin. 5. Painting the second pumpkin: Alright, so my first pumpkin has dried. I really like how it dried up. I hope you are liking yours as well. But I especially like is just that a pumpkin isn't smooth. It has like this kinda rough texture and I think that this kind of represents that in a way. So I'm happy. I hope you're happy to. I got a new paper towel because I was pretty orange and a new container of clear water because that hasn't gotten a kind of soft Orangi. You'd go to it. And I didn't want that because we were starting with our dark pink one. So here I showed you wet on wet. Now I want to show you went on dry. So that means that we will not be reading the paper first. We will just put the paint to the paper. And then I want to show you how to, how to work that so that you've got the same effect, right? So here we wet it at first and we've got like a little lighter color and then the darker color for wet and dry, I'm going to put down the darkest color I want. And then with some clear water, I'm going to pull that to the rest of the slides. If that makes sense. I will show you what I mean. So make sure your pumpkin is really dry. But I'm sure you have by now. I am going to use this dark rows. Remember if you don't have the dark rows, you can mix some red and pains great. To get kinda similar color. I will get my brush and I am doing to paint on there. So let's start with the outside one. So what I'm gonna do, I want the darkest color to be here when it meets the other slice? Come concise. So I'm going to put down a line of the most pigment color. Remember Schnell over here. Then I'm going to raise it, take some clear water and I'm going to pull it into the rest of the slice. So I hope you'll see what I mean. You have to work a little Fastow, not extremely fast, but you wanna make sure that the PPE that you put down hasn't dried already before you go over it with some water. All right. So it's going to be as thick or thin of 11 is one. Continue a little bit thicker. Alright, so now parents my brush. Take some clear water. Not too much, but just so dependent on them. Have been on the side of your glass or whenever you're building. A few times, I can even put on your paper towel. And then from here, maybe it's easier if I put the water down next to the pained. Well, sometimes you have to go over them. And what I'd like to do is actually go over that line. And what I'm doing and I was, I got some paint on my brush, so I adapt that and then I got some new clear whether she keep the paint on your brush, then you're just going to smear to paint around. And you want that effect of it going gradually from the darkest color to a lighter color. So what I like to do is I like to take my 1A and go over that line that we have just painted. And then just keep rinsing and getting some clear 1a. This effect. And of course now easy. My lines, pencil, pencil lines through here. But while your lines are much lighter. So this is basically, why don't dry it. And this is also a technique that I like to use in flowers because it also gives a nice gradual effect. So you start with your darkest color and then you go over that with some water and you put it into the rest of that. So what you do with flowers is usually put down a really, really like base color. And then you put these down for the shadows. So you put in a shadow and then use do, spread it out a little so that it gradually goes from dark to light or light to dark. So and so no. And about my brush, get some paint. Make sure your paint is pretty wet though that when you put it on the augmented book, what right? So I'm gonna do this while. It's visible to this line here into bam, all to share, you don't go against the other one to lunch here at the top. So I'm going to run smart dash. Take some clear water and then I'll go over that math line c. And what that does is it, it reactivates it. So if your paint dries up quickly like my bus, that's also due to the paper. You can reactivated like that gives a nice effect. Sometimes more. And then you can just make it as light as you want or the rest. And so this actually gives a more smooth transition between the colors c, As you can see like here's some more rugged which also made because I'm now back access what are put on there. And it's, it's a real smooth. Now. I think we need a little more. Who'll know too much of the dark. So I'm going to add that in. And you could always adjust, you know. And I want some stripes in this one to give it a little more texture. So we need to work a little differently with this one. Because different technique means different things. And I think this one up a little to suitably. So watching out for this one, I am going to reactivate the slice by putting some water and put a little more painting here has a different texture. Just put in some stripes, still wet. And I hope that that gives a bit of a different texture as well. Okay, so Let's do this slice here. Fresh, take some clear winter season iPhone, keep going. Then the ball size would be. Color. So I'm going to on my paper towel and just get some nuclear winter. And I can spread that color even more. So you can get this really light, light color all the way up to the edge, going over the paint that I put down so that it flows into the water a little more. Make some stripes and some texture. So I'm actually achieving a little because like I said, I like to go over the, the light of paint that I put down with somewhere because it gives kind of that way. No matter of fact, I just really like that one. So that's why I do that. But I do think you kind of see the difference between the wet on wet and wet and dry technique. So I'm hoping you seen it too, and I'm hoping that you are figuring out what you like, what kind of things you like to paint and where it will work for an, where it won't work for. So there was another slice here. And there is really tiny one over here and I'm gonna paint that one right now. You can see it and be mindful of this one. And just know, don't make this line to thick because it's just a small piece. So just needs a little bit of paint and then also use less water than you do. You can see that it's already too much? No, I'm not wearing my brush because there's already enough water in there that I can use. I think that's good. All right. So these two are IV try my paper dries up pretty quickly. So you can see that the Tech Show you put in there, they're kind of dries up nicely. So just one as well. You put a little more paint on there and it just kinda flows into it, but not it shouldn't be too wet. And say, you know, that's the difficulty in it because if it's too at that and just flows out too much, so it needs to be just a little drier than that. And that just takes practice like everything. So these two are try, so I will be painting this one in the middle here. Taking some paint. The shadow to be on this side. Be careful though of your hand because I can't become the times that I have gone over my still Web paint and then had paint all over my page and yeah. It's not. If you don't think you can keep your hand from it, just make sure it's dry first. Before continuing. You could also use I know some people use the drying can flow dryer and material. It is like I said, my my paper dries up pretty quickly, so no need of that. Okay. So I'm putting down the paint now. Now I am putting this down right to the edge because we are not wet into paper first, I can do this because this page is going to act as a buffer between those two. And because I will not reactivate this paint all the way up to the ram. It won't flow into the other one. I'm just going to turn my page now. Easier to get to it. And that was just such a nice effect when you go past that paint and just close out. Especially this one. This one was really nice pigment. Just make sure you work quickly because this is already drying up close. So just make sure that the paint is spread out over your size and then you can go and adjust. So now I can move. I can take some more. Can take some water and go over this line and make some more, some texture in there. But just make sure that first year slice is covered. Because once it's dry is just really hard to try to take that line only. Okay, so stripes just need see drying. Now if you're thinking, I want a little more texture. Don't take it straight out of the pan because that'll lead to pigment. Could just put it on your part. Middle. No water. There's no. And you can also see that it stays. You see, so it flows in and it's probably because more people go to y two. But it is still there. You know what I mean? So I'm happy with that. As you can see. So I told you this was going to add those buffer and then I went over it a couple of times, but that's okay. But if you are a little more careful than it does act as a buffer. So right now these two are dry. And I'm going to get some new paint. You may hear one here. And I already have a highlight, those edges so you can maybe who little q or they're just going to rinse my brush. You can get some more water because this is a big size and you want to know this is already always dried serve to go over it a couple of times. You see I haven't gone up to, but I am doing that now is just a little more water on it. You can start adding in some way deaths, more color in here. And also the other side here in a second and just put a few stripes in here and I'm gonna see if I can cool them down so you get some of these stripes. It'll be more texture. Now I think it's gonna be a little bit tonight. So I'm gonna take this water down. And I'm just gonna go over the little center that has a little more color will just make someone stripes. And see how that tries. I think more pain and bottom boom, little more going on. And some paint and then same as at the top. I'm going to pull it up for these stripes. So onto this one. Right here. See this line. Careful. See this is why I'm working with a small brush because that just gives you the control. To me. These very thin lines and very sharp edges that you just wouldn't have or I at least wouldn't have. If I were working with a bigger brush. Taking some clear on our left and just see what that, what that does is just magic, which kind of goes with the subject, right? Magic. So like this one to be like that light on the outside and then see if I P1 few stripes and probably still to what? You could do that though, if you want to. And some more and pigments and really go for those stripes. That is just not what I wanted for this one, but you could if you wanted to and just wanted to be a very this is better. Yes. Alright, so that's our second pumpkin. And by now you know how to do wet on wet and wet and dry. So that's great. That's like the basic protocol. And let this one dry completely and then we will come back and do the tough one. 6. Painting the third pumpkin: So we are back for the last pumpkin. This is gonna be the lightest one, the one that I'm going to paint with terracotta. If you do not have this color, you can make some yellow ochre with some white. And that'll be kind of the same look, it'll be a little bit more yellowish. Um, but I think that comes very close. So you've seen the technique went on dry technique for this one, you can choose yourself or maybe you have a preference for one or the other. I think. Why don't dry is a little bit faster to pay and when and what? I'm gonna do this one, why don't wet though? Because I just like it. Yeah, that's a big important part two, you should do what he likes to do. So I'll be using this color. And I'm going to, what I'll be doing, the well-known techniques. So I'm gonna tell you how to do it with a wet. If you wanna do it wet and dry them, just repeat the steps from the middle pumpkin but with another color. So I'm going to start here at the outset. Outside. You need to switch to a smaller brush. I'm sure that whatever you use has a good tip so it can get into those. I chose millions. Okay? So this'll be the first part that I put down, then it's watered down a little further more augmented part. I will take it straight out of town. A very nice colors. So it's very difficult for me to see what I'm doing because I'm trying to get into the shop the whole time. Because it is such a light color and wanted to be this color over. And I'm gonna go in with my pigment. And again, of course, pencil marks should be lighter. See that texture, color. I hope you can see it on video. Somewhere. Neither can already put in some stripes as well. Because this is such a light color. Stripes can be pretty pavement. Cuz I think these ones are these ones, then you will not be able to see and you can use other colors if you like. These ones. Well, well together. Like this, no colored palette. Different shapes. Now I've turned around pumpkins, but of course, pumpkins on shapes and colors. Green ones. Particular composition. I don't think there are some concern. So I am just repeating this section. The main differences that I am putting down some color over the entire pumpkin because it is just such a light color if you only pull it out of that darker shadow. And I'm making some stripes also with darker color. Has gone dark. Just take some brush. So you can take some and you can see some more pieces of here. I'm just taking some just taking some pigment and paint for this because it is such a small part. This is going to be wet and dry. And use both techniques. Just quickly I think is so miserable. Because it is so shh, shh, shh. You could do some texture and then some license parts. All right, now, I'm just gonna take straight out of the trash. So we have got r3 Hopkins. Good job. All the way to the top. So I'm going to paint the stem next. So I'm just gonna go and refresh my materials, getting new paper towel, and then we'll come back and pincer. You're almost there. 7. Painting the stem: So onto the smallest bit, the stamp, I have taken another brush. This is my size is 0, which is just a little smaller because this is a really small stone. So I just, I wanted to use a little bit smaller rush. So what I am going to do is I'm going to first put down a little light layer of that very lean green. And then I'm going to take some more pigment and paint. And I'm going to draw sharks from the top here and from the bottom here. Because it has this kind of texture, you know, like they're smart, all smooth or round. It's a little jagged. That's the word. So I am going to get some water and some paralleling green. Put it near on my palette so that I can just get this nice light. Oh, lights darkening, colour. You know what I mean? So I'm going to shift my paper a little bit. And then I'm just going to this green all over. Make sure your course. So to green, so I'm just getting some clear water now. So make sure it is a little drier than I'm going to let my brush over the paper and then I'm going to get some pain. So this will be really pigment, it, just really little paint. And then I'm going to draw a line here at the top. Just follow the the dry. Drew some lines going up like you would when you're detailing of flour. I don't know if you've done them, but like with with ink. Then you draw the outline and you draw like this little stripes to show how the curvatures. So that's kinda what we're doing here. And now the good thing about that, I tried my brush so much is that indexes kind of texture. That it's not just one. But it, it's faded out a little because the brushes, so try to just follow the sketch. And then a little bit more paint for the bottom part here. And then I'm going to do the same. And you want to make sure that it kind of sits between those pumpkins slices that we painted. Your standard models. Also lends a little bigger. Sum all smaller. Dry my brush got some Clearwater. Dry brush almost completely. To think. A little more color here at the bottom. Some stripes. Just add some details until you think looks like this then I think that looks like stone bell. So there you have it, your very own pumpkin tower. Am very curious to see whether you'll make it and if you enjoyed it or not. So I will leave you in the next video with some final thoughts and good-bye from me, and I hope to see you soon in another class. Thank you so much already. I'll say it again in the next video. We'll love to say it and every video, thank you so much for painting. 8. Final thoughts: I want to thank you so much for taking this class and painting along with me. And sure. Your pumpkin tower is gourd. Just you get it? Yeah. I could just not not have a pumpkin pan in here. So yeah. Ok. I really API you took this class of me and I look forward to senior project in the project section. Don't forget to upload your finished result, whether it became a tower or a basket of pumpkins or just one single one or a whole lot of little ones. Whichever you made. I look forward to seeing it. So please upload it to the project section. And if you share it on Instagram, please send me an ad. Maddie FEA, so I can see your work and comment and like, well, so that's it for now and I hope to see you soon in another class.