How To Draw Mushrooms - Basic Techniques For Sketching & Painting Mushrooms

1. Introduction: Hi, I'm Julia, an illustrator and Nature journal. Thank you so much for joining me. In this class. You're going to learn the basic techniques for drawing and painting mushrooms in your sketchbook. Mushrooms come in an incredible variety and they're so much fun to draw. Most mushrooms have really simple shapes and our great subjects for beginning Sketchers and with a simple step-by-step process that I'll show you. You can explore their fascinating shapes and forms. We will use different materials like colored pencils, watercolour and ink. And my class, this class is for beginning sketches and those who love exploring nature with their sketchbook and opened my eyes, you will need basic drawing skills for the class and a way to add color to your sketches. You can use the drawing techniques from this class for journaling about your mushroom sightings and nature offer exploring different textures and colors in your sketch book and learning more about how simple shapes are put together. Learning how to draw mushrooms is easy and fun. I hope you'll be inspired to explore drawing mushrooms By the end of this class, grab your sketchbook and let's take a look. 2. Tools: Let me give you an overview of the tools that we're going to be using in this class. And this is basically what I use on a daily basis. So my regular sketching kid. So I have a pencil just a regular HB pencil with an eraser added. Then I have my small watercolor palette. This has about 20 colors, also, just a well-rounded watercolor palette. And I have regular round synthetic brush. This is not too big. It says size ten, but I believe the It also says int five. So I believe the true size is more like a size five round brush. And I also have a smaller brush size one brush for details. And if you have a brushed, it forms a very fine tip. You probably won't even need this one. Then I also have colored pencils, so I like to use colored pencils on top of watercolor. You don't absolutely need them if you don't have them. But I've had a nice, they can add a bit of texture. And I have these sort of these brown and gray, these darker colors here, which obviously are four mushrooms. It's what you associate with him. But I also have these sort of these brighter and even light blue color. And I'm going to show you later what I use these for. When I have my fountain pen with waterproof ink and the white gel pen. So this is by unit ball. I have found that this makes a very nice fluid stroke. So I really liked this one. And then of course, I have a sketchbooks. So this is a sketchbook. Just let me show you an example that has watercolor paper. And I make these myself. I also have a class on net if you're interested. So just make sure that you use a sketchbook that can take watercolor washes. And we also need some sheets of basic printer paper, just regular drawing paper. If you have for the warm-ups. 3. Mushroom Anatomy: Let's take a quick look at mushroom anatomy so that you know what you're drawing. I find this kind of basic anatomical understanding very helpful for my own journaling practice. If you want to dive deeper, most reference books have a short introduction with basic knowledge about mushrooms. And if you want to learn the names of species, then it's good to invest in such a book. Mushrooms are no plans but fungi, so they form their own kingdom of organisms next to plants and animals. And what we see on the forest floor are the fruiting bodies of the fungus that is located underground. A lot of mushrooms have a cap, gills or pause and stem like this one here in the middle. And although there are very many Mushrooms that look nothing like that, they can look like corals, sponges, glowing spit, or like ostrich eggs. And I've collected a few of the weirder looking specimen here in this slide. Yeast and molds are also fungi and some mushrooms edible, but a lot of them are inedible or even poisonous. Or mushrooms have a mycelium underground because that's what the actual fungus is. An underground network of cells that lives in soil or that Mehta and decomposes it. So you can see this in this image here, this white stuff that looks a little bit like mold with wood sticking on it. So this white stuff, that's the mycelium. And finally are genetically closer to animals, tend to plants, and they often live in symbiosis with plants or animals. The mycelium can grow quite large and often when you see mushrooms growing and circle on the forest floor, they're all from the same mycelium structure. So let's look at a typical mushroom we might find in the forest. This is a fly agaric. I'm sure all of you have seen a mushroom like this. And as you can see it has a cap, then gills on the underside of the cap and the stem. Some mushrooms have paused or ridges or little spines instead of the guilds. And when they have paused, they're usually called Bow leads. Whatever they look like, these structures are the part that release spores for reproduction. So the stuff that falls out on the underside of the cap. And you can, sometimes you can see these fine traces of spores on the younger side where the mushroom has changed colors. And this is called a spot for it and it can have a lot of different colors. This mushroom also has a cup at the base of the stem and small patches on the cap. And these are the remnants of the so-called universal Vale, which some mushrooms have. It surrounds the small mushrooms, which are called an egg because they look like a tiny egg. And when the mushroom grows, then the veil ruptures and can remain as a cup on the base of the stalk or as the small patches. And sometimes there's a second way around gills. And when the cab expands, it breaks and remains as a ring around the stalk. So this can look like a little scared, like in this mushroom here. And the stalk or the stem may go through the middle of the cab and very often it will. But it could also be located off center or on the side of the mushroom. So some mushrooms don't have a stem at all. And the cap can also form all kinds of different shapes. So I've collected a few interesting examples here. And what I'm showing you here is just to adjust some of the many forms that the fruiting body, the mushroom can take. Now around 6 million different species of fungi in the world. And we have only classified a very small number of them. As you can imagine, mushrooms come in an incredible variety of shapes and colors and sizes. So you can find them growing almost anywhere. And it's worth taking a closer look at them. 4. Basic Sketching Techniques for Mushrooms: When you're sketching mushrooms, there are a few simple guidelines you can follow to make the process easier. Most mushrooms have simple forms and a great subject for beginning sketches because you can construct them with a few simple shapes. A half sphere or ellipse shape for the round cap and a cylinder shape for the stalk. And I mentioned the 3D shapes here, true because it's always good to imagine your subject as a three-dimensional shape that has volume. This makes for a better drawing. Let's take a look at the specific steps for drawing a classic kept mushroom. I'm using a colored pencil here so you can see this bad habit. You can use a regular pencil. I'm keeping my lines light at the first and very gestural. So I only add weight to my line when I know what their shape is going to look like and what I exactly wanted to look like. You start by drawing the cap, a more or less irregular ellipse, usually rounded like a sphere. And then you add the underside as another ellipse and then find the center point on the underside and draw in the stalk. You can draw a line first in the middle and then add volume around it by drawing a cylinder. For some mushrooms, the stock will sit at the center of the cab as it does here, but other mushrooms grow in weird shapes so the stock could sit off-center or just about anywhere. This mushroom also has a cup at the base, so I add a round shape at the base of the stalk. And when you draw in the gills, make sure to draw them from the center of the cab. Don't just connect them to the stock itself. Imagine the point at the very top of the cab and then draw your lines from there. And then just add a little bit of detail like flakes on the cab or the bite marks or also the gills. Don't add these details everywhere. Choose a focal point m and add in the details where you can see them best on your subjects. So usually texture as can be seen best, where the light changes from light to shadow. So in these darker areas, and that means you should leave some areas wide web highlights on. So I'm taking my time with the details, drawing in all of the little flakes here on the mushroom. And then I'm adding more line wage to some of the lines that I want to be prominent. Okay, and this is a very detailed drawing already. And let's try this for a few different mushrooms, will just draw the basic shapes and a bit of detail. So let's keep it loose and quick. To get a hang of this, you should do one or two pages of these quick studies. This is a great warm up. And you can do this on regular paper, so you don't have to use watercolor paper folders because we're not going to use these for anything else. Then for warm-ups, I've put together a PDF with different mushrooms from different perspectives that you can use as a reference. And I'll just go through this in a sped-up version. So you can see. So for some mushrooms, I add a second version. And you can always see the basic ellipse and the line and the cylindrical shape of the stem. But just think about the basic shapes that you can see in every one of these mushrooms. And keep your lines light that will make it easier to find the right shapes. And when you really know what a stroke you want to make, then you can put down a little bit more pressure. So some mushrooms might look a little bit more complicated and then take your time, observe, and then make your strokes based on these observations. So don't just start drawing if you don't know how something is built. Observations always the first step. And then when you make a mistake, no worries, you can always draw another line or even erase a line. You can see I'm not using an eraser here because I leave my initial lines light enough that I can simply draw the next line next to it. And this will just work out beautifully. And after awhile you will get a hang for the different shapes and forms that mushrooms can have. If it makes sense for the sketch, then you can also add a bit of shading. But this usually isn't required, but if it makes sense, so you can read the sketch a bit better than you can add crosshatching in a few spots. So I think you get the idea of this. I want you to do at least one or two pages of this before you continue to the next lesson so that you have had this warm up exercise. 5. Sketching a parasol mushroom: So let's dive into sketching some actual mushrooms. This is a small parasol mushroom. And as I showed you earlier, starting with the basic shapes. So a ellipse shape for the cap. And then I've also indicated the stalk and have placement light lines and know I'm already refining them and breaking them up a little bit to make them look more interesting. And also adding the patches on the cap. And just very lightly. And I'm correcting a few of the lines with my eraser. And there are a few dark areas that I will add shading to. So this isn't strictly necessary because I will use watercolor. And I'm indeed switching to my watercolors now. And I'm mixing some very light washes. So as you can see, this mushroom is almost wide. It has very nice light color. And so I'm mixing my yellow curve, then my CPR for a very, very nice buff color. And the same color goes onto the stem. On the left side, I'm leaving part of the cap white because that's where the light comes from and I don't want to have too much color information there. So I just fill in the patches with a slightly darker color with some burnt sienna mix into it, or burnt umber, I think. And then I'm adding a few of these little patches on the stalk. Now, jabbing them away with my tissue paper. Because I don't want them to be true, prominent. And I'm taking my time adding second layers to the patches where they are a bit darker. And I don't hesitate to paint a bit over my pencil line. So since this is a sketch, it doesn't have to be that precise. And I feel that the pencil lines Hold the sketch together. So you don't have to be too fussy with paintbrush. Adding few vertical strokes for texture. And then after the first layer has dried, I'm going in with a slightly smaller brush that has a final tip. And I'm adding a second layer to my patches on the cap. And I'm doing this in these small strokes with a small motions so that add more texture that way. And in the white area on the stem, on adding just a little bit of very diluted sepia to have a Shadow Color. And then the last thing that I will do is add a little bit of foliage, little bit of these grasses. So that my mushroom has a base and doesn't just float in the air on the paper. And that's basically the finished sketch. 6. Sketching a red mushroom: My next mushroom is from the Russell laugh family. And I like the nice red cap that changes into this dark purple in the middle. So really interesting colors on this one. And starting the same way, although the cap is quite damaged already, but I'm thinking about an ellipse and a cylinder shape for the stalk. And so I'm already adding in these little dense and edges to the cap, to the outer form. And you can also see the guilds at the edge of the cap adding in a few shadows there. And then I'm defining the stalk a little bit more. So you don't always have to draw that middle line, but I find it helps with the overall direction and shape of the of the stalk. Manning in few shadow areas. And I'm redefining the outer lines so that I can have clearer definition of where the cap ends. And it's also a little snail. And if you bite marks at the side of the stalk. And it's really just a preference thing. If you want to have a detailed sketch or just the outline and then do the rest of watercolor. I'm adding a wash for the cap with this nice purple, red, sort of this Alizarin crimson color. And I'm keeping everything very watery now, but illuminate our drop in more color, especially at the middle where you have this dark violet. So I just want to water everything down. And now I'm dropping in this dark violet, it's mixed with, so I'm taking dioxazine violet and mixed with CPR and a bit of red. To get this dark violet color. You can see the paper soaks up quite a lot of color. So I have to make my column-oriented ends. And you can see me mixing there. And now I'm adding the intense red peeks through at the edge. Can this very dark Alizarin crimson color with a little bit of violet dioxins inviolate. And as long as everything is still wet, I can drop in more paint and not worry about any edges or blooms. So I can push around the paint on this wet area and I can also lift paint from the wet area. You can see I'm just using my brush, dry brush and I'm lifting out the color. I'm adding the same red to the stalk and a few places, not everywhere because I can see it's, it has a few different colors and a few places. And then the animal that's nibbling there on the underside of the gills. So snails are always around when, wherever there are mushrooms. And I'm adding a bit of shadow in the middle of the stalk and between the guilds. And also a bit of texture on this talk. So I'm, I'm plotting this out because I don't want it to be true predominate. And then I'm going over the red at the base of the stock again to intensify the color a bit more. So while everything is drying, I can work on the decorations and just indicating that there are few plants around the mushroom and a bit of grass. So this isn't necessary. You don't have to draw any details later in the class will have many mushrooms where I've just added a bit of, of crumbling earth around the base of the stalk. But this can be nice. So I'm testing whether the cap has dried and now I'm going over the first layer with darker kind of purples. So this is less diluted color. And you can see I'm sort of using these strokes to define the direction of the paint. So I'm indicating how the cap is shaped with my paintbrush, smoothing everything out with a little bit of water, just a tiny bit. And then I'm adding in more paint. So you don't want to use too much water for the subsequent layers because if you use too much, then everything will get reactivated and you don't want the layers below to be reactivated. Him using a bit of a dryer, read TMZ red. And I'm spreading this around the edge of the cap so that I get a nice transition between this purple and red. And I use the same red for these textures that I already indicated. Trying to do the same thing with colored pencil. Just adding a little bit of texture and of structure with different colored pencils. And that's basically the finished sketch. 7. Sketching white mushrooms: I want to sketch white mushrooms this time. And problem with this is obviously that I have to make them visible against the white of the page. So for now I am starting with my usual ellipse shapes and then with a cylinders for storks. And one way to do this to make them more visible is to just make the pencil lines a bit more prominent. It also use ink for this. And I am working a bit on the gills in this one mushroom that's a little bit damaged. As you can see, I have no problems sketching over the crack of the page and then refining the lines a bit to make these shadow areas that are still very light against the background. And here I'm erasing everything that I'd roofers to make my lines a bit, a bit nicer, a bit more decisive. And that's better. So now I'm drawing the actual background. So the leaves on the forest floor, I'm just indicating them very likely I don't want to render every leaf because this is not what the sketches about. But I just want to show that the leaves are there and they are Beach leaves. So this is actually interesting for the context of the sketch. There's something that you could also top-down and a little note. So maybe these mushrooms depend on a certain soil type or certain habitat where peaches play a role. And you can see I'm dropping in just very diluted pain, very light washes. And I'm painting around my mushroom outlines loosely following the leaves, but not really thinking too much about individual leaves or individual colors and just varying the paint color a bit. And so enter sketchbook. You can definitely try out things like a painting over text or merging different sketches into each other. That's not a problem. So the backgrounds finished and an adding just a little bit of faint, why lead for the shadowy areas on the white caps. So this isn't supposed to be a very dark colored just to bring out the three-dimensionality of the cabin, of the stalk. So I'm keeping it very, very loose. And I'm only indicating just a tiny bit of texture here. And now I realize that I have to make the background darker. So I'm going over everything again with a slightly darker second layer. Because I need more of contrast for this. And to make the contrast even more visible and bring up the shapes more. I'm adding stronger line work with my pencil and a bit of texture to. And so I think this is much better. And that's one way to paint white on mushrooms on white page. Obviously don't have to add the background if you don't want to. But I think it makes for a nice contrast to bring out the white elements. And I have a second example for very light mushrooms. So these are of a very light cream color, very, very light brown. And I'm starting again with my ellipses, my basic shapes, and these are a bit tougher to figure out. So the this cone shape for the cap. And there's also one in the background that I will just very roughly sketch in and then leave as it is I think. And we have again the leaves and a background. I'm going to ignore the green leaves for this sketch from the reference. Already refining my line, adding a few of the bills that are very prominent. And I'm adding a pencil line for this interesting fold of the cap. So this is important to make sense of how the surface is built, how it's folding, and how the different shapes are turning around. And I'm adding a few texture lines to show the direction that this plane is showing in refining a little bit of the outline. And I'm more or less happy with this part of the sketch. Switching to my watercolors. And I have mixed a very light brown here with my whitewash. So I've taken yellow ochre and a bit of CPI, just a tiny bit to mix this sort of neutral light brown. And I'm adding it to the entire cap. And also to the gills and to the stem. Mixing and a bit more CPR for the stem. And basically I'm adding this type of mixed squash first. And then I can work over the darker paint with, with some white. So having whitewash and the pellet is very handy if you want to add opaque white over your Docker layers. And this is exactly what I'm going for here. And before I do that, the paint layer has to dry. And I will just add my background and I will simply continue the background lease from the last sketch. And since this was in the same area and it's the same kind of leaves. It's like it has one scene, one continued scene. The wash has dried a bit darker than the color that I had mixed at first, and it has a tendency to do that. But in this case it's not as bad. And I'm adding a layer of white over it. Wash he usually have to use your pain in a very thick manner to get something that's really wide. And for this, it doesn't have to be all white. So I can get away with this sort of watery consistency. But if you want something to be really opaque wide, then you have to apply a color with a lot less water. But I'm happy with this. And now that everything has dried again, I can add a layer of colored pencils for the gills. Just adding a little bit of texture just indicating that they are the skills on the underside. And we have the stem that's a bit darker. And also these little fringe is yellow ochre, I believe. And then I have this darker one which is I think it's CPO of Van Dyke brown. So with the color pencils, I don't really pay much attention to the names of the colors. These are a fabric has tail polychrome, most were also use throughout this class. I also use some from Karen, dash and water. Some of them are water-soluble and some are not. And when you buy a color pencils, then make sure that they are really kind of soft and they really release pigment quite well to the page. So there's nothing more annoying than a scratchy colored pencil. I'm softening the effects of the colored pencil a little bit. So it doesn't look too streaky and to texture, don't want to over render this sketch. And you can see it has gotten a lot more dimension this way. And as a last touch, I'm bringing out my white gel pen. Again doing this tiny strokes, these tiny stroke motions. Blending it a little bit with my finger. And that's finished sketch. No, not quite. I'm also blending it with a brush. Just a bit of water on the brush, and a bit of color for the background mushroom. So it's in the background. It doesn't need as much detail. And now that's the finished, well, almost just blending everything together a bit, but that's the finished sketch now. 8. Sketching a blusher mushroom: I'm sketching a blush OR mushroom in this video. And the Latin name as a monitor, robust sense. And it's actually in the same family as the fly, agaric hers, so it looks similar. It's just a bit paler and it turns pink when you cut it. So that's why it's called a blushing. Let's actually, it has quite the good taste. It's nice in the kitchen, but you have to know how to tell it apart from the other ones in the family that are poisonous. I started my sketch here with a colored pencil because I thought this might be a nice contrast with this talk was and the light pink that the mushroom we'll have later. And yeah, as always, I've laid in my basic shapes, the cap stalk. And now I'm, I'm already erasing everything to start over and pencil. So this time around, I can make more decisive strokes and my line quality will be better overall. You can see this particularly in the curves. So you can see a fair part of the Gills here. Also, this ring a mushroom has. I'm taking my time with the NYSE and detailed drawing. And I had been at in a little bit of texture and a little bit of the most that rose around the mushroom. And I've already decided that I want the colors for this sketch to a very, very light and I still walk the line work to read. So that's why the outer lines a little bit more pronounced. Again, I'm thinking about the gills from the top of the cap. So where the stalk meets the top part of the cap on the inside. And that's where they grow from and that's where I have to add them. So don't just attach the gills to the stalk where you can see it. And I'm taking my time adding in all of these little patches that are also very, very characteristic for these mushrooms for all, I'm Anita mushrooms. One thing that I hear over and over is that most mushrooms with Pause instead of gills are and not as poisoners. So you can't go wrong with them. But those mushrooms that have gills, at least in Europe, well, at least in Germany, mostly poisoners, but there are a few that you can eat and that tastes really good. So I think I said it before. If you want to go foraging for mushrooms, then please inform yourself. Please go with someone who knows what he's doing and be prepared to have a steep learning curve. And. You don't want to poison yourself with these things. So sketching mushrooms is definitely a good alternative. And now I have a little trick here for you. I have white crayon, which I use on these patches, which I want to stay wide. And you can't, you don't have much granular control with these kind of crayons. They don't have a real, Really good point. So I'm doing my best to match these all of these little patches. And and I hope I have gotten enough. I will also paint around for spots with my paintbrush. So I'm using a very, very pale pink here. So red with a little bit of yellow ochre and diluted to this very pale color, just dropping in the color around the patches and the wax helps a little bit with this. And some areas, it's more ochre and almost Gray. And I tried to reflect that in the kind of mixes that I make. So I decided I want to show you I'm mixing in a little bit of blue to get a grey color. And I'm dropping it in here and there where you can see in my reference that for cap is grade. And again, little bit of red, little bit of ochre brown tones. And it's almost too intense for this pale mushroom. But again, when watercolor dries, it will also lighten and it will be paler. So I think I can get away with applying this amount of paint here. I've mixable kind of a gray from yellow and from violet. And I'm applying this to the darker parts of the gills. So underneath a cap we have bit of a core shadow. And I need this area to be darker. So that we will get three-dimensionality to the sketch. Layering a bit of gray over the red and a few areas. And then I'm applying the same pale pink to the stem. I don't want the right side of the stem to be too dark because that's where the light source is coming from and the reference photo. So in order to get this thing to look three-dimensional on my paper surface, I need the left side to be a bit darker. And I also have my pencil texture and place already. But I know I will have to add a second layer with a bit of a darker color to get this effect. So the white of the paper is something of a secret weapon for watercolor. You don't always have to leave white areas, White campaign over them, but really gives a nice transparent effect. And there you can see I've added the shadow with a stock payer pink. Also adding these small shadows, another flakes under these patches. And this helps to show me that these are not just flat white shapes, but they are actually three-dimensional and they cast a shadow. Now I'm refining me aside a little bit. There's a darker shadow on the left side. That's the shadow from the stalk. Ms. also this this core shadow that fades a bit when it comes to the right side of the of the cab. And sometimes I just go over everything with a slightly damp brush too. Bring the layers together a bit. Motto, merge everything. And I've brought out my white gel pen. And I'm adding highlights in the places where I know and where I can see there's the most light. So I'm bringing out some of these white patches a bit more. So the wax has worked well. But I wanted a little bit more of that. And there are also these small patches, the small flakes. And I want to bring these out. Also on the stem, a few highlights here and there. You have to know that at a certain point you have to stop adding highlights. All it will become overworked. So a sketch can benefit a lot from stopping when you still have fun. And now that my sketches finished, I'm ending the German name. And then the Latin name. The I'm Anita Roombas sense. And that's my finished sketch. 9. Sketching a porcini mushroom: Let's sketch another really popular and edible mushroom, liters or porcine. There are two very nice exemplars on this reference photo, and I thought it would be nice and also a bit of time-saving to only remember one of them and watercolor. So I want to make sure that I have a nice pencil drawing to accompany the watercolor painting. And again, I'm taking my time. You can see the ellipse on the left one still there. I'm drawing through all of my shapes MN, I'm erasing where necessary, so I don't want to be there too many thick pencil lines. And I want the lines to be sort of fresh and gestural. They think, well, I will show the left one as a pencil drawing and then show what kind of colors this mushroom hairs on the right, smaller mushroom. And you can see this one. These won't have Pauls. And although I'm not adding a lot of texts during these drawing sessions, I'm leaving enough space around these sketches so that I can add something later, or maybe even just the name and the Latin name so I know what I drew. And I find this really essential to the kind of sketching that I do. That I can add these details that are not necessarily visible in the sketch maybe where I found the mushroom, which habitat, what was inside? All of these kind of details that I can show and little sketches around the main one if I want. But since this is mainly a class about sketching, I want to show that process. So you can see I'm adding a little bit of crosshatching on the underside where there's a bit of Earth sticking or at the stem. So I'm adding a few shadows, especially on the left one, because that's the one I want to keep as a pencil drawing, only. The small marks on the cap of the left of the right form, and also a bit of the dirt on the stalk. And this looks like a good time to switch the pencil for the water colors. And the first thing that our mix is a light color. So sort of a light base color for the cap and for the stem. So I'm using my yellow ochre and a bit of burnt sienna. And I'm painting around these small wide areas on the cap where there's damage to the Cap. I'm just pushing the paint around so that I get an even layer of paint. And I'm adding, I'm dropping in a bit of burnt sienna on the top of the cab because I can see that the mushroom is darker on the top. And this is good time to do this because the paint is still wet and the colors will simply mix very nicely if I do this now. So I have my base layer and I'm already intensifying the color in places a bit. And stem is very light, so I don't want to have too much paint on it. I had very diluted colors. And sometimes when you have these earth Brown's, then you can add just a touch of green to take away the color a little bit, so to make it a bit more neutral. And I just did this for my mix, for the cap. While all of this is drying. As I often like to do are working on another part of the painting. So here I have added a bit of dirt around the base of the stalk. And you can see it hasn't dried yet, but I can sort of erase it with my wet brush. Adding a bit of shadow in these white areas to show that some animal has been nibbling on the cap there. And there's a shadow that I want to indicate. So I'm adding a bit of CPR and I spread it out so that I get a nice 3D effect. And with the same diluted color on my brush, I can add a few strokes that show the texture. And sometimes you can, if you're not sure about the color, you can test it on a scrap piece of paper. So here's my second layer of burnt sienna, making sure that I can really punch in this color contrast. And I'm fading out the layer with just a bit of water on my brush so no pain with just water. So I'm dragging the paint around that it gives a nice transition effect between dark and light and no hot edges. And remember, you can either drag around the pain when everything beneath it is dry. So when you add a new layer, all when everything is still really wet. And adding these small textures on the stem and on the cap with my rush that has very diluted paint on it. Some bigger brushes will give you a very fine tip, very fine point, and some won't. So maybe you'll have to use a smaller brush for this. And I'm switching to my color pencils, which will give an even finer tip. And I'm just adding some texture always in the direction of the surface. So this will help to show in which direction this mushrooms has been growing. I'm intensifying the shadow a little bit. And this will make the form appear more three-dimensional. And also helping a bit with the outline. So the pencil lines have disappeared a bit, another pained, and I can bring them out again with my color pencils. Adding a bit of highlight with a gel pen. And the last thing that I want to add as a bit of shadow, you know, the sketches finished, but I think it's sort of floating around on the page of it. So it's nice to have this kind of shadow and you can also see it in the reference. So I think this helps to anchor it a bit more on the page. And you can also add a bit of the shadow color on your subject. And that's it. Again, bringing out a bit of the wide with a gel pen. I've tried the color pencils, but sometimes they don't work as well on top of watercolor. So depends what, what kind of pencil you have and how dry EarSketch is. So this red brown one works nicely to bring out the red part of the cap. Bit more. Really liked this effect. And the sketch has finished. I'm adding the title and the name and the Latin name. And as you can see, I still have some space around this to make my notes if I want to. And that's the finished porcine mushroom. 10. Sketching a Scarletina bolete: This mushroom is similar to the last one. It has quite spectacular colors though. And it's a scholar he, Nebo, lead and German, it's called which mushrooms. So people were very imaginative where there's kind of mushroom is supposedly from. And as you can see, it has this interesting bright red color. And it's still a small one. What I find interesting about this reference is the structure on the cap and this sort of, this texture that I already thinking about how I can render this sort of this velvety texture. And then of course, the splendid red color. And you can see I've started my sketch with pencil and I've erased that a bit. And now I'm adding more details with my regular pencil. And you might think I'm just doing the same step twice, but the first step with the colored pencil helps me to get a looser sketch in place and to find the right lines. And then when I switch to the pencil, I know where my lines have to go and I can just execute them with a freshness of the line. So now for the watercolor part, first, I am adding a layer of cool brown as lied sepia tone that I have mixed from my sepia and then just a little bit of yellow ochre and spreading it across the entire cap. And I can already see that there are some areas that are a bit darker. So I'm adding a bit of burnt umber to it and just dropping in the color into the wet layer. And this way you can sort of sculpt your form. You can't do this if there's still a lot of water. So if it has sunk in just a little bit and it is still glistening, you will get a feel for this if you do a lot of water covers. So don't be afraid of this. Really. It's just a thing that you have to practice for a bit, but you will soon get the hang of it. If you're just a beginner, don't be afraid of, of these techniques. It's just a bit of paper and a bit of pigment. And you can always start over if you don't like the results. Watercolor is sort of, it's, it's very forgiving in a way. It's not as hard as people want, wanted to be. So the next thing that I'm mixing is the color for this little yellow mark on the stalk. And I've mix a bit of yellow and a bit of yellow ochre and just a tiny bit of red. And now I'm mixing my red for the rest of this talk. And I have used a you can't see this because the reference photos on top of it, but I've used a bit of orange and a bit of my dark cool red to give it a bit of this darker touch. And again, I'm spreading around the paint to cover every bit of the stalk. Carefully paint around these little needles and these little mosses. Epa base. And now I want to add in a Docker version of the same color. So I've added burnt armor to my mix. And I thought when I started this sketch, I thought I would add this shadow. And then I, I thought that it looks a bit harsh and I blended it out. And you will see this in a minute. Right there where at some water and some lighter paint. And I pick up the paint and just spread out the pain so that the transition between the two colors isn't as harsh you can see I'm wiggling my brush back and forth. So I don't think we need every shadow that we can see in the reference. Sometimes it's nicer to just have this sort of this neutral lighting. And the reference photo has very sharp edges because there's sunlight involved. And I don't think we need this for the sketch. Spending a bit of time on the cap again, and this will be more detailed paintings, so it's still a sketch, but a more detailed sketch. If you don't want to fuss around that much, then that's fine. But I wanted to show you different techniques for this. And so this would be more of an approach for almost for a scientific illustration. So you take your time, you make very small adjustments to the layers, and you have a lot of layers. And I'm trying to really blend in the different layers into each other. So one feature of this still small, bullied mushroom is that it has these interesting freezes on the cap. So I really need to darken my paint in these areas. I need a bit of space, so I'm putting the pallet away. Always want to show the pellet, but then I also need some, some space to paying for my hand. So as you can see, you can lay down the paint, but you can also pick up some pain if you're not happy with how the effect has turned out. You can also dilute the paint a lot and then transition the layers into each other. This is what I'm doing here. So I'm sculpting the cap with my brush, so to speak. And one thing that I think is very interesting about this cap is this, I mentioned this earlier, this sort of bell, the t effect, this almost this light blue and I will add this later when the cap has dried properly. So now I'm adding a bit of texture around the darker areas of the stalk. And I'm deploying on the paint with my brush. I want this to look random and not too carefully planned out. So I'm making these small dragging motions while I lift and set down the brush again. And I'm just continuing to add more deaths to the cab. Hearing their watercolor will always sink into the paper a bit. So he will only be able to see what kind of color and what kind of contrast between the different areas you have if it has dried. And sometimes this needs adjustment. So that's what I'm doing now. And as I said, if you just want to do a quick sketch, then you don't have to do this very elaborate painting process. But I thought it would be nice to show you a more detailed approach to these kinds of paintings. Starting to add the color for the little needles on the ground, which also shows the habitat of the mushrooms. So it makes sense to add a bit of this. I don't want to spend too much time on rendering these, so I simply follow my pencil lines and add in a bit of color. And I'm also adding a bit of green to, to the mossy part on the left side. Just to make it look a bit nicer. And now I'm switching to my colored pencils. I hope that the areas have all dried wherever I want to apply this because otherwise you can get these not so nice streaks because the pencil can just push away the pain if it's not dry. So I've talked about this velvety cap before, this very interesting effect, and I can add this to the painting with my light blue pencil. So you can see it's very light on the top there and catches the light from the sky. So it's, it has a bit of blue. And I can add these effects to my painting. Trying to smooth everything out with my finger. And adding in a few more of the creases that I can see. But I think the light-blue has helped to get across this, this sort of nice smooth effect. Adding the highlights and a few more places. And then I'm going in with an intense red for the stalk. So for me the color pencils help to bring across more of the textural qualities and they can also intensify the colors and help with the details. I don't always know if color pencils are great with their light fastness, but since this is sketchbook work at, it doesn't matter as much, I would think. So This is my finished sketch. I'm adding the German name, which is quite long actually. Then there's also a common name for this kind of mushrooms or it's edible, so it's very nice. And then I also have the English name. 11. Sketching a chanterelle: Another mushroom that I'm sure every one of you knows is the shan't array mushroom. And it's a gorgeous color. And starting with sketch with my colored pencil, I'm intending to keep it the lines so I will try and not go over this with my pencil as I have shown earlier. But I want to keep this a bit more loose. So I'm starting my outline with the color pencils. Nice. I think these are even water-soluble, so the outline will blend nicely into the water CUDA layers later. These are very soft colored pencils, which is why I also like them for adding details in the end Over the watercolor painting. You can see you can also erase them. And I'm trying to make visual sense here of how the cap transitions into the stalk. So it's not an easy structure. It's sort of wraps around at the edge of the cab and then transitions just into the gills and then into the stalks. So it's not your classical mushroom shape, but it's still interesting and you can still see the basic ovals there if you look closely. So I've mixed up a nice intense batch of yellow ochre and a bit of orange. And I'm adding this to the base, to the Gil pod and to the stalk, and also to the cap. So my base drawings already dissolving a little bit. Another water. I'm dropping in a bit of paint where I can see shadows. And I'm trying to go back in with my colored pencils. So water-soluble colored pencils will dissolve when they're placed onto wet watercolor layers, which can have quite the nice effect. You can see I'm going for the shadows with more intense color here, more orange, more brown. I need to bring out the shadows. The drawing that I did in the beginning has already sort of fallen apart. So this is more of a painterly style if you want. Still a quick sketch, but I'm going more by the different values and different colors that I can see. Not relying on my line work here. And to be honest, I could have stopped at this point. I think for a quick sketch, this is very nice. Now I'm going in again with colored pencil and I'm bringing out the contrast between the edge of the cab and then the gill part. And I want to add more details and more shadow. And somehow I ended up making this the dark parts of the mushroom darker and darker. So I added layers upon layers upon color. Botnets fine. I think it added something to the sketch, but it took a took awhile longer than I expected. So this is this reddish brown that I used earlier for another Marsh Room. Now, I always try to soften the effects of the colored pencil a bit with my brush and some places. And I'm making the last adjustments with a very dark colored pencil, Van Dyke brown. And I'll shorter rail as done. 12. Sketching a fly agaricus: This must be the most famous of them, all, the fly agaric. We already saw another member of the same family earlier. And now we are just making a sketch of this classic mushroom that every kid knows and is exemplar has also very classical shape. You can see the ellipse shape of the cap and the nice cylindrical shape of the stalk. And by now you know the game. And I'm already adding the small patches on the cap and a few textural details on, on the stalk. There's also the ring we saw earlier. And here's our finished sketch. And similar to the blushed mushroom, which also had these little patches I'm adding with my white crayon. I'm adding these waxy purchase so that I don't have to paint around every single one of them. And I hope this will work. I'm just whetting law watercolor a bit. And then I'm starting to mix the right color for the cap. So this is a warm, very orangey red with a bit more orange on the central part of the cap. I'm taking my time blending this in. And then I'm spreading the paint on the entire cap. Don't be afraid to use a lot of paint because as you know, if it dries, it will dry lighter. And we want a nice very red cap for this so that the contrast really stands out. Contrast between the red part and the white patches that is mixing the right color for the stock parts. So a bit of yellow ochre, bit of CPI and a lot of water. And I'm starting to add in shadow details. So this is a fairly neutral color. And I'm stippling in the shadow side of of the stalk. You can see the light is coming from the left. So we'll leave this White. And I will only add more darker color in the shadows. You can see the round shape at the base of the stalk is cup, which is very typical for these type of mushrooms. Lot of different ones that all look very similar. And a lot of them also poisonous. And we saw one earlier that you can eat, but this one is definitely not elbow. Well, it may be in certain amounts. Pad I don't want you to try. I wouldn't try it either. Adding a second layer of red paint to my cap here. And with slightly more intense mix, I'm adding more detail to the stalk part. So sort of the small shadow under the ring. And just a bit of texture for the stalk. Since a lot of the stalk is still wide, I want to intensify my lines with my pencil again. And the last thing that I'll add back in is the white patches on the cap. So I've painted around some of them and I had the white crayon and place. But there are still a lot more patches on this one. And I've switched my brush to smaller size, size one. And I can add really nice detailed small flecks of white. That way I'm using whitewash and I'm squeezes fresh from the tube so that I have really nice thick opaque paint layer going on. So you can reweight wash and with wide it will very often work. But the fresher you wash paint is, the better it will cover the paint layers beneath. So with wash, it actually makes sense to have a small tube of it around. In your sketching kid. I very often don't do this myself. And so I am runing Mike my brushes when I dig deep into the wide and try to reactivate it. Here we have another method of adding wide. So you can add really small dots with white gel pen. It's really nice for smallest details. And of course you can spend a lot of time on this. But I think this is really detailed enough as it is. But it can be hard to stop at this stage. And essentially that's our fly agaric. I hope that wasn't too hard. The beautiful mushroom I think. 13. Sketching mushrooms in ink: Let's add some ink to the mix for this sketch. So I'm starting as always with my pencil lines adding this elliptical shape. And that almost looks like a half sphere, like a dome. And I'm very quickly adding in the cylindrical shape for the stalk, making sure every line sits where it should. And you can see, you can, if you're mushroom is, has a simple shape, then you can get away with very basic sketch. So I didn't really do a lot for, for rendering this shape. And what I want to do now is introduce ink. So I have my fountain pen here with waterproof ink, that's very nice. Sort of CPR color. And I'm trying to keep the line work fresh so I'm making bold, decisive strokes. And then I add a bit of texture around the stalk. I find this stock textural, these dark spots really, really interesting and I think they translate really well to this inking technique here. So I'm not trying to fill every free spot with ink dots here. And I'm trying to think where I want them to be and how they can add to the structure of the stalk, making the base of the darker. And then just adding a tiny bit of structure around the cap M. That's all at our need. And with my watercolors, I will add this very nice yellowish earth tone for the cap. So this is mainly yellow ochre. And then it has this band around the base of the cap, so it's a bit darker. And somehow this yellow ochre turned out really transparent. So I'm immediately adding in more paint to make it a bit more and hence adding a bit of colour to the pause. They are not that many Paul's visible. And this one. And now I'm adding the same neutral Brown chooses stalk. I'm leaving a few areas wide and I'm adding a bit of CPR to intensify my ink dots. And I think that's a really nice effect. I don't want to add too much color so that the ink work can stand out on its own. So this is a very nice technique if you don't have too much time or if you want to be done sort of quickly. I'm adding a bit more color to the cab. Somehow all of my ochre color sunk into the paper. So I want this to be a bit darker. But you can see I'm not doing any elaborate layering or anything like that. I'm lifting out a little bit of paint here and there to show where the light is falling. I'm adding a second shadow layer for the stalk. And I believe this sketch is almost done. So just some touch ups here and there. And we have a very nice birch mushroom. 14. Sketching a group of mushrooms: For this next sketch are have a group of mushrooms, and these are Violet web cabs. Very spectacular color. I really, I mainly chose them for the color because I wanted to paint this awesome violet. I'm starting with my different ellipses and obviously it's a bit hard to figure out how they overlap. So I chose five of the mushrooms in this group, the ones on the right side. And I want to arrange them in a way that's sort of nice to look at, but still kind of close to the original. I moved some of the cabs around a bit to make them look nicer on the page. And this is why I also think it's so important to have this first stage, this pencil, light pencil sketching stage, because you can still move things around if they don't look as you need. The time to correct your sketch is now not when you're already have added the water color. So you can see I'm erasing a lot in these first sages, but that's okay. The paper can take it and I have the time. So these mushrooms have the sort of rounded caps that almost look like buttons. Very small actually. And then they have these interesting almost kind of zebra's stripes on the stalks and R12 remedies to later. I think I need to move the left one a bit more so that I have a better view on it. And for nice lines, I'm just redoing my line work a bit more so that I don't have too many stray pencil lines in the sketch. So that will work as a pencil sketch. Just a bit of grass. And then I'm bringing up my water color palette. So this is another one of my small pellets. And I'm using this one here because it has this wonderful violet. It's a cobalt violet. And I think this will do a great job for these mushroom caps here. It's a color that's granular waiting a bit. So it will give this structure that I can see on the mushroom caps all by itself. If you don't have a specific color, than just use what you have, you don't even need a violet and your palette, you can mix it from blue and pink. But since I have this pigment available and I knew that it would do a great job for this. I I simply couldn't resist. So I'm dropping in the paint with a lot of water. That will often bring out the granulation effect even more. And I'm dropping in more pigment where I can see sort of the darker parts on the caps. And then I let the pigment Do the rest. Lifting out a little bit of paint in the lighter parts. And I'm mixing the color for the stock. So this is mahogany brown. It's a bit similar to burn Sienna, and I'm mixing it with a cobalt violet for the more muted violet color of the stalk. And dropping this in. I'm still thinking if I should leave these stripes wide or if I should just dropping the color everywhere. And you will see that I will do this differently across the different stocks, but mainly I have left the white areas white and most part yeah, I'm trying to lift out the paint again because I thought I made a mistake when I just add a paint everywhere. But even if you end up making a mistake, he can usually adjust your sketch. Curing here, painting time. So it's not that bad. You can see I'm leaving some white spots here on the stalk. Just quickly laying in the color. I'm adding a second layer of my mix for the stalk to make some of the stores a bit darker because they are in the shadow. And I also want them to stand apart a bit more. You can see that this mahogany Brown can be really overpowering. So I'm reading, adding a bit of red and a bit of file ED to get different colors for different mushroom stalks. And I'm also leaving some of the layer below untouched for the slightest Stripes now, so you can see this problem was easily fixed. And I'm taking my time with this, making these small brush strokes to show the structure and also the direction that the mushroom grows in. And now for the last one. So if you have a group of mushrooms like this and you don't just want to add the same amount of color and value everywhere because you need the different individuals stand out and some are in the background and maybe a bit darker, and some are in the foreground and maybe a bit lighter. And so you need to be mindful about that. When you paint a group of mushrooms. Adding a second layer of my cobalt violet. And this has done a great job of rendering the structure of the cap. I'm going in with my colored pencils and I want to add a bit more definition around the edges. So my brush work has obscured some of the edges a little bit. And I want to bring out the different shapes in the group. But better. And with my white gel pen, I'm adding in some of the highlights on the cap. So you can see they're sort of these little dots. And I'm just adding them in. Again, it's, it's a good idea not to overdo it with white gel pen. Can look a bit overpowering of hue, put on too much. And in fact, I'm blending it in with my colored pencil. But I think overall it turned out quite nice. And so the last thing that I will do is add a little bit of shadow and some areas of the storks. And that's my group of mushrooms. 15. Sketching an underside view: Let's look at how you can make a sketch of a mushroom farm, the Unless side. And I've selected a meadow mushroom for this white one. And I'm starting as always with my ellipse, very visible in this view. Trying to make sure not to make it to round. So I want to have these edges and indentations in the cap. But basically it's a round form. So now that I have this round form established, I can make a line that's a bit more broken and irregular. Also spending a little bit of time on the stalk and the ring that we can see. Some parts of the cap our rabbit damaged. So you can see the gills a bit better. This mushroom has very nice brown gills. They are not really dark brown, but sort of a middle warm Brown. And I'm looking forward to painting these in a minute when I have my sketched finished. So I want to make sure that the sketch is really exact and that it really can stand on its own, especially in the part where we have a white color for the mushroom. When I don't, won't have to work as much with watercolors. So the first thing that I'll add is that a warm brown layer for the gills and being careful around the cap. So the cab sort of wraps around the gills on the edge. And it's darker near the ground. So I'm adding a darker paint. I'm adding a bit of CPR to my mix. So this brown is my base color for the gill section. And I will add the gills themselves later in a subsequent layer. Really making sure I'm painting around all of these small details that are already drew with my pencil. And I also try to work in the changes in color that I can see in that area. And here I'm indicating just a bit of the skill structure already. So the paint hasn't dried yet in all areas, but I can add a little bit of that texture and that will save me a bit of work later. I'm mixing a yellowish neutral color for the shadow parts of the cap where head has wrapped around the underside. So it's yellow with a bit of CPR and filling the color into the small cracks and the small shadow areas that I can see. Trying to keep my brush really sharp and lean so that it will give me these nice, smaller lines. And if you notice that your brush can't give you the amount of detail that you need, then simply switch to a smaller brush. I usually have two or three different brushes in my sketching kid, and I tend to switch them from time to time. So I've mixed my brown mix with a bit of white and a bit of yellow ochre. And this will give me the nice creamy bass tone of the stalk. So the darker on the right side because there's less light there. And I'm adding the same color and a bit of a diluted version in the shadow areas of the, the cap there. And then I'm adding my CPR for the dirty bits that are sticking to the base of the stalk. You already know this part. So by adding all of these small shadow bits, I can show how the light is reacting with the surface of the mushroom. And I can add these irregularities and also show where the light is coming from. So this makes the mushroom drawing on a two-dimensional surface really seem like it's a three-dimensional object. And this is why I keep going over some of the areas again and again because I want to intensify the color testing if the gill section has dried yet. And I'm bringing out my color pencils and bring out the gills a bit more. So you don't want to do this everywhere. Don't just add gills. Wherever you know that there are gills because, you know, they're covering all of the all of the cap section. But it's important to add them just in a few places. And the brain will happily fill in the rest. So now I'm switching to my really small brush because I thought it might be a good idea to paint these really delicate gills with a small brush. But it doesn't really hold a lot of paint. So I'm not sure if this is the right decision, but I I keep using it anyway. And I'm intensifying the contrast between the GIL and the cap section. You can see it stands out a bit better after arrived on this. And so I add a bit more of the warm brown to the rest of the gill section, smoothing out a bit of what I have done earlier with my color pencils. Make everything blend together a bit more. So we have a light section where we can see a lot of detail and then a darker section with a bit less detail. And I think that makes for a very nice finished sketch. 16. Sketching wet and slimy mushrooms: Often you ham across mushrooms that have a moist or slimy surface. And I want to show you in this video how you can sketch this. So I'm starting with colored pencil for my rough sketch. Figuring out the different shapes and planes and directions. There was the basic ellipse and now the cap. And these ones have a lot of different planes and a lot of different areas where the light is falling and where you can see this sort of this moisture on the cap. So I want to be sure I have a good likeness of the mushrooms themselves before I start painting. Taking away a little bit of the colored pencil so that I can get clearer outlines for my pencil drawing. Now, making this really rough outline and color pencil first has helped me to get a better idea of how the shapes are interconnecting and where I need to place what. And I'm also blocking in the areas where I can see the moisture glistening on the surface. So I want to remind myself where I want to keep these highlights. Just a few more details, and the sketch in pencil is finished, and I can switch watercolors. Now the first thing that I'll do is laying in the base color of the cap with a sort of nice warm middle brown, burnt umber and burnt sienna. And I'm painting around the highlights that I want to preserve. And this is much easier than painting over it. And also you will never get this white of the paper effect again. So even though we can use squash on top of your paint and this often very practical method, always, it's, it's never as bright as the white of the paper. So I'm saving myself a bit of work and I'm also making the sketch a bit better, I think at least. So I hope I can save myself a little bit of work here. And now the basic layer for the stalks, which is a light yellow ochre color. And when it's silhouette, I'm dropping in a bit of a darker brown for the shadows. So for these two mushrooms, I think it's essential that I paint in all of the different light and shadow areas, even more than in the other sketches. So I don't have neutral lighting. I have this very sharp some light effect with these shadows and light areas here. And to understand how the light is falling on them, I want to add all of the shadows into the sketch. And I'm dragging out the paint from the top of the stalk to the base and the underside where there are pores and there's a little bit of light coming through. And I'm making sure that I get mice transitions between the different colors. So again, this is more of a painterly approach, taking my time with this. But I think for painting these moist or slimy areas, the most important takeaway is that it's best to keep these areas white. And then be mindful about the places where you can see the moisture. And bit by bit, I'm adding my Docker layers of paint. So this technique of building up layers and building up intensity is really unique to watercolors. He don't usually do this with any other type of paint. So I'm placing a dark blob of paint and then I'm dragging it out, making the transitions really, really smooth. And when I do it over and over again, making sure that I leave the wide areas with the highlights with a moist thoughts as they are. Now, I have added a little bit of white to my brown mixes. And I do that because there are some areas that need to be a little bit lighter so they don't need to be all white, but they need to be a little bit lighter than what I already have. And this is where guage comes into play and can help you to get these sort of middle light sections. Doesn't go to an all white to the paper wide, but it gives you good middle light values. And that's basically all there is to it. The rest of my painting process will be intensifying the dogs and working a little bit more on these different layers and these different colors. But that's essentially it. He can see the white highlights, the slimy part, so to speak, stand out from the rest and they really give the impression that there's water on the cap of the mushrooms. The rest of the sketch is basically just rendering. So in speeding things up here quite a bit, as you can see, I'm intensifying the brown tones and the contrast between the light and the dark areas. And in the end I'm adding a little bit of white gel pen for some highlights that I missed. And I'm also adding a small water drop, although you can't really see it that well. With the white background. I still wanted to add it. And as always, I'm adding a little bit of colored pencil for some better textures and nice transitions. And a bit of good. Although I could have painted the most, that would have been nice also. And here I'm using this sort of mustard yellow colored pencil for a bit of a nice color contrast. And I think that's a nice sketch of some whet mushrooms. 17. Your Project & Final Thoughts: I love to see your mushrooms sketches. So please create a project with one of the different techniques that I've shown in the class. And these could be quick warm-ups or a more detailed mushroom sketch in pencil and watercolour. And it's best to try out different techniques for different mushrooms. There are a lot of mushrooms to choose from. And if you're into detailed illustration and you can take your time for your mushroom painting and if you prefer to sketch outside and maybe a quicker methods. So I think I've shown a lot of variety. So, so upload your work to the project gallery to share your results with the other students. And also with me, I look at every one of these projects and I was left to read about your experiences in nature and what you've explored. And so, yeah, please let me encourage you to post the project. It's really a lot of fun. I hope you've enjoyed this class about drawing mushrooms and different techniques. And I hope you've learned a lot more ways to observe nature and draw outside. So if you want to be notified about more classes like this, then please follow me on skill share. And I'd also be really happy if you left a positive review of this class. It's always great to get feedback from you. Thank you very much. I hope that this was a useful class for you and I'll see you outside by.