Transcripts
1. Welcome: Well, hey, everyone. T
hanks for stopping by. My name is Carrie Sanders,
and I'm an artist, a teacher and a creative here in beautiful
Farmington Utah. I'm in the northern mountains, and yes, it started
to snow already. It is crisp and
beautiful outside, and it's time for us to think about some holiday painting. So I have for us today
this half wreath that has pine cones and pine needles,
ornaments, and fairies. It's just very earthy and
organic and easy to paint, so you can relax and just enjoy listening to the Christmas music and getting in the
spirit of things. If you would like to
join me on this piece, it's for people
of all abilities. You simply follow my videos
from beginning to end, I walk you through, and
you are in control. I post them in real time, which means you
can speed them up, slow them down,
start and stop them, and just make it the
best experience for you. We will be covering
some techniques such as washing, glazing, highlighting, shading,
we'll be splattering, we'll be doing some wet on wet, we'll be lifting off highlights. We'll be doing all kinds of wonderful things that will help you not only in this project, but in your future
watercolor projects as well. If you would like to join
me in some other classes, I would really love that. I've posted a few
of my fall classes, as well as some holiday classes I already have here
on Skillshare. All you need to do
is go to the top of this page and type in my name, Carrie Sanders, and
all the classes I have available will populate. You can take a peek and see if something looks
of interest to you, and I'd really love to have
you join me in other classes. All right guys, if
you would like to join me in this class, then let's go ahead
and move on to the next video where we'll
talk about the project, and then we'll move on to supplies and get started
painting together.
2. Class Project: Okay, my fellow
friends and artists, your class project is to
complete one Christmas wreath. And you can do that easily by following the videos that
I've provided for you, just go through
them step by step. Remember, you're in control. You can stop and start them. You can speed them up to make them faster, you
can slow them down, to make them slower, do
whatever it takes to make it the best experience
possible for you. Once you have completed
your project, if you could take a moment
to just snap a pick and look for this button on
skill share on this page, and that will allow you
to upload that for us. That way, we can all
see what each other has accomplished and
nothing but love here, guys, no judgments here. It's so fun to see what
each other has done. Each person here is unique. Have your own set of
talents and abilities, and it's so fun to see what each otherer
has accomplished. But also, it pings me
as the teacher and I get the chance to come in and make some comments
on your piece, and I really love to see
what you have accomplished. I'm so proud of you when you
finish a class and there's nothing that tickles
me more than being able to communicate
with you back and forth. And this is the best
forum to do that. Take a moment to sap a pick, upload that in our
gallery below, and I'll look forward to
speaking with you there.
3. Supplies & Pattern: Welcome on in, everyone. I'm so excited to get started on this fun little half wreath that we're going
to be doing today. Let's do a quick review of our supplies so that we have everything gathered together
and we're good to go. Today, I'm going to be using 100% cotton cold press paper, and it is 140 pounds. If you've taken
my other classes, you know that I always highly recommend splurging
a little bit, if you can, but getting some good watercolor paper
that is 140 pound or better. It reacts well to your water and your paint and your brushes and does just what
it's supposed to do, and you'll have a
better outcome. So if you can use some
good watercolor paper, For brushes today, I'm going to be using a variety
of rounds and flats. I've got here a two, a six, and a ten flat. So whatever you have
that you like using. And then for my rounds, I have a this is four ought and a 20 ought and my
handy number four. You know that's my favorite, and then a number one liner. So just a variety of kind
of fine line detail. Then a couple that we can do some regular watercolor
work with for around. Again, use what you have. I highly recommend that you just go see
what your favorites are and don't feel
like you have to go out and buy anything
for this class. So today for our palette. This is what I'll be
using in the videos. But again, I highly recommend
that you substitute, use what you have at home. We'll be using some
cad yellow medium, Naples yellow, burn umber, gamboge, Cad red light, brown matter, a lizard
crimson, hookers green, and Tera Verte, kind
of a bluish green, cerlian blue, and indigo blue. And then I'll be using
a metallic gold, and there's so many
different golds out there. Just use one that you like or that you already have on hand. And then we'll be using
bleed proof white. You can use white guash, but I always prefer bleed proof white because
it's more opaque, you get a really great
result with that. And then we're not inking
on this project per se. But as far as doing the star, if you would like to add inking instead of
metallic paint, you can use a gold pin. This is signal. I get a really great
result with signal, and so that's my favorite. And then I always share
my favorite pencil. This is my handy
dandy, black wing. It's my favorite pencil ever, if you've never treated yourself
to a really good pencil, I would highly
recommend this one. Then to assist with the circles that
we'll be doing today, I'll be using my helix. I don't get anything for
pushing products, guys, but I'd just like
to share with you my favorite tools so that
if you want to try them, They might become something
that's helpful to you. This is a helix HE LI X. I
just get this at Hobby lobby. It's under $5, but I'll be using the outer edge circle
for for the half wreath, and then I'll be using some of these sizes here for the
ornaments that we apply. You, of course, can use
anything from a kitchen plate to whatever you like to use for your round objects as well. Go ahead and gather
those together, and I am going to show you how to apply the
pattern and then we'll go ahead and
get started painting. In order to apply the pattern, if you're going to
use mine exactly, in other words, not free handed, then you're going to
need some tracing paper. And I have provided the PDF of the pattern for you on
this page of skill share, so all you need to do
is print that out. And once you have
that printed out, then go ahead and
just trace that onto a piece of tracing paper, and we can go ahead and apply that to our watercolor paper. And in order to do that, you're going to need a
little piece of graphite, has two sides and make sure you have
the correct side down that will apply the pattern
when you apply the pressure. And when I apply a
pattern using graphite, I always use a stylist. Of course, you can use a pencil, but I like using
a stylist because it maintains the
integrity of my pattern, and I can reuse my pattern
over and over and over, and then I can file
it away and keep it. So do whatever you want to do. But I'm going to go ahead
and speed up the camera as I apply the pattern
because it's kind of boring to watch somebody
apply a pattern, right? And you go ahead and apply
your pattern as well. And I will talk to
you afterwards. But quickly, you will
notice that, you know, I left it fairly bare and don't
feel intimidated by that. I'll walk you through the
wreath every step of the way. But you needed the freedom to freehand some of the
things in and not worry about having lines show
through that we applied. So that's why it's kind
of scarce in places. And I would recommend that you not trace my lines
on those circles, but rather come back in with your helix
or whatever you're using and do a nice
circle line afterwards. So if you want to just
watch me apply my pattern, I'll do it in fast motion, so it'll only take
a few seconds, and then you can understand
what I mean by that. I'm going to use the outer
perimeter of this helix. It's about a 5.5 inch
circle just to give you some reference at home if you're using a sauce plate
or something. I'm just doing a super
light indication. That's just going to
help keep us on track throughout the half
reef that we're doing. Then I'm going to use
this circle right here. Now what I did was I did the top to the ornament
on each of these, which will help me with my
placement O. I'm going to do a really light placement
there and here, and then I'm going to add
one more larger one there. This one is just
slightly larger. I'll show you the difference. It's just a little bit larger. Again, you can do these
whatever size you want. You can do all three of them the same size or smaller or larger,
whatever you want to do. But that's as far as I'm going
to go with the placement. Let's go ahead and gather our paint supplies and
get started painting in the next video. M.
4. Twig Wreath & Pine: Okay, guys, let's get
started. I'm so excited. I have taken a needed eraser and just kind of
lightened up some of my marks because the graphite will show through
your watercolor. So if you have some areas, some little marks that
seem a little bit dark, go ahead and just lighten
those up a little bit. If you have a needed
eraser or a rubber eraser. Just go ahead and
take care of those. Now, we're going to start
with our burnt umber. This is going to
be a 9010 mixture. Throughout the class, I'm
going to be sharing with you a ratio of water to paint. I think that will help
us stay on the same page with the strength of the
value that we'll be adding. So this is 90% water and
10% paint burnt number, and I'm using my number one, we're just going to go along this half circle
line that we put in. I'm going to go kind of gingerly around the berries
and the Holly. I don't want to and definitely, I don't want to go
over the ornaments. But this is going to give
us just a little bit of a guide to follow for
our half wreath here. And it's not that it's
going to show through much, but it's going to
help us as we paint to stay on track of where
we're going and how far to go. And believe it or not, it's going to show through
enough to look like twig, kind of a twig wreath. It's going to be so pretty. Well, I'm just wiggling it. If you want more of a
straight line twig wreath, you can. You can. It's not going to
show a whole lot. You get some on your
ornament like that. Just touch it with a tissue. You don't have to
be super careful. We're not going to spend
a ton of time on it. Now, this is about the
thickness that I like it. So I'm going to just
as a final touch, kind of even that
out a little bit. Thin up here. I'm gonna
thicken it up just a. Good. That's good. Now, sticking
with this mixture, we're going to add
in just a couple of pine boughs that are going
to be burnt umber based. So sticking with
this 9010 mixture. And I'm just going to
add this one right here, we have three that are between our ornaments. This top one. I'm going to start with
the vein. Pull that out. Now, we want to leave
plenty of white between our pine needles 'cause we're going to come
in with some green, but we want we want
a couple of these to have kind of a
brown base to them. For this piece. And this one here that's right next to our
bottom ornament. That one. Good. Just kind of settle. Just kind of gentle and subtle. And let's go ahead and add a few pine needles that are just here and
there in the brown. If they go on dark like that, it's a little too dark for me. Touch it with your tissue. It's gonna lighten up. We don't want these to make
a big statement. They're just going to
be a filler underneath. All the fun stuff
we're going to put on. Okay, great. How
to do. Moving on. You can see I've turned
my piece upside down, and we're going to pick
up our terra verte. It's going to be
that 9010 mixture. Pull out the stem and
add some pine needles. I'm going to be kind
of careful to not go over my holly leaves
at this point. We can a little bit
later, but right now, let's just keep
everything a little bit separate so we
don't get confused. And we don't know what's going
to cover up what just yet. One. Go ahead and just turn your
paper so that it's easier. It's best to always pull these pine needles
from the vein outward. And I find it easiest to
pull it towards myself. And I'm not getting too carried away with the size
and the width. Now we can make these bigger. We're going to add several
coats on top of this. So let's start on the smaller side a little
more conservative. And leave plenty of white
spaces between your needles. I'm not going to go
over those berries and to leave space there. I like these long
liner brushes for this type of thing
because they load up. They carry a lot of paint. You don't have to
dip in frequently. Here we go. Another
one. This one's gonna go right over that twig. Now, I'm going to add
just a few on this brown. And just a few up here. I forgot to. Here. Hope I'm not making you dizzy with all my turning
and twirling. But always make your piece
comfortable for you. And to be careful
around this holly. Oh. Oh, my. A more that
comes up here. Sorry, if my hands in the
way, be a second here. Great. How do you do, guys? We have really made
progress already. This one goes pretty
fast at the beginning. Alright, sticking with erraerte. I've moved my number four round, and we're going to base
in these holly leaves. We're going to do
it all one value. So it's called a wash. And that just means it's
all the same color. And I find that works well
if you put a little bit of a well of paint in the middle of the holly and then just kind of pull it out. Just using that 9010 mixture. I was going to outline it. Well in the middle. A
little too much there. I'm just gonna pull it out. Now, you can do
this with a flat. I just love working
with my number four because I can get
a nice fine tip, and I can also press down on it and get it to
fill in quickly. So it's a personal preference. I am trying to make
sure that I cover up my graphite lines with this. Oh. You can see these go fairly quickly. A wash can be easy,
relaxing. Not stress. And they can be
different values, as long as we just want each one to be the same value.
Does that make sense? This one can be lighter,
that one can be darker, as long as this
is all one value, and that's all one value. We're going to come in with three more colors on top of
these. This is our base. And I think it's
kind of fun when they're actually
different values. I mean, not all leaves
are the same, right? Oh. Alright, our last one. Okay, good job, guys. Oh.
5. Holly & Pine: All right. Now let's pick up
some of our hookers green. This is also a 9010. That's a mix we'll
use frequently. We're just going to
add an indication of a center point to start. It's not necessarily the vein, but we'll add a little
shading here and there. Make each one a little
bit differently, and it might look
funny at first. You just have to trust me. It's going to be fine.
It's going to look great. Well, I like to have a little blocky area down
to some of the points. Dots or streaks. Oh. How are we doing? As
we're doing this, always remember that watercolor
dries one value lighter. So if you feel
like it's going on really dark and you're
a little bit concerned, then let one dry and see
how you like that value, and if that's working
for what you like. Also step back six feet and get a different perspective cause sometimes when we have
our nose to the paper, it looks much different
than when you actually step back and take a
look at it from a distance. Beautiful. While we have
our hookers green out, let's switch back to
our number one liner. Sticking with a 9010, and let's add some pine needles. I still leaving white spaces, we're still going
to come in with two more colors on these. We're going to
look beautiful and rich. My time we're finished. Sometimes I like to
go down the stem, just to touch just lightly. Now, at this point,
with our holly leaves, if you feel like putting a
few pine needles on top, that's okay 'cause we're at
a good point to do that. Okay, I have turned
my board upside down so that I can
pull towards me. I'm not going to do hardly
anything on this brown one. Just a little on the bottom. I'm not going up to the top. Just a little shading at
the very bottom there. I'm going to bring
some down here. It's a little sparse looking. All right. And then
I'm going to add a few at the base of
this brown one. And I'm going to add a few
here just on the vine. Just kind of here and there. Being careful not to
go onto our ornament. Alright, guys, I got to
turn up one more time. Oh. Hey, and then I'm going to add just a few pine les
here and there. Great. What's looking
good. All right. Picking up some of our cerliu
blue at a 9010 mixture, and I'm using my number four. We're going to add
a little bit of shading to our Holly leaves. It's kind of an
accent color, really. It's going to tie
everything in as we add a little bit of blue
to our pine needles as well, and of course, we're going
to do a blue ornament. So always be aware of the full composition of a piece and art piece
that you're working on. It's good to use the same colors throughout your piece, tie
them in together. So we're just adding
some on here and there, much like we did
our flippers green. But you don't have to
be quite so careful. This is called
glazing when you add a new color value on
top of dry paint, and it changes the overall
value that's blazing and so. We're just blazing on some of
this beautiful cerliu blue, and it just changes the overall color value
where we place it. I love it. So pretty. You can choose to put on as little or as much as you like. It's a personal preference. It's your piece. I want
you to make it your own. Be really happy with
it. Okay. And now let's switch over
to our number one. You're probably like, C are, no more pine needles. We're almost there, guys. I like to put them
in first because it really establishes
the base of our piece and what we're doing. There. It doesn't take
very many blue ones, but you can see, look
at the difference. Look at the difference between
that one and that one. It just adds so beauty and
adds that extra depth. I got to be careful not to
stick my arm down here. And then it ties in our beautiful Holly
leaves. Oh, I love it. Now, if you want, you can
add a few in here and there. I'm not going to add
any on the top of this. I'm keeping this fairly
brown in case you notice, but I will put a few down
here on the wreath portion. I'm gonna have to put
my arm in the way. Sorry. I just don't want
to turn my board again on ya. Oh, yeah. We got a few in down here. Can you even add a few here. Strong. I'm going to add
a few right here. Kind of a bare space. I'll blend right into
the background. Great.
6. Blue Ornament & Leaves: Let's pull out our flat. I'm going to use my number ten. And because we have
our cerliu blue out, let's just go ahead
and do our ornament. I like to use a flat when
I'm doing a circle of size. I won't do this for the berries, but if I'm doing a
circle like this size, then I like using my flat. Make sure everything's
dry, so you no smearing. But again, I like to put a well of paint in the
middle of a circle. And then I have a
lot of control with the flat edge of my brush, and I just gently push
that paint out the edge. And you definitely
want to be turning your board as you go
around the circle, take your time. Great. Ooh. I was holding
my breath there. How about you? Take
a deep breath. Alright, now, while that's
still nice and wet, we're going to do a
wet on wet technique, and we're going to pick up
some of this beautiful indigo. N, to add. This is a 9010 And we're going to even
though the cap is here, the shading is going to
be on this bottom side. I'm going to turn my piece so that I can pull
it towards me. And I'm going to come
up on the chiseled edge and just start tapping that in. I'm not swiping across. I'm tapping in the
color. And then you can see it starts to grow, all by itself. I love it because it's wet, and it's going to
flow and blend, and let's just see what it does. All right, now I'm going to
use the corner of my brush. And I'm just going to
push it up a little bit. Again, I'm not I'm not pushing with the flat of the brush, just
using the corner. I'm going to add a
little bit more. I want it a little bit
darker down at the bottom. And because it's still wet, I get that nice soft
blend. Beautiful. Now, it's up to you how far up you want that indigo to go? Do you want to go all the way up or to stay towards
the bottom edge? You want it to be more
seran or more indigo? It's a personal preference. Whatever you like, I'm
feeling good about that. While it's still wet,
I'm actually going to come in with a
little more cerlian. Remember it's going to
dry one value lighter. I love the cerlian blue. I want it to be rich in color. I'm going
to bring that in. Yes, I like that better. Don't be afraid to
play with it a little bit. Make get how you want it. Now, I am rinsing my brush off, touching my paper to get the
water off for the most part. And we're going to
lift a highlight out while it's wet. We're
going to curve it. We're going to follow the
curve of the ornament. Like so. And because it's still wet, it's
going to lift off. Plus, it's going to
have a nice soft edge. Isn't that beautiful?
Good job, everybody. Let's let that dry. Okay, guys, we're going to go ahead and
put in some of our leaves. I've pulled out
some naple yellow, and this is going to be a 955. So, very thin
paint, super light. In fact, we're going to
put it on and lift it out. And in order to do
placement, it helps me. You do you, but it helps me
to just put a little dot. It's hard to see here, but
I put a dot, dot, dot. And so I've just
placed a couple of dots where I would
like to put my leaves. You can just free hand them
if you would like. But Again, do you. These are just
going to be a petal shape. Again, we're just going
to base those in, wash those in, and then
I'm going to touch my paper and basically
lift out the center. Then while it's still wet, I'm going to pick up
the tiniest amount, a 955 of our burnt umber
and touch the bottom. Let that, you can
see it's going to start to bleed upward. We're going to let that
do that for a minute. While it is, let's move
on to our next leave. Lifting back out now. Touch. It's literally an up and down
motion. I'm not swiping. Okay. Now, rinsing out and while this is about
finished going up, and I'm just going to use
a water brush to soften that edge and you can decide how far up you
want that brown to go. I want it to stay very low
just on that bottom edge. O. Here we go. Ping off. You can also decide
if you want to leave it the way it blooms by itself, or if you want a smoother look, then use your water brush
to smooth that out, which is what I'm doing. We want everything to be
going in the same direction. Keep that in mind as you're
shaping your leaves. I don't know if you've
used Naples yellow much, but it is such a
versatile color. It's one of my favorites. I use it for rocks and mountains and sandy
beaches and flowers. I mean, the list goes on and on. It's just one of those
really versatile colors that if you haven't used, I highly recommend you make best friends with
it. It's a good one. That's kind of fun the way
that one's blooming up. I'm gonna leave that. I like it. That, too. See how it's
doing a natural curve. Sometimes you get the
funnest surprises with wet on wet technique. I really enjoy doing wet on wet.
7. Pinecones & Star: We're going to start with a
9010 on our Naples yellow. You'll notice that
it's egg shape. We've got a nice oval.
We'll start at the top. As we make our marks, we curve the outer edge and the cinder ones go
straight up and down. And then our bottom row is just pretty much
sideways like that. Then we're going to pick
up some burn number. It's okay to do this
while it's still wet. We're going to just fill in. This is the center
core of a pine cone. I know it looks
messy and it's like, Oh, my gosh, what's happening? It's going to be okay. And we're still
leaving white space. Then once that's dry, we'll come in and add one more
layer of thick dark burnt umber to really make
that core deep and dark. Trust me. I'm going to
walk you through it. It's going to be
fine. We'll be okay. Let If you have dark pencil
marks or graphite marks, lighten them up
because we're not really going to cover
them up too much. Make sure all of your paints
dry around it before you do this. Here we go. Let's start with
the one in the back just to get our courage up, make sure that we're comfortable before we dive into
our front ones, and so we're just
going to touch. We're going to curve and curve. I'm trying to make mind dark so you can see them on camera. And then st, straight, curve. Curve. All right. Good. Now, let's pick up
some of our wrt number. I'm just going to
touch a little here. And it's okay if
it does a little wet on wet and bleeds
into our Naples. That's right. That
looks pretty cool. Get that kind of that
shape because we're going around those
two pine cones there. Good. And I'm still
leaving some white. Now, we're going to let
this dry and we'll come in with some birt number
in just a moment. This is dry, so we can go
ahead and do our next one. We're going to go
from back forward. So I'm going to turn my board. I'm going to do this one here
and just the same thing. Top curve curve. I have a barry there. I'm
just going to go over it. I want to maintain the shape
of my pine cone for this. And then if we want to put the barry on top again, we can. Okay. Again, notice I'm leaving white, and I'm not going all the
way to the outer edge. I'm letting that Naples yellow, maintain the shape
of our pine cone, and we're going
to let that d and come in with some darker burn. Continue on Naples. These across the bottom, and I'm going to go sideways. I's going to make a
couple of these big. They don't all have
to be the same size. And I'm going to pick
up some burnt umber. Let's let that completely dry. Then we'll come and
shade all three of them. Looking up more of an 80
20 mix of the burnt umber. Using my number
four, everything. So we're going to come in now, and we're going to add some
deep shading into there. So kind of keep in mind shape. Remember that we're
going to come in with gold to highlight the top edges of each
little protrusion. It's going to be beautiful. But we want that gold to stand out and it's
a light color. Always remember, if you want something highlighted
to stand out, put some behind it. We're going to go
deep here. Great. Intentionally, I didn't
do straight rows, but I did do a little bit of a row so that if you
think of a pine cone, it has little rows, right? So be aware of your placement. It puts a little bit out
here between my outer edge. But again, you want to have
something dark around it. That. Beautiful. Okay.
Let's do some more. So 80 20 on our umber. L
et's go ahead and do this. I'm going to put my
finger here so that I know this is where
this one ends. Sometimes it's kind
of a mishmash. That's a technical
term. Stick with me. You can see it's starting
to take shape here. Right. Okay. I'm going
to extend it out just to Tad. Good. Okay, and let's turn our
board and do our last one. We don't want to go into this
one here or that one there. So beware when you
get to this bottom. It's okay to make it, in
shadow of the other two. That'll add some distinction between those two.
Great, how did you do? I'm going to bring this down
a little bit further between those on the bottom edge because this has
tipped on its side. It's going to be a bit.
Wonderful. All right. I'm coming back to our Naples yellow while we have this out. We're almost finished
with it, actually. And a 9010 mixture. I'm using my number one liner. Now, for this, I want
a nice fine tip, guys. And so a great way to get a fine tip is when
I'm in my paint, I'm rolling between my fingers and I'm pulling to a nice tip. And what that does is
just bring you and get the finest finest tip
with your liner rush. So practice that a few
times if you need to. We want a really nice fine tip. We're going to put
in part of our star, and you should have five marks. And that's going to be
where your twigs cross, and we want them to
be slightly curved, so I'm going to turn my
board just a little bit. Your wrist has a natural curve. You don't have to force it, but you do have to
make sure your paper is in the proper
placement for it. So we're going to go from the
center of this up to here. It should just be a natural We're just going to start with
one going each direction, and then we can build
on it from there. I'm going to go across here. Notice I'm going at beyond. O mark is where they
actually connect, but that's another
technical term. We want them to stick out a
little bit further than that. There we go. Here to here. All right. Now, the reason I
only had us do one at first, and in a light color is to make sure that you like
the shape of your star. If you're happy with
the space that you have and the length that
you did great. If you want to make some
adjustments, fine, adjust it. That's not a problem either
because we're going to put on several layers of twigs and you have the ability
to make those adjustments. I like to start with the Naples yellow for that very reason. So We're just going
to add a couple more, and you don't want them to be exactly on top of each other. This is supposed
to be a twig star that has been tied together. Go ahead and make two or
three, keep them separate. And this is a
personal preference. I'm sorry if you hear me
say that over and over, but I don't want you to
paint exactly what I paint. I want you to do what you like. I want it to be your art piece, and I want you to
make those decisions so that when you're on your own, doing your own work,
you'll know what you like. It's so cute. I love it so much. All right, one more.
Oh, my word, so cute.
8. Leaves & Yellow Ornament: While we still have
arbor number out, I'm using the number
one and a 955. As you can see, it's
very, very light. Again, I'm going to be rolling this and pulling it
to a super fine fine tip. And we're going to
do a little outline on these beautiful leaves. I'm not going to follow
the shape of my leaf. Now, you can, if
you want, again, personal preference, guys,
but I like to have them. First of all, I'm going
to have the vein, the stem come out. I'm going to build it up just a like a little
triangle like that. Then I like to pull this
up. And see how I come out. I like to just wiggle it and bring it up
high, like beyond. I just think it adds some
character and some fun. But if you are in love with the shape that you've done and you want to stick
tight to it, do that. That's fine. Do what
makes you happy. I'm going to bring
up some veins. Remember this is going to
dry one value lighter. It's going to be pretty light. But I wanted these to
look really delicate. Great. Oh. Aren't they
pretty and delicate? Love it. Love it. Okay. Sorry, I got to turn. This I definitely just have
to pull these towards myself. And also, you may
have noticed I am c. I'm always curving
those stem and pulling it from the M. Okay. Okay. Now that
we have those in, let's just add a few branches
from them, so to speak. Es. These are fillers, and it gets a
little more of this burnt in so that we have that. Great. Let's go ahead and put in our yellow ornament here. We're picking up our
cad yellow medium. It's going to be an 80 20. Let's p that in, do well in the. Now, of course, you can do your ornaments any color
that you want. You can do them all
one color if you want. M. Good. Now, while that's still
wet, let's get out our. And I need to put it across the bottom half starting on that chiseled edge, tap it in. Let's see how far that goes up. Let's give it a
minute. All right. That's about where I
would like mine to be. If you're about the same place, let's go ahead and lift
out our highlight. Using a water brush
that's pretty dry. This is where 100% p
really shines, guys. It's meant to take
this scrubbing. You can also touch it with your tissue if it's being
stubborn, there we go. All right, Let's let that
dry before we move on.
9. Red Ornament & Berries: Pulling out some cad red light. It's going to be a 9010. We're going to go ahead and
put our red ornament in. Starting with that
well in the middle. Then I'll just
slowly pull it out. Great. All right. Now we're going to add our lizard Cs in. It's going to be more of an
80 20 on this little thicker. Go ahead and tap it in
on the bottom half. Hey, let's see what that does. I love those two
colors together. So beautiful. Down,
just to touch. Let's go ahead and pull
out our high light. It's gonna be a little stubborn 'cause it's got a lot
of pigment in it. And that's okay. We're gonna
come in with some white. Let's see what we can do
here. How do you do, guys? Picking up a four out, kind of a shorter, fine line type brush. And coming over to
our cad red lie. This is our 9010 mixture. Let's go ahead and throw in these red berries that we
had put in our pattern. Now, these won't be all
the berries we put in, but this is going to get
us off to a good start. I like to put in just a base of berries so that I
can visually see it. We artists are
visual people right. I got to see it.
I got to see it, and then I'll know where
I want to go from there. If you've lost them
along the way, you can't see your
pattern, that's okay. Pull out your pattern
and take a peek. Now, guys, don't try to
make these perfectly. We are not perfect people. Art was not meant to be
perfect in most cases. You're an architect, and that's different
than artistic art. Please don't try to
make it perfect. F, it'll almost look funny
if everything's perfectly. Just go with the flow, take it easy and relax and
enjoy putting your berries in. At this point, I'm
not going to cover up anything like I'm not going
on top of my pine cones. We can add later. But again, I'm just trying to get a feel
for things right now. It's okay. If you
go over your holy, we're basically done with those. Y. Let's let those dry
so we don't smear them. Amazing my number two flat. Just a small flat, and I'm picking up some of
this ism crimson. It's probably 85 15 mix. And I'm just going to add a little shading on the
bottom of these berries. Not going to be real
particular guys. I'm just going to put a
little across the bottom. And then I'll probably
come across with a water brush to
soften it a bit. Softening that edge, Tad. He. Let's finish him out. And what a brush. We will be adding a highlight to these but not till the very end. Great. Okay. Now, I think that's all of these larger
berries that I want to add. If you want to add more,
go ahead and add more, but maybe wait until
after this next step. We're going to add some
berries that are on a vine. Then wait and see how you feel about adding more
red at that point. I'm going to pick
up this is my 20. I a little bit longer, but it's still a
fine detail brush. And I'm going to pick
up some brown matter. I love this color. If you haven't used this color, and you're thinking, Well, it looks just like Burnt Sienna. It is similar, but it's not. This has a more red tone to it. I use this a lot in
portraits and flowers, and anything that I need
more of this red tone, Burnt Sienna has more
of a brownish tone. And so this is going
to pair really nicely with our Cad red light
and our lizard crimson. And getting this down
to a probably an 85 15. I'm going first,
I'm just going to bring out a little
bit of a vine. Probably going to
start with where I want to stop if
that makes sense. So I don't really want to
go out too much further than that. Maybe a berry there. Maybe I'll just
put a dot where I kind of want some of
these berries to be. If you're more
comfortable, you can absolutely, draw them in, but I really encourage
you to just go with the flow. Dress yourself. Yeah. Okay. And then I'm
going to bring out a vine. Yeah, I think I like that
size a little better. Okay, let's add some more. These are a nice filler. I think I'm gonna
want some here. Now, I'm gonna trail my
my vine up the wreath. Okay, let's bring up a vine. M Okay. Okay. I think I'm going to
add just a few right here. I got a big bare spot. Maybe a couple over here. All right. Okay, now, I'm just going to soften some of these twigs
a little bit. I like that. Same here. Okay. Now, let's use
this brown matter. Continuing on, and we need to connect our
berries down here. And I'm gonna have a a
little end to the berry. Oh. Good.
10. Adding Twigs & Highlights: Continuing with our
really fine detail bruh, picking up some rt number. This is gonna be a 9010 mix. And we want to add some twigs and emphasize some
that we already have. So we want to make this
look kind of deep. To emphasize this
brown pine bough. It's kind of dying out. I don't know. Just to emphasize
our brown a little bit. Now, I have too much
white space here, so this is a good place
to bring out some twigs. Where we're just fine tuning. We're kind of playing
with it a little bit. Everybody's is gonna be
a little bit different. We're gonna determine
where yours needs to be a little more twig. O Yeah, we're gonna go really light. Into a 955. And, we're just gonna do
12 strokes over our star. Going in ale depth. Thing we do is building,
building, building. Oh Oh, it's looking good, guys. Okay, I'm sticking with my 20 out or just a
fine detail brush, coming into Hooker's green, but I'm taking it down to 1955, and it's time for us to do
our last pass on our hoy. And this is only as needed. I have some hoy
that's not attached, and I don't want to have
just floating holy leaves. So I'm going to attach the ever so gently,
just super lightly. And If I feel like they
need a help with the vein, I'm going to do that. This is our last pass on these. And sometimes I
like to just pull up an extra high sharp tip. Is for added emphasis. This one's pretty dull here. I pull that up. I like that. Oh It's going to darker, so I can my darker yes. M. That's good. Holly has pretty sharp tips. I was very surprised when
I went to Connecticut, and my daughter had
Holly in her yard. The first time I had ever
seen it in real life. And it was stunning. It was so beautiful. And the bright red berries, very sharp. Little leaves, boy. H. Okay, we're finished with those, and now it would be fun if you want to pick up
our lighter green, so our terra verte. And this is where we start
adding a few fillers. If you need it, if you want it. And I would say very
few at this point, but I would like to add
just a bit of green here. Something like that.
You see how that just adds a little
touch of elegance, a nice little filler.
It doesn't take much. Makes a statement. I feel
like I need something here. Yes, it can go right on top of something
else. That's okay. Oh. Here outside inside inside, I think an outside
one the balance. I'm sticking my
sleeve in something. Beautiful. Okay,
guys, at this point, we're going to put
on our highlight and then do our gold and
we'll be finished. So I highly recommend
that you take a moment to stop and step back six feet and see if there's
anything else that you want to add before we take
these last two steps. As I did that, I
decided I needed to add one more layer of burnt
umber on my twig star. It was just a little bit
too light for me because remember we're going to come
in with gold on top of it, and I want my gold
to really stand out. So that's one thing that I did. But you do you and make sure it's the way
you want it to be. Now, I've pulled out
my bleed proof white, and you can see that it goes on. It comes out quite thick. And we're going to do
dry brushing with it. You can do this with
your white wash as well. So I like to just work on a
piece of watercolor paper close to my piece rather than going back and forth
on a palette with this. You're going to literally
use a dry brush. I did not dip this in water, pick up some paint,
wipe most of it off. And the point is to
make it go on quite dry so that it looks like
it looks like I don't know, an old weathered
fence or a side of a barn door or something,
so it's scratchy. But that's the look
that we're going for. And we're going to place that in a curved motion
over our highlight. Remember to always follow the contour of whatever
piece you're working on. Now, that could possibly pick up some of the blue slightly. So I'm going to wipe off
before I move to my red. Make sure there's no blue. Dry, my brush really good. Pick up some white. Wipe it off. Seems
like quite a process, but it's not that bad. Wipe most of it off. And come
off to the red, same thing. Oh, pretty. Can you see that? Beautiful. Now, this white and your white guash as
well is going to dry this a little bit
lighter, and it goes on. We can always go on and go
and add a second layer. If you want your
highlight to be stronger, which I probably will, but I like to start sparingly. I'm wiping off again. Picking up. Wiping off. Wiping off. I don't
even have enough there. So go making sure I'm
curving. Beautiful. Well, now I can come back
to my blue and my red. I'm going to
strengthen those just a. I like a strong highlight. That's just my
personal preference. I want to emphasize a little portion of it
not the whole thing. I case I have some
blue, it looks out. Yes. Yellow. I need to reload my right. Good.
11. Highlights: You can choose to highlight every berry
or just a few berries. But it's basically
the same process, but I'm using my small flat and I don't have to go through such a huge process because
they're all the same color. Just picking up, wiping off. I'm just putting on a little
bit on that upper edge. I like highlights. So clearly, you can see I'm going to
highlight every one of these I'm not going to do
the smaller berries, little bead berries,
coming back to this small, fine detail brush. And I'm just going to add at
dot or two here and there. Just to strengthen
that little bit of a shine and I'm not doing
it the same on every berry. And I'm going to do the
same on my ornament. The high light,
just a little light picking up, a little shine. Great. So let's add
some to our Holly. I'm just going to add a
little here and there. I like to emphasize
the vein a little bit. Okay. If it goes
on a little strong like that one, I'm
not happy with it. Just put some water on
your brush and soften it. There, that's better. Okay. Great. All right, step back and see if that's everywhere you want to do on the leaves and
the berries. All right. I have picked up my
number one liner. This is the long liner. And with this, I
no this is 90% p And 10% water. The opposite of what
we've been doing, but my point is
I've thinned down the white and I'm using this fine liner.
I'm going to bring it. I'm rolling it,
watch me roll it, bring it to a fine tip. And now we're just going to add some highlights to our pine, the last step on the pine. But just a little bit
here and there where the light will catch
a pine needle. It doesn't take much to
make a big difference, we're not going to really
do much on the brown. Okay. Understand. If you have your highlights in
where you like them, you're finished with that,
Let's move on to our gold. And I'm coming with
that back to my small and I'm picking
up some gold. And I'm just going
to in the cap. These are really just to catch your eye a tiny
bit in the background. So we're not really going
to do anything with them. But if they're not there,
then it looks like you have floating ornaments
and it would look funny. We're really just going to
base them in and leave it. Just like so. Okay,
I've picked up my 20 t, which is a detailed brush, but it has a little bit of
length to it so it will hold some good paint and coming
into my metallic gold, and let's go ahead and
throw in some gold twigs. I'm going to do pro I'm
going to start with three, going each direction.
See how I like it. Oh, it's so pretty. Beautiful. All right. I'm going to let that dry, set that aside from
my mind for a minute. And then I'll come back and
decide if I want to add more. In the meantime, I'm going to come in with my
number four round. Pick up this beautiful gold, and we're going to emphasize
our pine cone tips. All we're going to do
is come in and I know this looks a little messy right now because I put
the white on top of it, but we're going to
just paint the tips. Just to emphasize
those. All right. Here we go. I'm going to
start with the outside edge. Just while I'm warming up,
getting a feel for this. And across the bottom. Now let me show you the
shine if you can't see it. Now for the center, remember that our pine cones have rows, and we may have lost
those rows a bit, but you should still
be able to see. Hopefully, you can still see where they go. If
not, make it up. It's okay. But all I'm
saying is you might want to maintain a little
bit of order for your pine cones so
that they make sense. Again, I'm going to start
with the outer edge. That makes the shape
of our pine cone. That's the most important
across the bottom. Right? Let's turn
our board. Last one. So pretty. Love it. I love the gold. Oh, my gosh. It's so fun.
12. Splatter & Sign: A. Making sure I have a nice
well ready with the gold, and I've come back to
my smaller fine tip. I'm going to add
some dots of gold. Now we are going to splatter with gold, but
this is different. This is placement of some medium sized dots
all along the wreath. I make sure this is dry. You see how that just
adds little glimmer, little shine. So pretty. Make sure you're putting
them randomly. No pattern. Oh. The back, make sure that's everywhere that you wanted to have your gold. I think I'm going to do
one more layer of twigs, and then we'll splatter. No. Now, as I mentioned earlier, if you're not comfortable
doing this and you have a gold gel pen. You can do that. Do it very last or make sure your gel pen is
absolutely waterproof. Because we're still
going to splatter and you don't want to have those marks go everywhere. They get wet. All right. And now we can bring
down on the top. I switched to my number four, and I've been down the goal. And I'm going to do
some splattering. I'm going to protect
my ornaments. I don't want a lot
of splatter on them. That's just my
personal preference. Good. Okay. Now, I'm
also going to do just a little bit the slightest
amount in cur number. Or you could do
Hooker's green or rate. But I just want to offset
the gold a tiny bit. Again, we're trying to emphasize the earthiness of the twigs. I like that. It's a little dark
here and there. Just touch it. Light right up. I like that mixture
of light, dark. Beautiful. Hey, I'm going to
protect my yellow ornament. Beautiful. Go tiny bit right there. Great. Hey, step back six feet. See if there's anything
else that you want to add splatter two or any details
that you wanted to add. Okay, I step back six feet, and I just added a little bit of burnt umber to deepen the
core of these pine cones. And I added a touch just right here just
to separate them. Now, I am going to take
just a tiny bit of this burnt umber and add, like, a almost like
it's a little knot. Holding these twigs together. I got this idea because I actually have twig
stars that I hang. They're beautiful. I thought
it would be fun to do this. Okay, so we have our string. I think, guys, we are ready
to sign our name together. If there is nothing else that you would like
to add to your piece, then I guess it's time
for us to sign our name. Thank you so much for
joining me in this class. I hope it was fun for you. I hope you maybe learned some new techniques or sharpen some skills
that you already had, but mostly I hope that you
enjoyed the process and gained some love of art and enthusiasm to
start a new project. And let's go ahead
and sign our name. Always claim your art. Be really proud of
what you've done. I'm so proud of you. You have a gift and a talent
that most people don't have, and I hope that you
understand that, and I really age
you to keep going, keep improving, keep trying to learn new skills and do
fun things with your art. Thanks again. I'll see you in the next video where we wrap up.
13. Congratulations & Bloopers: Well, congratulations, guys. I'm so proud of you for
completing your project. I hope that it was
a benefit to you, and I hope that you learned
something new or you sharpened some skills along the way and have some fun too. If you felt like this class was a benefit to you and you know someone else
that might benefit, all you need to do is
look for this link on this page of Skillshare
and send that to them, and both you and your friend will benefit from Skillshare, which is a pretty cool thing. Also, if you would like to
take more of my classes, all you need to do is go up to the search bar in Skillshare on this page and type in
my name, Carrie Sanders. All the classes that I have
that are already available to you will populate
and you can take a peek and see if something
looks of interest. That would be really fun for us to be together
again in class. Also, if you wouldn't mind
just taking a second to snap a pick and upload your project into our
class project page, then I'll receive
a notification, and that way you and I
can communicate back and forth and we can see
what each other has done. Again, nothing but love. It's so great for us to support
one another as artists, and I think it'd be wonderful to see how each of your
pieces turned out. All right, guys, if you wouldn't mind just clicking
that follow button, then you'll receive
a little ping and notification whenever
I pop out a new class, and you can see if
that would look like something you
would like to take, and we can spend some
more time together. All right, guys. Until
next time, take care. Happy holidays, and I guess
it's time for bloopers. D Jingle jingle. Amara spit out the words. Okay. You can look for this link
on this page of Scale share. Where are we? Not Denny
Craig looking on the scale. Well, hey, everyone. Welcome
into my studio. Welcome. How many times are you going
to welcome welcome, welcome. We will also be Wow. Cut. Cut, chop. I didn't talk about followi
Kerrie Sanders, Artist, Teacher, Creator.
