Autumn Gnome Tower - Ink & Watercolor Vibrant Fall Colors and Adorable Characters

1. Welcome: O Well, hi, everyone. My name is Carrie Sanders, and I'm an artist, a teacher and a creative here in beautiful Farmington, Utah. I'm here in the mountains, and all the leaves are starting to change, like a quilt outside is so beautiful. This has inspired me to create this fun piece for us today. This is an autumn nome tower. These cute noms are surrounded by pumpkins and some flowers and colorful leaves. It's done in ink, and then we do the watercolor, and then we do some more inking on top. This is a piece that is for people who have some experience painting. If you've never painted before, then please take a look at one of my other classes, and then come back to this one, you'll have a better experience. All of my classes, I provide for you in real time so that we can paint it together, and you are in control. You have the ability to speed it up, slow it down, stop and start it, do whatever you need to do to make sure it's the best experience for you. We are going to be doing some techniques such as highlighting, both putting on and taking out highlights. We'll be doing shading, we'll be doing glazing and wet on wet techniques will splatter. And of course, lots of aching, and some other things as well. And so it's going to provide for you a great base to sharpen your skills, as well as add to your toolbox, if there's some things that you haven't experienced yet. And it will help you in this project, as well as future projects to come. You know, I have been teaching since I was 19 for many, many years. And I have learned during that time that the best thing that I can do is provide you with opportunities and teaching techniques and make sure that you have fun along the way. And so that's what I try to do in these videos, and I'm with you every step of the way. I was fortunate enough to be picked up by a big box store that took my pattern book and published it out over 10,000 copies sold across the country, as well as pattern packets that went along with that. And I've entered and won many art contests over the years, and I only share that with you so that you understand that art has been a big part of my entire life. And I just have such a love of sharing art with others and feel so grateful to be here on Sk share with you. If you would like to take a look at some of my other classes, well, I have a little tease here for you right on my wall. But you can just go into the search bar at the top of this page, type in my name, Cary Sanders, and all the classes that I already have available to you will populate and you can just scroll through and see if something that's interesting to you. Also, if you'd like to click the little Follow button, then you'll get a ping every time I pop out a new class and you can see a pass of interest to you. I'd really love to spend some time with you either in this class or one of my other classes. But if this class looks like it's fun and you'd like to take this with me now, then let's go into the next video where we talk about the class projects more, and we'll get into supplies and our palette. 2. Class Project: Alright, my fellow friends and artists. Today, your class project is to complete one autumn nome tower. And you can do this easily by following my videos. Step by step, I take you from beginning to end, and don't forget that you're in control. You can start and stop the videos, speed them up, slow them down, whatever you need to do to make it the best experience possible for you. When you have finished, if you could take just a moment and snap a pick of your finished project and upload that into our class gallery. Just look for this button on this page of Skillshare. Then that will give me a notification that you have finished, and I get to go in and make some comments on your piece. And also, we as each other's students get to see what each other has done, which is so fun. Nothing but love guys, no judgments here. And we love to see how they all turn out because we're all unique. We all have special abilities and talents. And it's like giving a group of people the same cake recipe or the same casserole. And they all turn out just a little bit differently. So it's so fun to share and see what each other has done. All right. Thanks again for taking this class, and I'll see you in the next video where we start our supplies, our palette, and applying the pattern. O 3. Supplies & Pattern Application : Let's do a quick review of our supplies, and then we can dive right into Inking guys. You'll need to print out the PDF that I have provided for you on this page of skill share, that will give you the pattern that we'll be working with. You'll need a little piece of graphite paper to apply the pattern and a piece of tracing paper. You'll just trace that pattern onto a piece of tracing paper, which we can apply to our watercolor paper using the graphite. Today, I'm going to be using a block, which means it's already sealed around the edges, and this is going to be hot press paper. You can use cold press or hot press. It doesn't matter. I prefer hot press when I'm inking because it has a little smoother surface on the paper, but you'll be fine either way. Also, I'll be using 140 pound watercolor paper. And this is a heavier weight paper, and you'll have a better outcome, guys. I always say watercolor paper is more important than the type of brushes you use or the type of pink that you use. It's all up to your paper. And so treat yourself to some nice 140 pound or better watercolor paper if you're able to do that. And for brushes today, I would say, grab your favorites. We don't need very many really. I'll be using one or two flats. These are a ten and a six. And a variety of rounds, and these are my favorites. Of course, you know, number four is always my favorite. So I have a four and a six, and this is also a six. It's just a little bit bigger, slightly bigger. And then you will need a liner brush and a fine detail brush. This is a one ought, and this is a let's see what is this? This is a 20 ought. So something that you can do some fine details with. And of course, we always need my favorite tool ever, our handy dandy tissue. We'll be using quite a bit of that. Something to put your water in and a towel and a palette, of course, and a spray bottle to keep your paints pliant. Let's go ahead and review our palette. No. Here's what I am using. Guys, I always say, substitute, use what you have at home. If you don't want to go out and buy something. If you want to try something new, then I provide you with what I use. And sometimes it's nice to start adding to your tool kit here a little there a little, so to speak. Today, I'm going to be using cad yellow medium, yellow ocher, orange, transparent orange. And it doesn't look like a big difference, but it makes a huge difference. And Tera Verte and Hooker's green, brown matter, Burnt Sienna, burnt umber, Naples Yellow, emerald, blue and indigo. And then of course, I'll be using Blee proof white. I use this. I much prefer this over guash white, but you can use either one that you want. It's just that Blee proof white is more opaque and you'll have a better outcome with it. And then as far as inking goes, I'm going to be using an 03. So that tells you the tip that I'll be using. Guys, the most important thing here is to make sure that whatever you use is waterproof. I want you literally to make a mark on some watercolor paper, let it dry, and then paint over it, make sure it does not smear, bleed, it needs to be completely waterproof. This one happens to be. It's a stdler. I also use micron and a multitude of others. There's even some ballpoint pens that you can use, such as Muji or Naval. But this is what I'm going to be using today, and so grab your supply. Reapply the pattern, and then we'll dive right in inking. I'm going to go ahead and show you how to apply the pattern. And if you know how to do this, you can just skip this and apply your own pattern, or you can certainly put this on the fastest speed and zip right through, make sure we're on the same page with things, apply your own pattern at your own speed. So what you need to do first is print out the PDF that I have provided for you on this page of skill share, just print a copy of that out on your printer. Once you have done that, then make sure that you have some tracing paper, and you're just going to trace that pattern onto a piece of tracing paper. And then we're going to take that tracing paper and we're going to use that to apply it to our watercolor paper. You're going to take a piece of your graphite, make sure you have the right side down. Only one side will apply the pattern, and just slide that under. And away we go. I'm going to be using a stylist, which has a little knob on the end. You can use a pencil or pen, of course. I just choose to use a stylist because it maintains the integrity of my pattern, and I only have to trace this once, and I can use this over and over and over and I can keep this in my files. Go ahead and get to this point. I'm going to speed up the tape because it's kind of boring to watch somebody trace on a pattern and you apply yours at the same time, and I'll see you on the flip side. At Mt f. 4. Inking First Step: Okay, I know I've pushed this a lot, and this will be my last time I promise, but it's so important that you make sure that you test your marker or your ballpoint pen or fountain pen or whatever inking tool you choose to use and make sure that it is completely waterproof. Please, please because we are going to be doing the bulk of the inking now. We'll do our watercolor, and then we will add a little bit of inking on top. And I am not going to be putting every detail of the pattern in at this point. So it's okay to speed up the tape and move ahead of me here. But just be aware some of the things that I will not be adding in at this point. Also be aware guys that ink doesn't dry instantly. And so try not to smear it, try not put your hand in it until it's had a a few minutes to dry completely. Oh. Oh. Now, you notice when I applied my pattern, I just did a dotted line for all of the arm bands and head bands. And it's because what I'm really going to do is ad and I'm going to do a broken line here, but kind of a squiggly line. This is a ribbed head band. So I just wanted it to be kind of lumpy bumpy. Yes, that's a technical. Work with me, people. So just a little bit of a lumpy bumpy and keep up broken. Kind of like that. Name is on these armbands, these cuffs. Now, be aware of the hand and the pole and the positioning that pole goes into his hand. O h Oh. Oh. If you've done other watercolor and ink projects with me, I'm usually more loose with my inking. But for this pattern, I'm sticking to the actual pattern. Just because of the nature of what we're doing here, we're doing people basically and actual things that have to look like corn and pumpkins and whatnot. So I'm going to When I applied my pattern, I only did the stem. I just did an indication. And now we can go ahead and add in the little wet shafts. It just would've looked too gummed up, too messy if we tried to do it. You know, both times, like on top of each other. So Sometimes you just need you just got a free hand a few things, but you need an indication, a reminder of where it goes or the placement. And this is a good time to shape up your flower. Like mine looks a little wonky here and there, so I'm just gonna make the petals look nice, I'm gonna take my time on it. Ink, Let's things be very forgiving, which is wonderful. I loved ink. Great, how to do, guys. This is so fun. It just It takes life so quickly. A Now, this can be confusing. You've got a hat, a hat, a leg, a shoe, an arm. That's why I keep the pattern handy. If all falls, go back to your pattern and take a look and go, what did I do here? Because that will help keep us on track. And it's important to realize what's on top of what? So this hat is on top of things. The shoes on top of things. Oh. Okay, take a deep breath. Are you holding your breath? I know I was. Don't be afraid to take a break. Shake out those fingers a little bit if you need to. Now, the plaid on his hat, all I did was those indication lines, but it's actually kind of a double line. So I'm gonna keep my pattern close, and put the double in because it'll help us when we paint. Sorry, I'm trying to keep my hand out of the way of the camera can be a little tricky here and there. Hey. We'll go doubles one way, and that's easiest if you just go all one direction, and then we'll go all the other direction. It's a hat, so don't be afraid to bend them, make them wave a little bit. Here we go. Did it. Okay. Wow. That was one of the hard parts. We got through it just fine. Okay? One thing I want to point out is I didn't put the lines in for the beard on those top two on purpose right now. We'll do that later. Oh. Okay. Now, again, this is a great time to shape up your petals if you need to on this flower, and I am going to put in some dots just to kind of help me with the center. I didn't want to draw a circle cause it's going to be dots. I don't want to put a ton of them in just yet, but let me see how that helps give us a guide. Sometimes we need a help, right? Right. That's all I'm going to do on the main portion of that flower for now. Oh, I don't know if you can hear that rain. We're getting heavy thunderstorms right now. We've got the monsoon rains coming up from the South. I may have to stop filming for a minute. It's. Oh, dear. Let's see if we can finish this guy on the bottom first. Oh. His hand in. Now, there's a gap between his cuff and his hand because we got those corn stalks that he's holding. Right? And his thumb just kind of pokes out over here. So make sure that you're looking at your pattern. Right. You don't be worried about the stocks being, you know, just right and all matching up. We're just going to jam him through his hand right here. And it's okay. Same here. Okay. I like to make these corn husks a little bit. And I'd like him to kind of flip on the ends. 5. Inking 2nd Step: This is where I like to make the actual corn see at the edge, how it's just a bit wavy for those corn kernels. Just those little details. We're going to make this a fun and a little more meaningful. And then we're going to take a couple rows up again. I'm going to make it a gy. Technical term. Same here. Oh. Great. And then let's bring them across this way. Oh, my gosh. Is that adorable? And don't get carried away. You don't have to do a zillion rows. Don't make them too tiny 'cause we're not gonna go that detailed. That's all we need right there. I'm gonna bring some stocks down there. They're not floating great. Alright. Oh. M. Oh. I'm gonna do my leaves last, 'cause I like to turn my board upside down. Right. Hey. One more over here. Oh. Okay. Okay, I have decided not to ink in these bottom leaves until the end because we're going to do them wet on wet, and sometimes they move around a little bit, take on a little bit of a life of their own. So we will ink those last when we do our final details in ink. And so we'll just leave those. So give a double check, Make sure you have everything inked in that you would like to have inked in at this point. And let's that completely so we don't spear anything. And while it's doing that, make sure you have all the paints you need we'll start painting. Oh. 6. Background & Splatter: Before we start to paint, if you happen to have lines that you didn't ink over by mistake, that's okay. But you need to go in and just clean them up a little bit because once you put paint on top, obviously, you can't remove the lines. And so The things that I have found that seem to work well on graphite graphites a little tricky to erase are some professional erasers. You can't just use a pencil eraser. So the white eraser seems to work okay. Honestly, I like the gum eraser the best to erase graphite lines. And a needed eraser can work, but this is the least successful I have found. So I would recommend that you use one of these three erasers and lightly grow over. Please make sure your ink is completely dry so you don't smear your ink. And then just lightly go over. It is going to lift some of your inking. So don't press too hard. You don't want to go too light on your inking, but if there's a line that you're like, I really blew it there, and I've got this big line that's out there, then just just go ahead and use your Gumm eraser and erase that real quickly. And if by chance, you press too hard and you lift out too much of your ink line, don't worry about it. We'll put it back in, so no stress and no worries. I just wanted to give you that little tip. Alright, picking up. This is a well loved brush, picking up my number six round. And I'm going to give you ratios of water and paint throughout this class. It helps you understand how much paint I'm using. This is going to be a 9010 mixture 90% water, 10% paint. And I'm going to dive right in. I'm gonna have a tissue handy. We're going to just kind of start. We'll start down here where it doesn't matter too much. We're not going to blend anything here. Just to give you a feel for your paper, your brush. You know, it's kind of ease into it a little bit. We're going around the flowers, around the pumpkin. And I'm just going to blend that a little bit with some water, soften that edge a bit. Great. Now, let's go ahead and add a little more here. Same thing, going around the flower, the leaf. You could get some on there. It's not the end of the world. Just soften it with water. I to go around these petals a bit. Great. Now, I'm going to take water on my brush. This is just water. And I'm softening that edge. Notice how I'm pushing down on my brush. Just to get a nice soft edge there. I'm going to id that out a little bit. I don't want it to be around edge. So see how I'm going in and out with that. Just to make it more interesting. Alright. We're getting our confidence up, so let's keep on working our way up. And now I'm making the yellow ocher a little bit stronger around our cute little nomes. Okay? Just picking water on my brush. Well, water. H that out a little bit. Good. Hey, water on my brush. Hang it out a little bit. Ing it around the flag. I'm gonna use it out. Cute. Cute cut cute. I got it on the hat. That's okay. We're gonna do quite a bit with it on the hat. But I'm just gonna touch it with my tissue to soften it. It's a big deal. It doesn't matter if you get on those oak leaves. I want it stronger up here. Turn your board upside down, if it's easier. I'm just not because of the camera. So don't be afraid to just turn your board and make it comfortable for you. I'm just adding only more of 85 15 around his body. I want it a little bit stronger. Good. Now, water on the brush. You know by now, we're going to jig it out a little bit. Oh, Now, notice I've left white areas between. Remember we're going to come in with some of that blue. Little leave areas where it can be like a true blue. So not everything is blended. And notice I'm just going to go over these flowers, but I only have water on my brush. That's okay. Also, keep in mind, especially you beginners that watercolor dries one value lighter. So keep that in mind as you're applying this. It's going to be lighter than what you're seeing. But we can always come in and add another layer. We can glaze a layer on top, and that will be a nice addition if you feel like it's too light. No worries. Hey, I'm just going to lightly touch that bottom. I want it to soften as we meet those leaves. Wait. Beautiful. How are you doing? Yeah, fund? I can't believe the transformation already, and we just got started. That's the beauty of watercolor. Awesome. Alright. If this is as dark as you feel like it needs to be, then stop. I'm adding a little more depth to it here just 'cause I know it's gonna dry a little bit lighter. Oh, I like that. And I want it to be just a tad darker around this nome. And I'm still keeping those white spaces available for the blue that's coming. And I'm ad I want it to match this side a little bit better. Add just a touch more color right there. Just touching it in. It's still wet, so it'll blend nicely. Yep. B it out. Nice harvest fall colors. Gorgeous. All right. Let's let that dry, and then we'll come in with blue. Okay, making sure that your yellow ochre is completely dry. I actually used a hair dryer, or you can use a heat tool, or you can just wait for it. That's mine. Now I am picking up this beautiful emerald blue, and it's kind of like a cornflower blue. It's a beautiful fall blue. And this is a 9010 mixture on my number six round. And we're going to come in and lightly go over some of this yellow ochre here and there. Now, I say lightly because what happens when you mix yellow and blue? You get green. And we don't want green. So I'm not digging it into. I'm just laying it on top of the yellow ochre here and there. And then I'm going to pull it out into some of these white areas there where you actually see the blue. Beautiful. I'm going to soften that a little bit. Touch it here and there with your tissue. Oh, that's gorgeous. Alright. Let's put some more up here. Using an up and down motion. And then I'm going to use just water on my brush. I go to pull some out a little bit further There we go. Soften. So pretty. It's one of my favorite colors. I know. I say that a lot. How can you be an artist and not love color, right? Okay, I've got a nice white spot here. I'm gonna pull up some of that blue. Yes. I want that to fade a little. Now, it's up to you how much speckling you want it to, you know, how much you want it to look kind of speckled there. And I like that texture. I like it to look like that. If you want it more smooth, then just keep using more water on your brush and smooth that out a little bit. Okay. Sing out of ta. Okay. Now, I'm not going to bring it down too far, a little more around the body. But I'm being aware of these plants right here. That's why I didn't make the yellow too dark over here. Always be aware of the full composition of your piece, especially as you're laying in backgrounds like this. You can't really go in and undo it as easily as some other areas that you could reverse. I'm just going to soften that. Now, I might come in. I'm not going to go under it, but I might have a little right here, so it's kind of got some continuity. Like that. Me over here with the sunflower as well. Mm hmm. Wait. Okay, step back and take a look and see if there's anywhere else you want to add to it before we splatter. I've taken tissue, you know, my handy dandy favorite tool, and I'm going to take a little bit of this indigo, and this is a 9010 mixture. And then I'm going to clean out my brush before I pick up, but I am going to pick up some of this beautiful emerald. And we're going to mix those two together. So I would say about a 50 50 mix. And that's going to give us kind of a denim blue, which is actually what we're going to use on clothing of one of these nums. But I didn't want it too dark and I didn't want it too light. So now I'm taking it and keeping it at a 9010 mixture, and I'm going to splatter. I like to use the tap method where I tap with my finger. I feel like I can control things a little bit better, but I always tap on the palette once or twice just to get rid of some of the excess. I'm going to cover this little flower here for a second. All right. So once I have it down, I like to do little areas at a time, because now I don't want it to look like all dark dots like that. So I'm going to take my tissue and just gently lift. This is a straight up and down motion. Don't swipe or you'll have schmears. But you can see how that lightens some of them, keeps some of them dark, and you have a nice mixture, and that's what I like to do. Now, you can splatter however you like to splatter, and that will be just fine, you know. But I'm just showing you the way that I like to do it so that you have options to try and choose from. You bring some up now. And I'm just gonna touch. I'm gonna leave at darker at the top. Did you get a big one like that? Just touch it. Let's get rid of it. Hey. S. Ed. We had a few more right there. See how you can kind of direct it when you're using the finger tap. I just wanted a few right there. Here right here. Now, we're not doing the lower part because we're going to come in with green and do those later. So let's lift off our tissue and see how we did. Oh. Oh. Let's that completely, and we'll move on to the next step. 7. Washing in Gnomes & Flower: I'm starting with my number six flat and yellow ochre. But before I do, I wanted to just remind you or point out if you haven't done this before. There's three great ways to make marks with a flat brush. That's why I like them so much. They're very versatile. So obviously, you can just use the flat edge, and we will be doing that. And then you can use the chisel edge, which is coming straight up on top and you can make very thin thin lines. And then you can always use just the corner of your brush. To fill in areas as well. And we'll be doing a variety of marks using our flats. And so I like to expose you to a variety of techniques that you can do with your flat brushes. So if you don't have a flat brush, treat yourself to one, I would say a good medium size like this, a six, a four, maybe an eight. Any of those would be a great one to start with and start to learn different things and expand your knowledge, your skills, and see what you like. Now, we are using a 9010 mixture of yellow ochre and just coming in and doing every other stripe on this hat. How I use the chisel ledge in that little area. Get a nice line there. Okay, great. Now, we're also going to use it to fill in the ribbing on the edge of the knit cap. Great. Le the cuff. And I'm gonna take it down to a 955 and fill in the flag. I just go right over the pumpkin. It's okay. Oh. Oh. Well, this is called a wash, where you do one coat of paint, all one value. And the key to getting a smooth look is to have enough load your brush enough that you can do at all or close to. And also to move quickly so that your paint blends together and you don't have any brush strokes. I'm actually going to switch to my number ten flat, and we'll keep going with the yellow ochre. I want this to be a 955, so quite thin down. Just do a thin layer on the beard, not the nose, so we'll go around the nose. But what we're going to do is just base coat the ends. We're just doing a wash, all one value, 955. Just to warm up our paper. We don't want a stark white value to work on. And because we're doing all these autumn colors, we want a nice warm value, not a cold value, not a cold tone. So we're going to come in and we'll do some shading on this, and we'll do some highlighting, we'll do some inking. So don't worry about how it looks right now. I just want to warm up our paper here. This is where you can use that chisel edge to come in above the nose. I switched to a ten so I can fill it in fast. And not have marks showing individually. R. While our yellow ocher is drying, let's pull out some of our cad yellow medium. This is a 9010 mixture. You can see the pigment is actually quite strong for a yellow. It's very opaque, which is great. That's what we're going to want to work with. By the way, you notice that I'm putting my paint in the corner. And the reason I do that in the corner of the well is so that I have room to work with it out here with the amount of water that I want to. It just gives you more versatility rather than clopping that paint in the middle of your well and then you're like, where do I put my water? Now, we're going to add the highlight to our pumpkins. And let's actually just work our way down. Shall we? We can go ahead and touch in these little wheat shafts. They look like little blobs right now. That's okay. Don't worry about being super individualistic. Be a little more careful on the flour here. We can go ahead and put in the ribbing. Again, we're still at a 9010 make sure it's just quite strong. Which is great, 'cause you remember it's going to dry one value lighter. I want to put it on his arm cuff. He only has one arm showing. Let go. All right. Let's keep moving down. We're going to do our sunflower. I'm using my number four round, by the way, my favorite brush. It's so versatile. It comes to a nice point. Holds a lot of water and paint. I'm going to leave the center white for now. All right. So moving down. Let's go ahead. We're going to put yellow just on the ridge where the high light would kind of show. If the light we're hitting it, round that around a little bit. And then let's pick up some water and just soften that edge. So it doesn't look like a stripe. There. Okay. Soften the top as well. And let's come over and do the other one. O and soften that with some water. Great. And let's do our corn stock. Corn Cb, I mean. Have you ever walked through a corn field? I did that once when I was in the Midwest. I always wanted to just walk through a cornfield and disappear and see what that was like. And it was very humid and sticky and kind of spy. Wasn't quite what I had hoped for, but it was still really cool. They were way taller than I am, and I'm a tall girl. Alright. That's all we need to do in our cad yellow medium. Our yellow ochre should be dry up here. So coming back to the mixture that we used to splatter. Remember this is a mixture of emerald blue and our indigo. It's got a little more of the emerald blue cause it's so light. I only takes a touch of the indigo. And then I take it to a 9010 ratio with the water. It's going tissue. And so we've got this 9010 mixture that we're going to use on his clothing. He just kind of we're going for a denim blue. And we're just going to do a wash. A one value, fill it in. Right. Now, let's do his sleeves and pants. I could have switched to a flat brush. That was just this little area, so Oh. Nice. Okay, moving on down, I have pulled out some of this terra verte, and this is a very opaque color as well. It has a lot of pigment in it. So I have taken this to a 955, and I'm going to use my number four. When you see me touch my tissue, I'm just pulling off some excess water or paint so that I have better control. I'm just going to go around these little wet shafts and bring in all one value at the terra verte. Oh. It's gonna soften the edge where it met right there. Great. So it's much all value. I'm gonna t that dry before we come in with more. I'm gonna take this to his sleeve now. And to this pant lk. It's another great harvest color, isn't it? Beautiful fall, sage green. Love it. Good. While we have this, let's go ahead and add this to some of our leaves here. Just the s flower leaves. We're going to be particular here for a minute. I have a glare from my bright lights, Eric. Can't see very well for on this angle. There we go. So if you go out of the lines like I did right there, just touch it with a water brush. And if it's still wet, it should lift out for you. Looks like it went out right here, too. Right. And we can do our pumpkin leaves. That went in a little darker than I wanted it too, so I'm just coming in with a water brush. I'm going to lift off. See how I just touch my tissue, that pulls it off of my brush. Great. Okay, let's do the other one. You know, I've never grown a pumpkin. I feel like I'm kind of a gentleman farmer. I love to grow tomatoes and I've grown a few other things, but I actually had to look up how to draw the shape of a pumpkin leaf. I had to pull up a pumpkin online and see what it was shaped like. There. All right. That looks good. And let's do this leaf as well. Oh. Touch it. Pull it off. This is called lifting a high light. You can also use it for pulling off paint, and I like the way it leaves it kind of dark around the edge. We're using a 9010 mixture of our rate. And we're just going to touch go down one edge. It's going to look strong for a minute. Don't panic. Hey. Now, water brush. Soften that. Just to blend it a little bit. Beautiful. You can see how that just adds a nice shadow, some depth to it. Let's do it around the hat to or excuse me around the brim. I bring it up a little bit higher. Okay. Now I'm going to do a soft edge with the water brush. T my tissue. Good. All right. 8. Shading & Adding Skin Tone: Let's come in with per mix. A just a little more indigo now to our mixture here. Let me see how that took it darker. And I'm doing a 955. So it's quite thin. We're just going to add a little bit of shading to the bottom side of this fluffy ball here. And to the bottom side, the inside edge. We will come back and add some water. Hey, this is the water brush. And I'm just going to soften that. So a little bit more. Now, you can make this as dark as you want or kick it as light as you want. I just want a nice contrast between this dark spot and this light spot. That's what I'm doing. The hat's crunched over here. Hey. And let's do the same with the sleeves. Makes sense that it would be darker back here underneath his hat. Hey. And next to his beard. Probably all the way down. Behind that hat, behind the shoe. Hey, and then water brush. Good. Okay. Let's let that dry. Coming into indigo blue, and I've got a 9010 mixture, so it's pretty strong. And I'm using my small flat. I'm gonna come in and do a wash of his feet. I should say of their feet. Oh. Alright, while that's still wet, rinsing out and using a water brush. Just gonna lift off. I'm not too worried about these little ones up there, but I want to lift off a little bit. Just on the toe. Just curving my stroke, following the contour of his boot. Same thing on the side. Always be aware of the curvature or the contour of whatever it is you're painting and follow it. That doesn't look funny. There. That just adds an automatic highlight for us. Maybe I'll do just a tad up here on each one of these. Great. Well, I've got the Naples yellow, brown matter, Burnt sienna and burn umber out. Let's take some Naples yellow at a 9010. And let's go ahead and just face in the Now, we're going to mix a little bit of this snple sellow, in the middle. And it's not going to take much brown matter. What we're striving for is just kind of a pinky coral. Just a beautiful fall shade here. I'm going to add just a Get it to the color. You like it to be, guys, test it out on your paper on a scrap paper. And then we will come back in and we'll shade it with the brown matter. And then take it to a 9010. That's about the color I would like it to be. Now, we have these stripes. It's not the end of the world if you paint over them, but I'm going to try not to, for the most part. We'll come in with some white. Such a pretty color, beautiful fall color. If you're holding your breath, take a deep breath. Sometimes it gets intense when we're doing small areas and trying to be careful. If you need to switch to your really fine brush, do that. I love my number four. It has a nice fine tip, I have a lot of versatility with it. Great. And now let's go ahead and do the sleeves as well. O et's let that dry. Okay, guys, we need to mix up our skin color. So let's pick up some of our yellow ocher. At a 955. Let's add in a little bit of brown matter. That was too much. Just a tiny bit. Let's go. A teeny bit more. And then the tiniest amount of blue. And then test it out. Good. Okay. So let's start with that and wash in the nose and the hands. But before it dries, we'll add a little bit more to the nose. So be aware. And Awesome. All right. Now, while that's still a little bit wet. Let's add in just a touch of the brown matter on the bottom. It's a little wet on wet technique. How I touched it lightly on the bottom. You can see how it's bleeding upwards, which is perfect. And you can control it by just using a water brush, going across that top, touching the tissue, just to keep the top light and the dark on the bottom edge. And then you can do that. You know, to whatever value you want to take it to, do you want him to have a real red, kind of ddy looking nose or just more pink, just a little soft pink nose. You could also do it to the hands like where he's gripping it here, gripping that hat, and maybe gripping the pole. So it might be a little more red. And let that blend in. Nice. How that go, guys? If you've never done a skin tone before, now you know how to do it. This is great to know. You would allow in portraits or just other characters like this. Great. Let's do next. Pull that in. Pull in the hand. A little too much water there. So now I'm going to add a little more brown matter. The bottom. I like kind of that rosy ddy look. And on the bottom of his hand. Okay, I'm gonna keep an eye on that and do the next one. Don't forget his little thumb poking up there. And touching the pumpkin here. Okay. Now, I'm gonna just touch. Top of his nose. Bled a little bit. Just water brush here. Hey. Down. A a little brown matter. Just to that bottom edge. The fingers. Maybe a little under the cuff on this one. Awesome. Water brush. Great. How to do. 9. Shading: I've now added our final two colors to the palette, orange and transparent orange. And let's go ahead and wash in the orange to our pumpkins. Is going to be a 9010 mixture. I'm using my number four, and I'm going to do the bottom portion and the top portion. And yes, it's going to look like a piece of candy corn for just a minute. Don't worry. It won't last. I just have water on my brush now and softening that edge, same with the top. Then I'm going to bring it down on the outer edges, the outer two pieces. And just to touch on the creases. Don't want to lose that yellow. That's why I'm going really gently. A little more depth on the bottom. Good. We're going to leave that. And let's come down to the ones on the lower and same process. These are going to be brighter because we don't have that yellow ocher underneath it. Now, we just water on the brush. Soften. Okay. I'm gonna pick a little up. Bring it down on the outside. Around that corn, Maybe there's a little shadow. We are going to come in with transparent orange on top of this. But we don't want to lose that beautiful yellow. Let's do our next one. Hey, a on the brash. And then a little more on the bottom. Good. Let's let that dry. While those are drying, let's come up to our sunflower and just take a little bit of this orange, this 9010 mixture, still sticking with my number four brush. And we don't want to lose our yellow tips. But we're just going to add a bit of orange goodness. From the center out, I'm just kind of pulling out ion. Going to use this together right towards that center. Maybe soften a little bit here and there. I don't want every petal to look the same, you know. And I'm going to add little bit in the center. Good. Okay. Now, this top one should be dry. Let's pick up a little of our transport and 9010. This color is so rich. It's going to add quite a punch to the orange that we've done. So go slowly. Water on my breast. Same thing on the bottom. If you don't have transparent orange, cad red light would work. This doesn't have quite the same kick or quinocridin red. Water. Notice when I'm softening with water, I'm pulling down. I'm not letting it go up into that yellow. Don't want to lose that yellow. Now up here, I'm going to pull it up, pushing it up. Good. And I might just intensified a little bit right around the stem. That's where it will be the darkest is deep in that stem area. Maybe a tad more on the bottom. I'm just touching, almost an up and down motion. It's wet, so it's going to be a little bit of a wet on wet and blend up a bit by itself. Water on my brush. Beautiful. I soften this just a teeny bit more. Et's do this big guy over here. And really, guys, it's personal taste. So I want you to make sure you're doing this the way you want it to be. Maybe you like it, just the light pumpkin color. That's fine. Just leave it orange and don't put the transparent orange on top or just do the tiniest amount to shade on the bottom. Make sure that you're hay and you're personalizing these pieces to make them your own. Now, because this one's so big, I am doing a little round, to see that little round sculptured to make it look curved. Remember what we said earlier, always follow the curve of your piece. Pushing this up, as I soften that edge. Good. All right. Let's let that dry. Oh, sorry, before we do that. I go to add just a teeny bit here and there. Not a lot. See how strong it is. It'll take over your flower if you All right. Let's turn our attention to this hat while we're letting that ry and come over to our brown matter. And just add a little bit of shading. This is a 9010. And we're just going to add a hint. It's not like we're going to be super particular. We're just going to add maybe a little V shape on the bottom of these checks. It's gonna fade into the background. But it's gonna be enough to make you feel the richness of the fabric, feel some dimension. Good there. All right, while we have our orange out. Let's just put the tiniest amount on this corn. We don't want to lose the beautiful yellow, but we need to add just a little hint of character to it, right? So I'm gonna kind of stick with the lines. B Now, if you wanted to be really clever, you could do like Indian corn and do the rows, different colors. But you don't have to be that complicated. I don't think. Okay, let's come up to these cute little oak leaves and the acorn. And I'm going to start by putting a little bit of yellow medium on the tip or the upper side. They don't have to be twins. They don't have to match totally. And then I'm going to come in with some burnt sienna. Great. And then where they touch, it's a little wet on wet. They're going to blend together nicely. And if you don't want that to take over, just pull it back down. Pull that down a little bit. And then I may come in with a second coat of the yellow. That's fine. Let's add to our acorn here. Now, while we have our burnt sienna, we're going to do a little bit of shading on that cap. This is what we're going to use to shade our yellow ochre. I water on my brush now. This apning pinging out a little bit. Water on my brush. I like that contrast. If you're thinking, Oh, my gosh, are, that's really dark. Remember, it's going to dry one value lighter. But also, good contrast gives you a good dimension. It makes it more interesting. So don't be afraid of it. If you don't have dark darks and light lights, and we haven't put our light lights in yet. But if you don't have those two together, what you have is a flat piece. Hey, just water around my brush, and I don't want to lose the light area of the top portion. Hey. Very good. Now, I want to be the same for our cus. I see. 10. Shading Beards: All right. It's moving down to the next hat. Spot into our terra verte. We already shadowed this side, which is fine, but we didn't do our arm over here, so probably underneath your foot. All right. And then just water. Now, if this is too subtle for you, you can use the Hooker's green for a deeper shading, higher contrast. I really like this sage green, and so I'm just trying to maintain the integrity of having a light green. I'm going to deepen this shadow just a bit right here. I got just a touch right there because it's shod be right. It's a dark spug. I just need to deepen this brown matter right here. How yours looks, so just you gauge. I think I'm okay with the hat. So let's take some of this se color, our rate, and add in our cornstoks. Right here. We're just going to wash these in. Remember, wash all one value. Oh yoke. Now, let's pick up some of this burnt sienna. And let's add a few dots. Notice I'm just staying on that outer edge. I'm leaving space. We're going to come in with some burnt umber. Let's let those dry a bit. Coming into our burnt umber, and this is a 955, so very thin really watered down, super light. We're going to do shading on our beard and mustache. And then I'm going to use water on my rush to soften. As to the next one. Three. Now, you might be feeling like this is dark. But remember, we're going to come on top of this with our white. And what did we learn earlier? If you want your white highlights to stand out, you put something dark behind them. So tru the process and understand that it's going to be just fine. And your white highlights are gonna look beautiful. O. Good. Now, I'm actually going to let this one dry a little bit before we come back in and do around the mustache because it's too close to the outer edge. So let's let that be for just a minute while we do. Let's come up. We didn't put our lines in up here, but that's okay. We're going to do them now. And the soften those. We're going to come in and want them nice and soft. And, that's dry enough that we can come around. Okay, let's finish around the nose, and then the outer edge. And that's really gonna make this mustache stand out, especially once we put white on it. U Okay. And on this bottom one, we're actually going to do the cuffs, all the ribbing with the burnt umber. Oh. And we need to put our shading on this cad yellow one, which is going to be done with yellow ochre. Let's do that, w. Remembering a little bit here. And then if you feel like it, you can put a little bit on the center of that flower. Little too much water that we've done. Okay. I might put just a touch of yellow ocher right up underneath. Right there at the top. Okay. And let's take some of this burnt umber. Sorry, I'm bouncing all over, but we're just at that point where it's all these little things that need to be done. But we're going to bounce. That's okay. Let's do our two stems with our umber. And I'm going to lift off a little bit of highlight at the top, so just wipe off my brush. Touch touch and press, wiping it off on my tissue. You can see how it gives a nice highlight. Nice, Let's take the tiniest amount of umber, 955. Teeny, tiny, and just a little bit of shading next to the pole. And maybe a little bit down here in the fold. And then let's do that stem. And let's take some indigo and do that pole. You can use your flat brush, or you can use your round. I'm gonna use my round. Get nice and slow. Don't press hard. I'm going to pull a little off the tip of that right there, where a highlight would be. Okay, let's use some of this indigo and strengthen the shadow on these boots. So the sole is going to be our darkest point. Bringing that right across. Ts. Bring it up on the sides with some water. And that gives it a nice rounded edge. Again. And water. Okay. 11. Colorful Leaves: Our last one, our little set of feet down here. I go to be darker underneath his beard. We don't want to lose that nice highlight we did earlier, but we can sweep some of this down under. And just water on the brush, just soften. Let's keep the other foot. I think to some water. Keeping it ed. Nice. Okay, now we can add a little bit of shading on that pole. I'm a a little darkness into the hand. Be darker there. Ply right in the grip. Probably on the edge where attaches. Under the round ball and on the bottom edge of the ball. Right. Then since we're using indigo, if you need to strengthen any shadows on his denim. This is the time to do it. I think I'm pretty good because I don't I don't want to lose this beautiful blue that we use. I want it to stay nice and light. So I don't think I'm going to add it anymore. We're going to do some leaves with some hookers green, which is a deep rich color. Now, if you don't want it this dark, you can mix it with some ravert and get a nice medium green. But again, I want contrast. I want some light, I want some dark. So I'm going to do this set here in the dark. Yes, I'd love that, see that rich green, beautiful fall color. Gorgeous. All right. Let's continue with Hooker's green. And this is like a 955. It goes on so dark. I'm just going to put a line down half of that stem. I'm going to go up. And I'm going to do the bottom half of this. Pick up some water and soften that. R, I just wanted a little bit darker. I wasn't dark enough for me. Yeah. Hey, S the other. Do the bottom half. Good. And let's come over on the other side. I think I will do this set here. Oh. Okay. And let's do half our pumpkin leaf. So let's just wash this in the bottom half. And same with the other side. It almost creates a vein for us. You can choose to paint it in or not. We have a little bit of indication with our ink already. And this one that we did earlier Good thing. Great. Now, I'm going to do medium On the top. Let's see, I've loaded my brush, pretty good. I'm going to pick up some orange while that's still wet and let those touch. Blend. They'll just blend. Hey, we'll give those just a minute to see what they do. Is going to touch a little bit where they touch. Let me pick up some brown matter. And do these leaves right here. Now, you can be doing any color you want, you know. These are just autumn leaves. I'm actually gonna take some of this brown matter and touch down here in the orange. Oh, yeah, that's pretty. That's kind of the bottom. Nice. Okay, I'm gonna do some fricena. Cad yellow. This one's gonna be kind of a mi. Umber. Let me a little orange. I'll do a mix right there and add a little bit of orange to my burnt umber now. And to my sienna. I'm going to encourage that orange up. Yellow just wanted to take over. Beautiful. Let's step back six feet and take a look and see if we are missing anything other than our highlighting, if we need to add some shading or whatnot. All right. The final thing that we're going to paint in are our beautiful leaves at the bottom. Yes, I've turned my board upside down to do this because it's easier to pull them, and you can do the same or you can do it the other way, whatever ses is for you. So we're going to do a lot of wet on wet technique, and it's going to be similar to what we did over here where we just do multiple colors on our leaves, we want them to look all di different changing of the colors, and there's no right or wrong. And if you go outside the line, don't stress about it because we're going to come and at these in later. Although, again, it's kind of hard to get rid of these lines once they're on there with the graphite. I would caution you to be a little bit careful, but stress. Stress. And I would just say you can use really any of the colors that we've used on this entire piece. So whatever strikes you, just go for it. I'm just going along my palette and picking up a variety. The burnt umber, burnt sienna, brown matter, orange, I'll be using yellow in a minute. Ca yellow, I'll even be using some of the greens. Just try to mix it up a little. So there's no need to take a lot of time on these. You should buzz through my quickly. Foo. L et's see. Okay, let's let those dry. 12. Highlighting Phase 1: L et's put our leaves on the vine here. And I'm going to go with the hookers green, the darker green because everything down here is so dark. No, I did not ink this one in first. I find it much easier to paint my little leaves like this and ink them afterwards. So you decide what was easier for you and learn from that. And that's what you can do the next time. I just never had and add in a little vein. And once your leaves are dry, you can add in the vein. When I went over to dry, I realized that I had this little yellow smudge, you can see it underneath that vine. And so I thought, Well, no problem. I'll just add a few vines that come down, and it will be disguised. So that's what I'm doing. And if that happens to you, you can try to lift it off, or you can just cover it up. And I decided to cover it up. Great. Okay. I've set my pints panes and put them away. So I've picked up a small flat and some of my bleed proof white. I like to work on a watercolor paper that I can keep really close to my keys as I'm working because we're going to go through it fairly quickly, and I didn't want to be reaching far. So dry brushing. If you've never done that before, is literally taking a brush that is dry. In other words, don't dip it in water first. Pick up some of this bleed proof white and then wipe most of it off. And let me show you on a dark piece. You're going to literally brush on dry scratchy paint. So it looks like maybe an old barn door or an old fence where it's been whitewashed, and it's peeling off, so to speak, and that's what you want. You want some of that under coolor to show through, and you want it to look kind of scratchy and texture, and it looks so cool. So this is what we're going to do for a lot of our highlighting. I'm going to be using this small flat for a little bit here. We may switch to a bigger one soon. Let's just start with this little pumpkin. We don't want to lose our beautiful yellow highlights. So just start sparingly. And just to put on a little bit. And you'll kind of get a feel for it as we go along. You'll decide, how much you want on there. Are you a person that like strong highlights, a lot of character, or do you like subtle highlights? And you want just a little touch. And there's no right or wrong. It's whatever you like. You B you. That's what I love about painting is we can all be ourselves. Everyone's unique, and you're gonna come out with a beautiful piece. So I'm going to put a little bit of highlight on these top two bumps here. Look how fun that is. It just brings them to life. I think it adds so much character. And then I'm going to bring it down across the front. Now, you can see I'm going on fairly light at first because I can always add on more. Now, can you take this bleed proof white off? Yes, but. Yes, but it is water soluble, but it will leave a little film of white. So if you want to practice first, if you haven't used it before, and you're not sure. Practice. That's okay. L practice just like I did there and get a feel for it or start in a more obscure place than the middle of the top hat. Maybe take it easy. Start Start down here somewhere. That's okay. And get comfortable. This jar is going to last me a year. And yeah, it kind of thickens up over time. I've opened up before, and it's been like literally. It's been like thick jello. And just put a few drops of water in, stir it with the back end of your brush, and you're good to go. Now, I'm just going to put a few using that very tip of my flat brush. I'm going to add a little bit on the ribbing of this n. The tiniest amount on the tip of his nose, the top. Cute. Let's leave the beard for now. Let's stick with what we're doing here. I just a little highlight on S, I'm going to make it round where this flag is curving out. Just a little here and there. A little bit on his cuff. On this chiseled edge there. Are you kind of getting a feel for it now? You're kind of understanding where you would like it to be? I'm up on the chiseled edge here. Now I'm flattening it out. Beautiful. Okay, I'm not gonna do any on the arms or legs, but I am going to put some on the. I'm gonna curve it. Curve it down the other way. I'm doing the ribbing. My hand out of the way, doing the ribbing on this band here. Game. I'm gonna do that beard, but it's tiny on the nose. And this band On this hat, I might just do a tiny bit on some of those squares in our highlighted area. I like that. This gives it a little dimension. Oh. Hey, on the ft. O. A little bit more. Yeah. Oh, I like that. We did so much to preserve that highlight. We got to make the most of it, right? Let extend this out a little bit. Okay? Let's see where else. Make this a bit st. Okay, ale bit on the corn. Just touching. I'm just going up and down on the center of those rows. A little bit just on this upper portion of the center on there. And a little bit on the tips here. Don't cover up all your beautiful yellow. Isn't this the fun part? It's just all coming together. It's looking so good. I hope you step step back frequently and take a look at it from six feet, get a better perspective. And it looks so much cuter when you see all of it together as a full piece. Just putting a little on the leaf there. Let's move over to our pumpkins now. We can make sure you are curving your strokes. Great. I'm gonna put just a couple of little lines on the top of the stems. Now, I'm not gonna put any on my leaves. Now there. I might put put just a little on this upper one. Just, maybe this one too. Okay, I'm just looking. 13. Highlighting Phase 2: I've switched to my liner brush. This is a three ought. You could use a one ot, two ot, whatever, a five out. I just want some thinner lines, and I'm going to thin this paint down to this is now it's just the opposite as before. So I am now at 90% paint and 10% water. And yours is going to depend on how new or old your white paint is. Anyway, we just want it to be viable so that we can make some fine lines. I'm rolling this, pulling it to a fine tip. Okay. And I'm just going to do a little extra highlight here and there, maybe just to make a little mark, and it's going to be curved. Just a couple little emphasis areas here as well. And probably down Pumpkin a little bit. On the stem. Do you see how those little highlights just make a big difference. I'm going to bring one more down, I think. Okay. There. A, just a couple. Maybe more than a couple on the ribbing. And I cross the nose. Yep, I like that. More on the ribbing in the center area. Mm hmm. Maybe a little bit on the pole. Broken line. Yeah, I like that. A little bit on the wheat. Especially if it's covered with green, there's something. It's a great time to perk it up. Like there. I'm just going to touch it with some white. I'm going to do the ends of some of these petals or all of them, and some little white dots on top of the center. Dogs. I don't think I'll do any on that leave. Alright. Let's take a look at this little guy here with his white stripes. Great time to clean him up. Oh. A. Okay. If you just want to emphasize any of your corn. Just a couple of mine need it. And just emphasizing some of this. Make sure you curve those on the stem if you decide to do that. And let's see. So anywhere else? I just add a little bit here. I think I'm about them white. Emphasis there. Hey, step back, take a look and see if you need white on the exterior portions. If not, let's move towards the beard and the mustache. Y. This is going to make such a difference to your piece. This is a very exciting step here. So I always start with the mustache and a little outline. I stay inside of my ink lines, but if you need to, we can come back in and ink them. It's not a problem. And then I just start layering in some lines. All right. Now, for the outside, we're not going to go like around. We're just going to start bringing them down. Eek them curve. They're going to be kind of dry, brushy. You see how putting all that effort into your beard has made now these white hairs sand out beautifully. So good job. I'm trying not to lose those brown streaks that we put in. I'm going to add a little more definition to the outer edge here, just a little bit more. I really like to hit right under the nose pretty hard. But we don't want to look like a straight across. We want it to look of staggered. So be aware add a few more right underneath that mustache there. This is where I'm going to add a smaller strokes. Just a few marks right here up under. O. Look how cute that beard came out. All right. Let's do the next. Curve. This little guy doesn't have a mustache per se. But when we go underneath his nose, we'll make him a little bit stronger and a little bit longer than the one we just did. So we kind of hint at it. Let's come back to the outside now. Okay. Now, I'm going to know, from the nose, they still have to come curved, guys. We're pounding them in right here. That's okay. But curve them. Look cute. Cute. And we still managed to keep our brown streaks in there. It looks great. Now, this is going to dry a little bit lighter. If you're using white guash, it's going to drive a lot lighter than this will. This is more opaque. That's okay. You just need to add more layers or decide how opaque you want it to be. Okay, so the trick to this last guy is to not worry about his mustache for a minute. So we're just going to go around it, which means a lot of short marks here. Them curved. Oh, my gosh, I can't even. They are so cute. Who made up gnomes anyway? I need to look up the history of Gomes, like, Why don't they have eyes? Why is their hat so low? I have so many questions. Why is their beard down to their feet? So many questions. All right. Now, so let's come up to the top. Let's add a few of these shorter little guys under the nose, just to make that nice. And then we're going to bring some really long ones down that are almost straight. Se just a gentle contour. Adding some shorter ones at the bottom. It just makes it a little bit easier than trying to make a hair that goes all the way down. And sh hairs make it look stacked, makes it look more dimensional, thicker. What's the word I'm looking for? All right. We want to keep some of that nice yellow ocher showing because our intent is to make this white mustache now really pop. So you can see I am being intentional with the placement. S Great. If you step back and pull back so you can see it a little bit better. Does your mustache stand out? Is it more white than your background? If not, add more white or wait till it dries and wash in some yellow ocher behind it if you need to. Remember that we are going to touch up, so don't worry. No stress there. It's okay. Again, I'm being very intentional. I'm trying to follow the contour of this mustache with a lot of short marks. Is this a nice, pushy, fluffy white moustache? Oh, deep breath. Did you hear I just took this deep breath? If you're holding your breath like I was? Don't pass out on me, guys. Take a deep breath. H. I. I feel on mine, I can see standing back a little bit, that I want to use a wider flat and add just a touch more to my pumpkins, these big ones. Just a little more. Yes, right there in the middle. Here too. Y. I'll show you this just as an example. I don't like where it came down here, so I just have water on my brush. Just go to lightly touch it and see how it just takes a backstage. This blends out a little bit. When you're ready, pull out your ink and we'll touch up together. 14. Ink Touch Ups & Leaves: I've decided to pick up some of this hookers green at a 955 mix, and I'm just going to add a few more a few more vines here and there. I think that's all. And when I stood back six feet and took a look, I came back and I added just a touch of a white outline. You can barely see it right there on the flag. I left room for the inking that we're going to do. So if you're ready now, let's go ahead and pull out our markers. All right. We're not going to re in the whole piece obviously. But there are a few places that we can finish up. Little stitching lines on our flag. And if you want to add any scroll word to it, Now, I am going to add a few rib lines here. Just a few, not very many. Now I have lost some of the mustache, so I'm going to add When you're inking on top of inking, a great way to do it is to do broken lines and just short little lines. Okay. Especially down here on this checkered. I'm mostly going to do the corners. O here and there. Oh. If you want to add lines coming out from the center of your flower, you can. Oh. Adding a few really light ones, and not even on every petal. Everything's fine. I'm going to connect. I have floating leaves. I wanted to put these vines in after it was dry. And if you want to re emphasize your veins that we painted in over here on these big ones. Now, I don't think I went over scrolls, but if you want to do scrolls on your pumpkins, the key is, once you start, don't stop. Just keep on going. So I think I'm going to add a couple. I'm going to emphasize these little corners down here, so it's really dark. See how that sets in the pumpkin, and then I'm going to start up here, so it swirls around the stem there. Same thing here. I'm going to set it in. Following the contour. See how I'm following the contour of the way we painted our pumpkin. Okay. All right. Anything else over here? We'll do our leaves last. So don't worry about those. I'm coming back up to the top here, actually. So, I want to strengthen this. Go to strengthen some of these wheat. Just here and there. And some dots around the center of this flower. H. O. O. Oh. Good. On the ribbing and here and this ribbing over here. Great. Okay? The mustache. This is a great time to go ahead and add more distinctive hairs. The outer edge there. Oh. Hey, I think I'm good. I'm just looking at it here. I'm going over. Great. I think we're good. I'm gonna emphasize here a little bit more. Okay. De that one, too, and I'm going to do this one. I want them to make more of a bold statement. All right. Just bringing that fly down. Okay. I think we can do these leaves on the bottom now. 15. Final Ink & Splatter: I think we can do these leaves on the bottom now. All right. This is where you're going to clean them up and add that little jaggedy edge and the vein that goes down the center. Yeah. Oh. Oh. Now, notice I'm not putting all the veins that go into a leaf. I'm just doing the center. That's all we really need. We don't want to overpower all the beautiful colors that we've mixed. If you're not sure which direction they should go start with your vein, and that will give you the direction that you need. Okay. Oh. Last one, guys. Okay. One more time. Let's step back six feet, see if there's anything else that you need to in or paint. Ah. I've already seen something. I didn't add these in. So I'm just going to add these lines right here where we painted our little shading right there. Okay. So if there's anything else that needs to be added. It is time for us to do our final splattering, which is the bottom half, as you can see, I've used our favorite handy dandy tissue to block off the top portion as well as the center tower of our nomes. I'm going to water this hooker screen down to 1955, using my number four, and I'm going to tap a couple of times into my palette. I'm going to protect that pumpkin just a tad. I don't mind if a few get on there. And it this bottom portion. Adds a lot to our greenery. That's pretty cute. Tap into your palette first. You know, while it's still wet, again, I'm going to touch a few, just to lighten up some, keep some dark. Here and there. I'm going to protect this pumpkin and the corn. Oh, my gosh, that looks so fun. So good. Here a little bit more right there. Okay. Then I'm going to touch touch a few while they're still wet. They dry so fast under my hot lights. I like to do it in sections. All right. Now, I wouldn't mind a few right there. It's going to be tricky. Yes. There we go. I like that. Looks like we've already got some over there, so that's good. All right. And then let me show you what I did with my pen. Oh, my gosh, didn't that just complete? It just rounded it out nicely. So I did take my pen, and you saw me do the scrollies here on the pumpkins, but I added just a couple at the base of these vines and a couple at the base of the S flower. Just to tie it in. Again, always keep in mind your composition and the cohesiveness. And I think we're ready to sign our name. So let's go ahead and grab our pens. Always sign your name, guys. Always be proud of your artwork. I am so proud of you for finishing this piece. Go ahead and sign your name. Let's do it together. You have a special gift and talent that not many people have, and so always be proud of what you've done, and I'm so happy that you took my class and spent this time here. Thank you so much for your time. I do appreciate it, and I hope it was a benefit to you. I'll see you in the next video. 16. Congrats & Bloopers: Well, congratulations, guys. You did it. You have finished your fun and cute Autumnm Tower. I'm so glad that you took this class with me. If you could take just a moment to snap a tick and share that in our class gallery, then that allows me to get a notification saying you've taken the class, and we can chat back and forth there, and I really would appreciate seeing what you have accomplished. If you feel like this class was a benefit to you and you learn something or sharpen some skills, and you know someone else that might benefit, then all you need to do is look for this link on this page of Skillshare and share the link with them, and both you and your friend will benefit from Skillshare, which is pretty cool. Also, if you think it would be fun, it's holiday season to take another class, then I have a few posted here to kind of tease you a little bit. But all you need to do is go up to the search bar in Skillshare here, type in my name, Carrie Sanders, and all the classes that I have will populate and you can just scroll through and see if something looks interesting to you. It would be so fun to share another class together. And lastly, if you would like to take a peek at some of the work that I'm doing on my own in my personal art life, then all you need to do is go to my website carry Sanders art.com, or you can check out Insta at Carrie Sanders Art. Thanks again for joining me. I hope you'll take a moment to click that little follow button so that you get in notification whenever I pop out a new class, and you can see if that's of interest to you. And until the next time, I guess it's time for bloopers. All right. Happy fall, everybody. Your class project today is to complete one autumn nome Tower. One autumn. We're going to do this one more time. Take 20. But we will be doing some color mixing here, which is really fun. We'll be splat. We'll be due. We'll be due. Who do. Oh, my gosh. Wet on wet. We'll also be doing we'll also be doing some splattering, and what's the word I'm looking for? Senior moment. Fabulous. Fabulous, darling.