Mixed Media Still Life: With Gouache, Watercolor, and More!

1. Intro: Hi everybody. I'm Amy Stewart. I'm a writer and an artist. I think one of the best ways to learn to draw on pain is to do a still life because you get to work on shapes, proportion, composition values, meaning light and dark and color. And of course, you get to develop your own style. So what my neighbors was nice enough to create this beautiful arrangement of pumpkins on her front porch. And it's like the perfect Still Life. There's so much going on in terms of light and shadow. There's a good variety of colors and shapes and textures. And you know, I think a project like this is so much fun to do and mixed media where you build up different layers with different materials and you get a really lively, interesting style that's just uniquely yours. I also happen to just love art supplies that I have a little bit of everything in my studio. So in this class you can pick and choose, use whatever you have on hand, watercolor, Guassian colored pencil, pastel paint pens, markers, ink. Whenever you've got, get it all out and we will make it work. Alright, well, these pumpkins aren't gonna paint themselves, so let's get going. 2. Project: The project for this class is obviously to paint this still life of pumpkins. And I will give you my photograph to work from. But you know, I encourage you to set up your own Still Life. Two, you can use fruits and vegetables, flowers, really whatever you have around the house, from tea cups to holiday decorations. The one trick with a still life is to have a good, strong natural light source, because those bright highlights and a deep shadows really helped to bring it to life. So whatever you decide to do, I hope you'll post it in the project section. Let me see what you're working on and remember that there's also a discussion area. So if you want to post a question, I'll pop into answer those. All right. Let's look at art supplies. 3. Supplies: For art supplies, I really want to encourage you to use what you have on hand. But let me show you what I'm going to be using in the class. You'll need some paper that's for watercolor. So make sure it says it's for watercolor. And I'm using hot press, which is smoother, cold press watercolor paper has more of a texture to it, either ones really fine. Usually you have and you don't need a sheet as big as this. This is nine by 12. It could be smaller, it could be sketchbook size. Just make sure it says that it's for watercolor because we are going to be putting a lot of water on always a pencil and eraser. So this is just a little mechanical pencil and Nita bubble gum eraser. You're definitely going to need some kind of pencil and eraser. And then for other types of mixed media that we might work in that isn't paint. Let me show you those first. You can use any kinda colored pencil. I have a bunch of them. In fact, you can see I've got like jars of, and right behind me here, I have some watercolor pencils. All that means is that if you add water afterwards, the color will move around on the paper. That doesn't matter here because I'm doing this as kind of the last stage, so there won't be any water going in on top of them. But that might be something to bear in mind. But anyway, kinda colored pencil would be fine. Also, if you have pastels, you can use those. I'm not demonstrating pastels in this class, but that would be great as well. One thing that I just love and I really recommend if you don't have these, this would be the one thing that would be really great to go out and get, which is a pasta paint pan or some type of acrylic paint pin. This one's an ivory, which is just a nice creamy off white, but in a couple of spots, I did go back in and add just some bright white and you can see they come in different thicknesses. And these are really useful for adding highlights or cleaning up edges right at the end. Now in terms of ink pins, again, use whatever you like. I'm not worried about whether they're water soluble or not because I'm putting them on right at the end and there's gonna be no more water going on the paper. But you'll see me use these micron drawing pins. And remember that these do come in different colors. Like I have a black one here, but I also have a brown one and a green one. So you've got lots of options with pins. And then for markers. Now, I didn't, I didn't demonstrate markers in the class because the effect is so similar to what you can get with some of these other materials. But if you're in the markers, this is a good time to use them. They look beautiful on top of watercolor or guage. So like these are these pit artists pins with a brush tip. And I'm just showing you a few different colors of them, but they do come in grace as well, which can be nice for laying in some shadows. So if you're into markers, Great. Go ahead and use those. And again, just make sure you're aware of whether they're water soluble or not. If you're gonna put down a marker and then put paint on top of it. Makes sure that make sure that it's permanent and it's not going to smear and move around when you add water to it. Like these Tambo markers, these are great. And they're nice because there's a brush tip on one end and then there's a fine tip on the other end. So these are great for drawing. These are water-soluble. So if you were to put water color on top of them. They would smear, which can be a good thing. But anyway, it's just something to be aware of. So any of these kind of tools you'd have would be great. Now, let me say something about watercolor. I'm going to be starting in watercolor. So I'm just going to use my regular travel palette. I'll give you a list of colors in supply list. But anyway, I'm just going to be using this and some pretty small brushes. So I've got some just basic brushes here. I have a 68 and an a. Why does the say ten on it? This is a tau. I needed to write 682. So really small and sometimes for really fine details, I even use this brush that has a water reservoir in it. I just liked the really fine tip. If you are only a watercolor painter and you're not interested in Gua Shi, You don't have any wash. You can do this a whole class just with watercolor. You're just going to be building up some layers and those early layers are going to be very watery and translucent. And then when I get into the guage phase, you're just going to be using watercolor, but just a thicker mixture with less water in it. But we're gonna talk about the Guassian. And if you're not into guage, I'm going to try to convert you because I love it. So I buy Guassian in, in tube colors. These are Winsor Newton, but there are some very affordable starter sets of Guassian and I will put that in the supply list. So I'm using these two colors, but I'm gonna show you how crazy my palate looks. So you'll understand how it is that I use Guassian watercolor in combination. The thing about galoshes that it does dry out on a pallet and when you add water to it, It's going to be a much watery, more translucent look than what you're used to with quash. But sometimes I think it's really cool to go in and add a little bit of that on top of watercolor. So you're gonna see me demonstrate that, but I just want to show you I just leave I don't clean the pallet off. I just leave the Guassian there. And sometimes I'll just dip in and grab a little bit of a color and add it to a watercolor painting or a watercolor drawing. This is kinda my basic range of colours. And for this class, this is the palette that I used. It's just a white dish from the thrift store. I just get white dinner plates are white serving dishes and use him for palettes. In addition to that, you're gonna think I'm totally crazy, but I'm just gonna show you all this stuff. Sometimes I do big pieces where I want, I just want to be able to get a big brush in and for some of the basic colors, but tend to come up over and over again in my personal paintings. I've got these sort of cups. And this one's got a mixture of browns and earth tones. This one has kind of a mixture of Grey's. There's nothing in that one. And then this is a mixture of yellow ochre. I do a lot of cityscape, so these three colors come up a lot. So you're gonna see me adding fresh paint to these, but also just kind of mixing it in and and using some, dispersing some water on it, getting a little color back out of these. But anyway, if you want to if you're new to wash and this is your first time using it, I'm gonna give you a list of colors. I'm going to give you some suggestions for really affordable starter kits. And of course you're just gonna be squeezing a little bit out on a pallet and paint along with me. Now, if you're only interested in GWAS and you don't really do watercolor, then you can still take this class, these early layers that I'm gonna be doing in watercolor, just do them with a very watery Wash. Wash. And it looks great. So I'm going to demonstrate that for you so you can really see what I mean. And then we'll get into it. 4. Watercolor & Gouache Demo: Before we get started, I want to show you a couple of things about working with watercolor and guage together. You've already seen that I have these pallets are dried wash that I said that I sometimes use to just kind of punch up watercolors and to add to watercolor. So the first thing I wanna do is I just want to show you what happens if you take some dried guage that's just been hanging out on your palate and you do a wash with it on paper. It's kinda a lot like watercolor. You can get these, you can get these transparent, almost like glazes that can have a lot of texture in them just depending on the painter using. So this, this can be a really cool way to just sort of brighten up or punch up watercolor. And I hope it shows you if you haven't used quash a lot, that a lot of what you already know about watercolor will definitely translate into Guassian. But now I want to compare and contrast what happens when you layer on top of watercolor versus just paint wash directly. So I'm going to add a little, even though I have quite a bit that's already dried here, I want to put some fresh paint down so we get a really good thick creamy mixture. And I want to show this to you. The thing about guage is just like with watercolor. It's about how much water you add. So I've gotta brush that's wet, that I've dipped into water first and there I just sprayed this down. So this is kind of a wet palate. But I'm going to try to keep a pretty thick creamy mixture. I'm going up the side of this plate does try to stay out of this watery area here. And the first thing I'll do is I'll just paint this. Let me just get a square of this going. What can happen with Guassian is that you can get these kind of scratchy marks which are very cool and it can be a very cool texture. But maybe it isn't always what you want. And you can sort of go back and forth with a thicker mixture to try to cover up any of those kinda dry scratchy marks, um, and get good solid coverage. Now, it's probably a little bit hard for you to see this on camera, but we'll watch it as it dries. You can see that you can end up with some sort of uneven, uneven layers when you do that. And it really, it's so important to get exactly the right amount of water to wash to get good even coverage. Now what I'm gonna do is I'm gonna do the same thing, but I'm going to go over a little square that I've painted with Naples Yellow watercolor and I've just let that dry. So it's totally, totally dry. And when I come over it, There's sort of a different effect because there's already pigment down. And I encourage you to try this on your own because it is, it's, so, it's so hard to really be able to see this with the camera. But what I noticed when I do this is first of all, it does change the color a little bit because the Naples Yellow that's underneath is mixing. Those pigments are mixing together. And I got, I got a nice even coverage quite quickly when I when I did that, I'm just letting him mixed together even a little bit more. I just think it's kind of a cool effect. So as these dry It'll take a minute, but I think what you might be able to see is that sometimes quash can dry a little streaky and by putting down a layer of watercolor first, you can sort of combat some of that. And you can also just work in a little bit of guage as kind of a highlight. So I'm gonna take a little bit more Naples Yellow and put it down right here. I'm only picking Naples yellow because it's a color that we use in the class. But obviously this could be any sort of color. And once that dries, if you decided that you want to punch it up a little bit, I can I can show you what that looks like. But meanwhile, the other thing I wanted to demonstrate is coming in on top of wash. And let me see if this is dry. So that was a pretty transparent wash right there. But I'm going to and again, I'm just dipping into kinda old, old dried paint here that I have read wedded. And I want to show you how wonderfully wash goes on top in a very solid. Even with this just reconstituted watery pain. You can get very good, sharp, solid, opaque, dark lines with guage, which is terrific. And if I wanted to do the same thing with water color, I'm gonna take a little bit of transparent earth read and go over here. Again, this is kinda hard to see on camera, but there's a lot more transparency in this. Whereas the guage tends to be more opaque. You don't see as much of what's underneath. Ok, so these two are starting to dry. And of course, like I said, they are slightly different in color just because there's a layer of Naples Yellow that's shining through here. But some of this unevenness that you see, you see some kind of streaky here. It's, there's almost like a letter n right there. I hope you can see that on camera. There's just a lot less of that in this because we've put a layer down first of watercolor. And I should also say that it's kinda fun to sort of work out your ideas and watercolour before you commit to them in guage, because watercolor, I'm working out of a little set like this. Whereas with guage, I tend to think much bigger messes on much bigger pallets, but all right. So let's just say I've gone in and I've done this painting. And I had this Naples Yellow and I just wanted, there's an area of it that I just wanted to kind of punch up and make brighter. It's hard for me to represent any particular sort of item or object here, but I'm just going to show you how I'm bringing in a little guage on top. And it really can be very bright and saturated. I'm going to get, see if I can kind of get rid of the edge and make this blend a little more. So you can blend and sort of lose the, lose the edge of it. But you can really punch it up and get quite a bit of really bright vibrant color by just dropping in little hits of guage where you want some super saturated color. So that's how I use it, and that's why I will sometimes do light washes of watercolor and then go into guage. I think I also use a little less squash when I do it that way for what it's worth. And but you're welcome to try it either way. And certainly when we do our first pass of this, you're going to see me come in and like do these pumpkins very light and then come in on top of them and you can do that with guage. This is wash. And it kind of reminds me of watercolor when it's this thinned out. So if you don't have both and you just wanna do one or the other. Absolutely. Feel free. You can totally do that and just start with something very light in the watercolor sections. And then we'll go to something more intense. And you'll see as those layers build up what a, what a rich effect it can be. 5. Pencil Sketch: Okay, so the first step is to draw this in pencil. Now I've done a five inch square and you can do whatever psi square you want. But I have gone ahead and drawn myself in a little square shape to start with. And I'm putting in these background shapes. It's, you know, it's really, it's the ground they're sitting on and there's kinda some shadows. It's like they're on the porch next to a front door. I'm putting those in because they're gonna give me some landmarks for where to put the pumpkins as I start drawing him in. And I'm just putting some little dots. I'm trying to kind of measure where one pumpkin ends and the next one begins just to make sure I leave enough room for myself along the along the page as I do this. If you've taken some of my other classes, it's honestly kind of the same approach that I would take with buildings and streets and like that. Figuring out what's around the edge of the drawing and then putting things in. And you can see here that I'm making these little sort of short straight lines. I'm not even bothering to get the curves exactly right. This is very much about blocking in. I just want to get that basic shape of it. Because I'm going to come back with paint and really round these out. So it's fine. I want to make sure that I've I've put a line there where the porch meets the wall and I want to make sure that these pumpkins a little bit below that line of the ports. So it's clear that they're actually sitting on the ground and not floating in space, but something to watch for. And I'm measuring the, now that I've got the first pumpkin in place, everything else I'm measuring relative to that, like how tall doesn't need to be as this one taller or shorter than the one next to it. And just kinda generally making sure that how they meet up, how they touch is about right? And for everyone, I'm gonna go ahead and put the stems in because I think the stems are really good landmarks for where other things go. And this pumpkin I just drew that one in particular has this really big kind of curving stem and I want to make sure that I get that in. Now. You're gonna see me really looking and checking the negative space, which is the space between things. So looking at the little tiny bits of space in between each pumpkin, that's really useful too. And I hope by the way, that it's obvious that all of these things, this applies to any kind of Still Life. It really applies to any kinda drawing at all, but definitely to still live, you're sort of measuring how does one thing line up next to each other and what are those little kinda gaps in between each object and also paying attention to which ones overlap the other ones. So I'm just making sure I've got all those lines right. And I've decided to bring him down a little bit more to give more of that sense that they're really anchored on the ground. Okay? So those are the three that are really in the foreground now there's this kind of bigger one that comes up behind that went on the edge. And again, I'm just really looking for where does it fall? Where does the stem come out? How does it line up relative to the ones I've already established? So get this, get this stem and a little more. Alright? No. This one is smaller, kind of rests on top of this other pumpkin. And I'm just sort of looking at like, where's the base of it? Where does it come in? It's quiet round, but I don't have to make a perfectly round shape here again, I can kind of worry about that later when I'm coming back in with paint. It's more about just blocking in these edges. So the reason a lot of these lines are straight is because I'm just sort of making a line on the left and the right and the top and the bottom, and then I'm connecting them. And so in that way, I'm getting there, I'm getting that basic shape right, without worrying too much about the curves. Okay, here's another one. I'm just gonna go ahead and really draw in this stem because I definitely don't want to cover that up later. Forget about it. And it's sort of divides this one pumpkin and half are into maybe thirds, and that's gonna be important later. Now there's a larger one that comes up behind the whole thing. And you know, I have to say this is such a great composition. I really have to thank my neighbor for x2 beautifully composing this like there's a nice variation in heights and the colors are all arranged so perfectly well. So that part is already done for me. Now I can look at where to put this little one in relative to that, like that stem and everything else that I've done. That's so helpful. And then there's this kind of, it's a little bit awkward Actually the way this the stem of that pumpkin comes out and where this other one is placed. So haven't quite left myself enough room here. And I'm just going to kind of fiddle around with this and figure out how I can make it work. I say this in all my classes, but you know, a pencil is a two-part tool. There's the pencil and there's the eraser, and you really need both. So don't ever have your pencil in your hand without also having your eraser in your hand. The whole point of this is to be able to rethink and restate and kinda reconsider. In this case, I have got this awkward little space where I have to fit this pumpkin in and I didn't quietly myself enough room. So I'm just sort of figuring out like, oh, can I do this without erasing the whole thing? And I think I can, fortunately pumpkins or not, these perfectly round or perfectly symmetrical things and you can always tweak them a little and budget just a little bit. So that's what I've decided to do here. Just getting this in, making sure they're again, I'm I'm noticing where these little gaps are. Bits, where there's little dark shadows are between the pumpkins. And I'll also just bring down this line where this other shadow is. It's just kind of a useful little landmark. It doesn't have to be super obvious what the background is. But that just kind of gives you a sense of it. Now I'm drawing in the shadows. I'm not coloring them in because I'm gonna do that with pain, but I'm just marking where they are just to make sure that I'm really paying attention to these areas. And sometimes there's a cast shadow on the pumpkin and it's sort of merges with the little even darker shadows, but are the gaps between the pumpkin. So I'm just clarifying. Am I really sure where all these things are? Because when it comes time to paint, there's gonna be no more room for mistakes. 6. Watercolor Wash: Now we're working in layers in this class. And so the first layer is just going to be one single wash. Before I get into it, I'm going to go around with my eraser and just very gently pick up some of the pencil marks. I did it. I did the drawing a little darker than I normally do because I wanted you guys to really be able to see it on camera. But now I'm going to lift some of that up. And I'm going to give the entire painting a complete wash. I'm going to use Naples yellow. You know, I'm also an oil painter and if you paint an oils or maybe even an acrylic sheet, you're used to this idea of glazes and putting down layers. And sometimes those layers are really nice for just unifying the painting because the same pigments are underneath everything. And in this case, a light wash of Naples yellow will give everything this kind of sunlit sense. You know, the sense that we're in this golden sunlight. And there's no part of the painting that would be spoiled by having a little Naples yellow on it. Even though there are some bright white highlights, we're going to be doing so many layers here that I have other ways to deal with those white highlights. I don't need to preserve any part of the paper is white. So I'm just going to get this layer down again and we'll just really sort of unify everything is just kind of a base layer to start with. And once that wash is all over, I'm just going to let that dry and move on. 7. Watercolor Pumpkins: Okay, so make sure that first layer of Naples Yellow is completely, completely dry. Touch it and if it feels even a little bit cool to the touch compared to the rest of the paper. It's not totally dry yet. You're welcome to use a hairdryer if you want to speed this up. Now what I'm gonna do is come in and put on just one layer of color over these pumpkins. And I'm going to pick kind of the lighter of the colors that I see in each pumpkin. So this is just an orange mixed with a little bit of new gam bows, yellow to kind of lighten it up. And I'm mindful that I don't want to work on two paintings that are next to one another unless they're the same color and I don't mind him sort of bleeding into one another. So this pumpkin is in fact a little darker if you look at the picture. But I'm going to, as a base layer, I'm going to let them be more or less the same. I think I'll bring in just a little red while it's still wet and kinda dropped that and let it move around. But again, this really is kind of like a base layer so you don't have to get real fancy here. Again with the pyrrole orange and I'm mixing in a little bit of Transparent Red Earth for this, for this darker pumpkin, just so there's a little variety. But again, I'm just putting a solid color down in each case, I am just putting down a solid colored pigment and I will be building up from there. So I don't have to get too detailed. The trick is mostly just not to get too too dark because it's easier to put darker colors on top of lighter colors rather than the other way round. And you can see how I'm making sure to kind of skip around the painting and make sure I'm not painting to things that are too close to one another and might run together that I'm going to do this same mixture again of the pyrrole orange with the little new game bows. So it's lighter. I want this to be even just a little bit more lighter, so I'll add more of that. And this, by the way, this is where I'm really making rounder shapes. So I wasn't too worried about the exact curves of these things earlier. And now. Now that's so much easier to do with the brush than it is with the pencil. So I'm putting those in. I'm gonna come over here. I'm just sort of with my pencil, I'm making a little adjustment to where that is. I'm just I was kinda not satisfied with where he had it in the drawing. I wanted to just move that pumpkin over just a little bit. So I'm going to restate the outline. This is really my last chance to do any kind of adjustments like this is right before I put down this layer of paint because at this point, it's it's all pretty permanent now. So I'm going to take some, some, this is that buff titanium and I love this color. And for these sort of white pumpkins, they're not really white, they're pretty off white. And this buff titanium maybe mixed with a little Naples Yellow. It's such a great combination for something like this. So I'll put some of this down. That's pretty bold. I mean, the pumpkins themselves, they're pretty light in color, but they do have. These darker areas, particularly up around the stem. And then they get a little bit lighter as they go down. And there's two of them and minister, to move around between them and see what I can do. I can I can see already I didn't really let this dry long enough and I'm paying a little bit of a price for it. They're running into one another. So I've dabbed that up some, just blotted it up with a paper towel and I can come back over that. Since we are working in so many layers, there's going to be fine, but those are the things that I was trying to avoid. Alright, with a little bit of Naples Yellow just doing the lighter part of this pumpkin. Now, for the green ones, I've got some sap green. I'm gonna mix quite a bit of blue into it, so I'm mixing in some Prussian blue, ultramarine blue would be fine also, but I'm trying to get this really grade down green color that leans towards blue. So I'm going to work in a little bit of shadow violet, which is a gray that I use a lot in shadows. I'm going to work in a little bit of that. I'm also bringing over some orange from the pumpkin. That's another nice way to neutralize. If I bring over some orange and mix it into that green, it's going to neutralize it a little bit, make it put, just push it a little bit more toward grey. So I'm looking for light. Green. I don't wanna get too dark. I'm going to bring in some of that buff titanium, which mixes so beautifully to make kind of trickier colors. I don't wanna say pastel. I'm not sure you would consider this a PESTEL, but maybe you would, but more of a more of a lighter chalky or color. And I'm wary eye have been burned before. I'm trying to be careful about not letting these colors run together. So I'm always check in for that and you can always stop in the middle of something like this and blow dry a little bit if you think you need to. It really just depends on the humidity in what it wherever you happen to be working. I've got two green ones. So now I'm gonna come over to this other green one. I'm being, trying to be careful. I begins that orange pumpkin, but I can see it they're blending together just a tiny bit. That's okay. I'm not wanting to stop and blow dry right now because I want to be able to film this straight through and let you see the whole thing without a lot of interruptions and cuts. So you can see what it's like to actually do it in real time and how much time you might need. But anyway, you can see that I'm having to dab it up just a little bit because of that. Now, I'm going to come back in. I didn't get, I didn't quite fill in some of these shapes. I left little bits of whitespace because I knew things weren't quite dry. And now I can deal with some of that. And then this one appear as yellow with some orange stripes. So I'm just gonna do the yellow part. I'm not gonna do the orange yet. I'm gonna get all of these layers in. And once these are in, we'll let them dry and move on. 8. Watercolor Background & Shadows: Okay, so these pumpkins are completely dry. So now I'm going to come back in and I'm just going to fix this area where I had some colors running together in the last pass because it's totally dry now and I can just come right on top of it. May be work in, let's see, a little bit of this pyrrole orange where it ran into the green some, that'll be fine. And you know, it's tempting to want to just kinda go back over everything. But I'm going to bring a little bit more orange and this one, so it just pops out and I can see how it stands out against the other one. But mostly what I'm thinking about in this past is Shadows. And I'm just gonna take my shadow. Violet moon glow is also a great choice here. Or you can mix a gray by maybe mixing together some ultramarine and some Alizarin and a little bit of red or orange, and you'll get a nice gray. I am going to put just a tiny bit of ultramarine and Alizarin together. I'm just sort of messing with some blues so that I'm pushing the shadow violet a little bit more toward purple and I'm just seeing what I get here. I tend to use this part of my palette, this lid as where I mix a lot of neutrals. So I'm just playing around with this. But it would be fine to just go as straight shadow violet or straight moon glove, that would be totally fine. Okay, so let's work in some shadow. So the first thing I'm gonna do, I'm gonna take them more purpley mixture. It's, it's a kind of a bluish purple. And I'm just gonna put it down on the patio here just to make it clear that that's a color. And then I'm going to let that dry before I come in and really worry about other shadows. Now this shadow violet color, get a, I get a little bit of a darker mixture of that. And a minute do the shadow that's being cast on the wall behind it. You can choose to leave this out, or you could make the whole wall behind it one solid color and you can pick a color, you can make a turquoise, you can make it anything you wanted. It definitely does not have to be what you see in the picture, but I'm gonna go ahead and do that for now, and that's fine. It won't, it's the kind of background that people won't really notice that much. It's just kind of this generic, you know, you get a sense that there's like a wall with the shadow on it, but there's just not much to it, so that's fine. All right. Just sharpen up the edge a little bit and I can let that dry. And so I'm gonna go back into this mix, get a little more purple, a little more that shadow violet and do this other shadow color that's down here in the doorway. And again, really I'm not fussing over this. I do want it to be a different color than the porch, the ground so that it's clear that those are not the same thing. But other than that, I'm really just trying to get something down so that we have something happening in the background. Now I'm always check in the paper. I'm putting my hand on it, see if it feels damper, feels cool before I go on. Okay. So I will come in with my shadow again, this is just straight shadow violet and I've drawn with pencil where these shadows go. So I know right where they belong. And this is really just kind of filling in the lines that I that I, you know, put down for myself earlier, getting those little cash shadows in there. This is on the other side of that stem and it's casting a shadow on the pumpkin itself. And since this is a transparent color, it's kinda cool because it is this grey shadow color, but some of the orange from the pumpkin shows through. And same here. You know, I'm gonna do this cash shadow on this green pumpkin and you'll see a little bit of green come through. This one is casting a shadow against the wall. And I just want to put down where that is. Let's see where else do I have a shadow that I need to do something with? There's just a little bit of a cast shadow on that side of the, of the stem of that pumpkin. And now I should be able to come in and go ahead and do the shadows that are being cast by the pumpkins and being cast on the ground and they're darker. There are a little bit of a darker shadow. So I'm coming in with a richer mixture and fill in some of these little gaps where there's just a little bit of wall showing through that would also be in deep shadow. Now it's tempting I know to want to go ahead and do the kind of darker undersides of some of these pumpkins. Well, we're gonna have other opportunities to work on that more so because we're working in so many layers here, there's plenty of chances to do more as we go, but I'll go ahead and kind of just barely suggest those shadow sides of some of these shapes with a water color just so it's kind of obvious where that is dark and in this edge a little bit. See if there's any other little things I wanna touch up. I'm gonna get some yellow ochre. And I'm gonna do the stems. I'm gonna do the stems and yellow ochre and not really worry about making them seem very different from one another. And you can see I'm just sort of go in and pretty quickly here and just drop in these n. I can add little bits of detail to give him more variety later, but I'll get that long stem in there. And see there's just a few tiny little bits of touch up. I left a little bit of white around that stem on that pumpkin. So I'll go in and fix that and let's move on. 9. Gouache Pumpkins: Now we're gonna get going wash. If you're doing this class entirely in watercolor, you might still want to watch this one and maybe add another layer of watercolor just to make things a little more vibrant or to bring in some darker tones. But the first thing I'm gonna do is I'm actually going to layer on some, some pretty pure color right on top of the watercolor. And again, you might be thinking, well, I just did all this and watercolor, why do it first and watercolor and then ink wash. But I think that to blend together really beautifully. And you don't get that kind of skippy or uneven effect that you can sometimes get with guage if you're if you're not too careful. So I'm putting down some just some yellow and orange and red and my case, I'm using cadmium, but whatever, whatever gosh, you've got the, it's just a pretty pure yellow, orange, and red is what you'll need for this to begin with. And I'm going to approach it a lot like I did when we were doing him in and watercolor. So I'm just going to mix between the orange and yellow and red get these mixes together with some water. I don't want it to be too watery. I wanted to be a nice kind of creamy mixture. So I'm always watch in the amount of wash as compared to the amount of water. And of course, this brings such vibrant color in and will darken some of these up quite a bit. But I'm not as worried about that because I can mix in some lighter colors. The nice thing about guano ashes that you can to a certain extent have a darker color and bring a lighter color in on top of it. It's not as easy, but it's definitely doable. And here, for instance, the watercolor was kinda dark and I'm coming in with a lighter wash. And it's really nice. And I'm going to just go right over the shadow I've already put down. I am going to be coming back in with some with some shadows and go wash on these as well. So I will go ahead and cover those up. But you can still see through him. I mean, probably you can't on camera right now, but I can And especially as they dry, you still get that shadow color underneath. So now I'm gonna do a lighter yellower mixture because there's a lot of light hitting this orange pumpkin in the foreground and it's pretty bright. Again, I want to, I want to, I want to try to get a pretty thick mic's coming in here. You can see already how much those pop. There's such, there's just such a difference between, between Guassian watercolor and why you can get really bright saturated colors with watercolor. I think you put the two of them together like this and you let a little bit of that pigment that's already down there show through. And the way they blend together on that paper gives you really just very consistent and I think very pretty coverage. So alright, staying with the oranges, I'll go around and do this one in the back. You do have the same issue of wanting to let one thing dry before you do the thing that's right next to it. Wash will dry, in my experience, a little faster than watercolor, but definitely still kind of hold it up to the light, keep an eye on it. And because they will run together and you can get some kind of unattractive blood. She's sort of colours if they run together. So be a little bit careful about that. By the way, there's a shadow on the, on the very far right. There's a shadow on that big orange pumpkin and sitting in the background. And I've decided to kind of leave that alone. You can see it right now, but I'm going to, I'm not going to work too hard on making that shadow real obvious. It's not super clear what is casting that shadow, so I'm just less worried about it. I decided I wanted this punk and to be a little lighter. So I'm coming in with just some pure orange. I mean, some pure yellow on top of that. And there's also a bit of a highlight on this one. So I decided here that I just needed a little bit more of that peer yellow, it's gonna dry and be somewhat darker because it's going to mix with some of the red pigment that's underneath it. I'll just blend that a little bit so it doesn't look quite so any event, it's kind of nice the way a little bit of the red shows around the edges. Ok, so now I'm bringing in some rounds and some like red oxides. If you probably have one or the other of those, those will be fine. I've also got a little bit of white. So I'm gonna be putting in some details, are some highlights and shadows now. So first I'm going to take some of this white. I'm just mixing it in a little bit too. A little bit of that orange. And just looking at what kind of color I can get on the on these white pumpkins that aren't actually White. And this is kind of great. This is a very creamy neutral, very light mixture of orange and white. And I like the way that looks, a little bit of that in there. And look, look to see if I can get a lighter, kinda white that's still got a tiny bit of yellow in it. Like, you know, I never liked to put down a pure white. I always want there to be something in it. And of course, the white is going to blend with what's underneath it, which is that Naples Yellow and that buff titanium watercolors. So it's still pretty good. But I'll just see what I can do there. And again, I'm just gonna go right over the shadows because I'm going to, I'm going to come back in and work on these shadows some more so it's great that you can see him. But there's, there's more that I can do. And remember part of that pumpkins sort of sticks out on the other side of that stem. And that's what gives this whole thing, this feeling of depth is when you can see how they lay layer on top of one another. So I want to be sure to preserve that. Speaking of preserving that have to come back in here because I kind of went over this this little tiny pumpkin is in front and I kind of pushed it to the back a little bit. All right, so that's fixed, that's good enough. One of the beauties of washes that you can put a layer down and cover up any kinda weird little mistake that you make as you go. So I love that about it. All right, now, for some of these neutrals and some of these darker colors, let me see. I'm gonna do a little bit more sap green down here. And that's obviously going to be for the green pumpkins. And it's a very bluish color. So the sap green really isn't quite right. It's not enough. I'm going to get some more ultramarine, put it in. 10. Gouache Details: All right, this is really my favorite part where we start layering in some details. And if you are doing this just in water color and without guage, This is where you're going to want to rejoin us, makes sure your paintings completely dry and come in with just a good rich mix of watercolor. In other words, a pretty dry thick mixture of watercolor. And you'll get some of the same effects that were getting in guage. So you can see what I'm doing here. I've got a small brush. This is a number two. And I'm coming in, I'm putting these stripes on that on that pumpkin that's yellow with the orange stripes. And I'm just using these mixtures that I've already mixed up. This glass dries pretty quickly on my palate. So it's a good idea to have a spray bottle or something nearby because you might need to reweight it just as you go. Now, I'm also mixing in a little bit of brown. I'm mindful of the fact that there's some shadows and some darker colors and now's the time to really start paying attention to that. So you can see I'm coming over. I'm picking up some of this like red oxide and these darker brown burnt sienna type colors. This is a good time to do that. But now is when I'm really adding, I don't know whether to call these stripes, are they, are they lobes on a pumpkin? I'm not actually sure what the technical term is, but I'm going and adding these n. And the trick with this is to really look at your picture and don't make these two even and to perfectly match they're getting B kind of odd shapes. Some of these lions are gonna skip. So it's not going to be a continuous line, it's gonna be a broken line where it's gets a little bit and really look for those opportunities because that's what, That's what really makes this look real. I mean, even though this is kind of a whimsical little painting, it gives, it, gives it a sense of realism and vary the thickness as well. It's really a good idea to have some very thin lines that sort of fade off into nothing and some thicker, bolder lines. And if you look really close at the picture, you'll definitely see that. There's also this sense of a lot of darker, very dark, reddish brown colors around the base of this pumpkin. And that's just the shadow side of it, that's just the side underneath. And by putting those in your really helped to make it clear that this is a sphere, that this is something that actually has depth and dimension to it. And I don't wanna do it in a way. I don't want to do too much because we're also going to come in with other things like pencils and pens and markers or whatever else you have. So remember that you don't actually have to get every, every detail because you're going to have other chances. Now. This orange pumpkin, you really can't, in my photograph see that it has these little, these little lobes, these little lines. But I do want to give it a few of them because we know they're there. And I think it does give it a little bit of a sense of depth, even if they're so light that you can just barely see em. I think it kinda helps. And I'm looking again at the darker side of these and wanting to. Make sure that I'm showing that accurately. This is one great reason to look for opportunities to do still lives where you have a good strong light source. Because you do get these very bold shadows and it really helps to make round things look round. And when you have obvious areas of dark and light and really good strong cash shadows. So still I'm just focusing on the orange pumpkins. And this is kind of a darker, reddish brown mixture that again is where these casts shadows are. So I'm glad I drew him in earlier. I'm glad I have a little shadow color underneath him because this all blends together and looks kinda unified. None of these colors look out of place. They all sort of look good together. So I'm just going around and looking for all the opportunities to add any Fame. Let me get into these green, get into these green pumpkins. So I've got the Sap Green, I'm gonna try adding a little brown. You can also add a little bit of your orange and he orange or red that you've got out, it'll just neutralize it. Kinda gray it down a little bit. Let me just see what I think of this. Another nice thing about Russia's, You know, if you put a color down in, you're kinda not crazy about it. You do have an opportunity to go back over it and mix it up, mix up something a little bit different, change it a little bit, but this looks pretty good. So again, I want a good variety of thick and thin brushstrokes. And also I don't want these to all be the same and they don't all have to go all the way to the top of the pumpkin. And be mindful of the fact that you can see all the way around the pumpkin too. So you can see some of the other side of it because we are looking slightly down on it. So you can see part of like the top of the pumpkin. So I want to be sure and, and get some of that detail from the other side of this stem. Right? I'm going to mix in a little bit of brown, little bit of blue. I'm really looking for kind of a pretty grayish color like this is a green with so much gradient. And I just really want to be able to show that. Now I'm going to try to get this shadow n See if I can do this. So it's a very grade down mixture, but it does have a bit more green in it because of course the shadow is hitting this green pumpkin. So now I'm going to go over and do pretty much the same thing on this side. I'm going to look, turn to look at these lines very carefully. Look at where they're kinda uneven and weird. You know, these pumpkins have his way of getting sort of square on the top, like they're sort of flattened on the top and these lines can reflect that. So I'm just wanting to really make sure I'm observing it vary. Very carefully. I love the way he's darks are starting to look. This is the great thing about guage is you get these really bold, wonderful darks and you just get such a nice sense of dark and light. We see maybe bring a little more blue in, just trying to lighten it up a little bit because these lines don't all have to be the exact same value two, some can be lighter than others because there's obviously different sort of light sources hitting it. Let me just see if I can get like a greenish color that's just a little bit of a difference, but not quite as dark as the other. So I'm just sort of playing around with this mixture. One reason I love working on these kinda big white plates is that I've got lots of room to spread out the paint and keep mixing and just see if I can get what I'm after, like so here's just a slightly different color of this little this little just the darker side of that Pumpkin. I'm taking some blue, I'm just mixing in and getting a much bluer kind of gray. Push that up into these a little bit. I'm really fussing over this a lot more than I need to, to be perfectly honest with you. It's kinda fun to just sort of mess around with all these little details. But I mean, this is plenty. We're really, we're in very good shape here. So getting back into my white and some of this orange, I want to come that's actually got a little bit of gray in it because I don't think I clean my brush very well. So let me try again. Let me get some white. Let me mix in some of this yellow get, get a very creamy white. That looks better, okay. Get kind of a, a premier color for the rest of this pumpkin. I'll see if I can cover up that grey a little bit. I actually did. I just put some of the other white I mixed it actually covered the the that grayer color that I laid down by accident actually did that pretty well. And I'm going to do the same on this one. There's an obvious bright white highlight that's hitting this one right in the middle. So I really want to brighten that up. And I can go right into the shadow with it because I know I'm going to come back over it with a shadow color. So it's just about making sure that it's as bright. And already I have more of a sense of sunlight hitting these, which is great. That's exactly what I wanted. Alright, let me see if I can kind of mix a grayish color. I've got some blue, I've got some brown. I'm mixing it in with the green. I'm just sort of looking for what I can get. That seems like a reasonable grain or you have Payne's gray or something like that on your palette, which is also a great just, or maybe you have black and you can just mix black and white and get a grant. You can definitely do that. And I'm just trying to sort of use up what I've got. And I like mixing graze from the colors that are in that painting because I think it makes it all seem very unified in that way. The gray doesn't seem like it's a whole different painting. And it seems like it's kind of part of the same thing. So I'm mixing that with some white. Oh, yeah. There you go. Okay. That's nice. Just coming in with some cool grays on the underside of this, which is definitely what I see in that picture. And some of these, some of these stripes are more that gray color because it is actually a shadow. And go ahead and do since I speaking of shadows, since I have this nice grey mixed up and it's a very good kind of shadowy kind of gray for these white pumpkins. Let me go ahead and get those in right now. So that's the shadow that's on the other side of that one long stem. And then the one cast by the little orange, the little tiny round one in the foreground. But now I'm just, I'm taking some yellow and mixing it with a little bit of brown. Because some of these with this one pumpkin, some of them really are a little bit more of a brown or you could use a yellow ochre here. I'm going to push it a little bit more towards the yellow and makes, just make a color that looks a little bit more like yellow ochre. It's basically just, I'm just mixing some brown and some yellow together, but you could reach for yellow ochre as well on this. I just want to mix these up. I just want some variety. I don't want it to look like they're all exactly the same. And as this wash dries, you can come on top and just continue layering like this. I should warn you, you can really keep doing this forever, but we're not going to keep doing it forever. This is actually starting to look pretty good. So let me take a little bit more of that brown and just come in and hit the stem. So the stems also, there is a light source on this, so they have a light side and a dark side. So the side over to the left is the darker side. And the side over to the right is gonna be the lighter side where the light's hitting. So I'm just putting that on the darker side just to sort of call attention to that. Get rid of any little areas where I see white paper showing through where it maybe I don't want it or just don't need it. Oh, yeah, that looks good. That looks better and get a little bit more that there. I really want that one stem to really stick out. I'm gonna need to come back and really emphasize the white highlight on that. So now I'm taking my ultramarine blue. I'm mixing it with Brown. I think the Brown I have here is just a burnt sienna, but, you know, any kinda good dark brown would, would work really well for this. Or maybe you just, like I said, you have Payne's gray or you have a black that you can mix with a little bit of white, maybe put a tiny touch of of blue in it. Now I'm coming in and I'm doing the shadows again. I'm still using a pretty small brush for this because it is a, it is a lot of fine little detail work. But because I already have the shadows kind of layered in and watercolor, all those, all those pigments are showing through and blending together and it all just looks very natural. You know, it's always a bummer to have a shadow that you get, you get a dark enough, you get the shape right? But then the colors really often it just looks like it's from another painting. Like you wanted to all, you wanted to all feel really unified. So let me see. I'm going to mix a little more blue into it as we get over here. This is just really something where you're just looking to see what looks right? I'm working it up into the pumpkins themselves a little bit. So there is that kind of blending of the colors. Get a little bit of it up into this one. And then the last thing I want to do, I'm gonna mix a little more blue and a little more that Brown. And I'm going to get these little dark areas inbetween the pumpkins, there's just these little gaps where you're seeing a bit of wall show through and it's a very dark shadow. So all I want to do is just come in and emphasize those a little bit. And then this really starts to feel pretty complete. 11. Gouache Background & Shadows: Once that's all dry, I'll put in the background and also just look at any places I want to touch up highlights and shadows. I'm gonna go ahead and take a brighter blue color. This is like a CR, Really in blue that I just happened to have mixed up from another project. It had dried sum and really I'm just adding some water and rewetting some dried paint. So this is kind of how I use my leftover paint, but all I need is just a background color. It's going on top of some gray water color that I've already put down. So it's meant to be pretty neutral. I'm just going to come in around that shadow color. I just thought it would be nice to have a little more color in this painting. So this is a blue that's just such a nice complement to those orange pumpkins. I just think it all harmonizes really well. Doesn't need to be anything fancy. It's just a color. This is a color that they're sitting on. And this is just like if you're painting a bowl of apples on a table, you can just decide that the table or the tablecloth is a particular color and just drop that in. And I think the shadow that I already put down, I think it reads pretty well even though I just threw this colour in its kinda the last minute, I think it looks pretty accurate, so okay. That's our background color. And now this is my this is my tub of like leftover graze that I'm always dipping into. This is how I managed to not actually waste guage. Is that all just first for certain colors that I use a lot and graze a really good example of this. I just sort of keep a little dish of it going. And again, I didn't add any fresh paint that was just kind of dried paint. And I'm just seeing what kind of color mixture I can get out of that, but you can just mix a black and white together. You could use a Payne's gray with a little bit of white, or you could use the kind of mixes that we've been doing with, you know, a blue and a green and a little bit of brown. It almost doesn't matter exactly what it is. I mean, I think it reads kind of as a shadow. I decided to go darker and more dramatic than what was already there. But it almost doesn't matter if it looks like a shadow or it looks like a stone wall or what people are going to be looking at the pumpkin. They're not going to be looking so much at the background. And if anything, I don't really want a background that call, that competes too much and that calls attention to itself. But I do want there to be something back there. I think if it was just against plane, why it, it just would not be quite so interesting. So over here also, I'm gonna just sharpen this up with my brush. This one is a little bit lighter color. I just happened to dip into a little bit of a lighter gray in this same dish. And I think that's good. I think it's good that they don't match exactly. And I'll just pull down a more, just a more solid, more vibrant version of the watercolor that I'd already had. And you notice, you'll see as this dries that you don't get the same kind of streaky effect that you can sometimes get with wash. And it's because it's blending with these watercolor pigments that are already behind it in the paper. And I really like the way that looks. Now I'm gonna do the same thing. I also have a little dish of just yellow ochre and white, that these are just the kind of colors that I personally tend to use a lot. They end up in a lot of cityscapes, but also in a lot of still lifes. And I'm going to go with a little bit of a darker mixture that may be yeah, I'm gonna water it down. I liked the way that looks better. I want this kind of warm, yellowish feeling behind it. But I don't want anything that competes too much. So I've really watered this down and I'm just going to put it's basically a wash. I mean, you could easily, you don't really need watercolor for the Guassian, for this, you can easily use watercolor, but I just want to, I want a little more texture in that background. So I'm just basically putting in an extremely watered-down version of a mixture of some yellows and whites just to have something behind them that's a tiny bit more interesting. So I'm just mixing in some white moving around the papers very way you can tell the light shining on it. So I'm definitely going to need to give that a minute to dry, but it also just shows you is a very thin mixture of paint. There really wasn't much to it at all. But I think, I, you know, I think the pumpkins really kind of pop now. So now that that's done, I'm going to come in and start putting in some highlights. Now if you are doing this class entirely in watercolor, you don't have guage. This is one thing that's pretty tough to do just in watercolor, but we stick with me because we're going to have some other ways of adding highlights back in later. You may have just preserved enough white as you go that you don't need to worry about it. But I think it's kinda cool the way they look in layers. And so that's one of the reasons I do it this way. So now I mix some white back in with my greens. And I'm coming back in. Just try to just kinda emphasize where the lights really hitting it. These are really in pretty bright lights. So there's actually quite a lot of kind of white highlight going on here. And remember, even though that looks pretty intense as it dries, it's going to blend with what's underneath it. So they're going to, they're going to look a little more integrated and it will darken Gosh, I can already see a darkening as I, as I go. So it will, it will settle down just a bit. Now I'm gonna do the same thing on these orange pumpkins. I'm just going to come in and hit him with a little more pure yellow. And the places where the sunlight's really hitting him just to, just to kind of emphasize some highlights where I can I see that it's really bright and pretty yellow right around the area that comes in right behind that smaller pumpkin. So I'll do that. Put a little bit more in the center of this one. And I'm just taken a, just a damped brush and kind of blending some of this, which is another thing that's very easy to do. Do you do the watercolor as well, but it's easy to do with Wash to just sort of get rid of some of those hard lines. I mean, mostly what I love about washes that you can put in these really definitive rigid lines. But there are those places where you want to blend them out a little bit and make it look a little more natural. And as they dry and as it blends with the pigments underneath it, they're gonna blend together and look more natural Anyway. I really don't need to go back and work on these shadows anymore, but I can't seem to leave well enough alone. I kind of feel like maybe that one should be a little lighter. So I'm just gonna go in and lighten it up a bit, enlightened this one up a bit. But as they dry, they will blend with those darker pigments below them. We'll see how it looks. 12. Colored Pencil: Now I'm gonna show you three different ways to finish these. You can do all of them in one drawing or you could just pick one. But the first thing is colored pencils. Now that color pencils I'm using are water-soluble. Meaning if you add water to him though, that pigment will release and it'll run a little bit, which is nice, but you don't need that. You can use any kinda colored pencil. You can also use markers. And I'm just coming in, I've just got a few colors here. I have a black or gray, I have a brown and then a green and some reds and oranges. You can actually color in, like I'm sort of coloring in a few shadows. And just maybe the darker sides of the stems. I could do a little bit. There might be areas in the kind of the lobes of these pumpkins that you want to do a little bit of very thin line work with. So I'm just looking for places where maybe I can add just a little something with pencil. You don't have to get too fancy. Some of this is even going to be hard for you to see on camera, but I can see it pretty well. I'm just coloring in and blending where some of those shadows hit and adding very fine lines that are even finer than what I could get using my paintbrush. So it's sort of fun to go around and just add this extra layer on top. It really does bring in, just, just brings in a little bit different color and texture. And I think makes it really look rich and come alive. I also sometimes like to go around the edge and sharpen up edges with a colored pencil can be a cool thing to do. But I would say just really have some fun with this and just add in a little bit of personality at the last minute with, with pencils or with markers. I'm gonna see if I can, with a little bit of green, maybe add a few tiny details here and there. This is really just about adding texture and a little bit of variety. But there's no hard and fast rule for what you do here. It's just kind of what appeals to you and you've probably been working on this long enough thing. You've got some ideas about what it needs, so just go for it. 13. Acrylic Paint Pen: Now I'm going to come in with acrylic paint pen, which is, this is a cream color and ivory color. It can go right on top of Guassian. And I did three versions of this little painting for this class. And I actually decided to put the paint pan on a different version. So this is not the one that we've just gone through and done, but another one that looks quite similar to it just because I wanted to see some of the different effects you could get if you do one or the other. But this could go right on top of the colored pencil and the marker. And what I'm doing is I'm taking these, this cream coloured paint pin and I'm emphasizing the highlights a little bit more. The other cool thing I'm gonna do here is that this orange pumpkin in front has all these warts on it or these growths. I don't know what they are. They look like barnacles. And I'm gonna go and put some of those in as well. And you'll see in a minute, I'll come back and work on these a little bit more. Try not to make these two even. You want some variety in the shape of them and in where they're placed. So be aware of that. But I think right away that can kind of bring it to life. And now I'm going to take a brown colored pencil and put a shadow behind each one of them. And this is really cool because this really does give them a sense of depth. You can see already they look like things that are sticking out, which is really cool. Okay, back to paint PIN finally, I get to sharpen up my line on that stem that I like so much so that really pops it out. And all of these stems have a white highlight on the right-hand side. And I really want to emphasize that I'm going to put a little bit more of this cream color. And you can see that while this is opaque and it does cover the guage, it also does blend with everything that's what's underneath. So like it's a cream color but already it's looking a little bit green because I'm putting it down on top of the green pumpkin. I'll add a few white highlights on the, or cream colored highlights on the cream colored pumpkins, I guess I should say. And that also really helps kinda brighten it up and make it look like the sun's hitting it. And also adds just different kinda line work and different kind of texture to it. Which is part of just giving it a lot of variety and giving it a lot of personality. 14. Ink: Ok, now finally I'm going to show you what you could do if you wanted to come in with ink at the last minute. Now, this is a third version of this that I did for this class. So this one doesn't have any paint pin on it. It doesn't have any colored pencil on it. But it could like you can do all of those things together or you could just choose some mixture of them. But in this case, I decided I would set this one aside and see what it looks like. Oh, actually, I think I did put some acrylic paint pen on it. I'm going to take that back. But anyway, I thought I would set this one aside and come back to it and show you what it looks like just to put some ink pen on top. So the thing is I'm really going in and I'm obviously darkening up any real dark lines like on that stem. But I'm also just kind of outlining. I mean, I really am to a certain extent I'm not doing it everywhere, but in some places I am just coming in and drawing black lines around things like the stems and even some of these little stripes are the, are the lobes in the pumpkins. Not in every case, but in some cases, I'm putting them in and black. Now in real life, everything does not have a black outline around it. But the nice thing about coming in now and adding these inclines isn't it just makes it feel like a drawing. You know, it feels like something hand-drawn. And I think the nice thing about EEG is that you really feel the hand of the artist, like it's a really kinda like your signature. You know, you're saying I was here and I'm the one who did this. So it doesn't have to be black ink. You could, these pens come in different colors. You can certainly do it in brown are orange, or you can be working with different colored pens here. If this is a look that you like and you can see, it really makes it pop out in a very different way and it gives it a different kind of personality. And I can even go in and scribble a little bit in the shadows and kind of emphasize the shadows that way by actually doing some lines or some scribbles in those dark areas. I'm going to come in over here. Yeah. And this is not real visible on camera, but you can see it on the drawing and it does just give it this nice. Do you know this fun, loose little kind of hand scribbled look to it that you may feel is really part of your style that you want to incorporate into something like this. So if so, you can definitely do it and you can do it in addition to the pencils and the paint pens and markers and everything else. 15. Final Thoughts: I want to show you the three different versions that I did as I was filming this class. Let's see, this is the one that you saw for most of the class. I was going to leave this one alone with just guage and colored pencil. That's where I stopped filming. I wasn't gonna put paint pin on it because I liked it so much the way it was. But then I just couldn't leave it alone. I did end up going back and layering on some paint pan and both ivory and also bright white with just a few of those highlights. And then here's the one where I demonstrated the paint pen for you and also did those little shadows behind some of those. I don't know what these are, these sort of wards or barnacle lie growths on the pumpkin. I did those in colored pencil. And then this third one is where I added some EQ. And remember you don't have to use black ink. Those pigment liners come in lots of colors. I haven't had a dark orange ones, so I added a little more in there too. And so the only thing I didn't end up demonstrating was markers. But like I said, they go beautifully on top of watercolor and goulash. I hope you enjoyed the class. I hope it gave you a chance to either try out some new art supplies or use what you have in a different way. Please post what you're working on in the project area so we can all see it. And if you've got any questions, put them in the discussion area, I'll be sure to answer those. And I teach a lot of other classes in art and writing. So check those out and stay in touch with me. Come find me on Instagram. I have a website, I sent out a newsletter, or I'm on social media. I'm easy to find and I would love to stay in touch with you. So keep painting and I'll see you again soon.