Transcripts
1. Pumpkin Florals: Pumpkin florals,
you saw the title, you know what this
class is about, but how do you make
your art shine in the sea of many other
pumpkin artists out there. I'm Amarilys Henderson and I work as a watercolor
artist that gets to see her art on stuff as
a surface designer. Now if you start looking around and if you've worked in
surface design at all, you'll realize that just as the holidays revolve
year after year, so do some traditional
elements in the art that's [inaudible] . How do we keep it interesting, when every year we're
painting pumpkins? I'm going to show you how I go about painting
pumpkin florals. I like to bring in the
florals just because they are beautiful and add a dynamic
element to the plump and boring round
features of a pumpkin. But I'll also show you how I
keep my art fresh to myself so that these themes that recur every year don't
become stagnant.
2. Class Overview: Now, I don't know about you, but before I start a class, I want to know exactly
what I'm expecting. Do download this PDF guide with all the details
there in black and white. Right now though, I'm
going to walk you through just what to expect from the
class segment by segment, in case you want to know
exactly what you'll learn and what you can take
out of each bit. The class is broken down into
basically three sections. This is the first section
where we're just talking about an overview ground rules, what we're going to do,
we'll talk about supplies. Then in the next segment, in the third video, I want to talk about
keeping it interesting. So when we are creating artwork and if we have to create
quite a bit of it, then we find that we're just creating these recurring themes. I want to talk about
how to keep that fresh and how to create
your own perspective, add your own flair
into your art. Right after that, we're going to jump
right into painting. That'll be the section
where we'll do both of these ways of going
about pumpkin florals, just both layouts, one's more light with
a white background, one is going to go a
little darker ones, horizontal and one's vertical. The first one we'll do is
this light and airy pumpkin. That'll be the
Segments 4, 5, and 6. In each one, I am dropping some nuggets of wisdom
and I wanted you to have a heads up as
to what will be in them in case that something that you are especially interested in. In the first segment, we'll
be creating the pumpkin. I love doing it with just
one brush stroke at a time, creating the form without
needing to think too much and not needing to
sketch ahead of time. It's pretty exciting. Then also we'll create shadows, which using a
watercolor technique, we won't have these harsh lines. Which by using a
watercolor technique that I just call
creating channels and you'll watch me do it, we won't have these
harsh shadows, they'll become very softened. We'll also get to
avoid outlining, which is a little bit
of a novice tip off, we don't want to be doing that. In the fifth video, I'll talk more
about how we create unity by mixing some of
these mediums together. How to use our brush? I so believe in using
the power of your brush and that way you relieve some of your creative
pressure off yourself. Also just theories
in how to keep your color scheme united when you are creating this
visual tension between the colors and how to create
a composition as you go. In the sixth video, the last part of creating this horizontal lighting area
approach to the pumpkin, we'll be putting in
those final touches, those vintage flowers
that are so popular and so simple to make, but it's hard for us to
stay on track with what simple sometimes s we'll
do those together. We'll be overlapping
at this point, using gouache and bringing
in texture and variety. Moving along, we'll start
working on the second piece. This will be over four
segments, 7, 8, 9, and 10. Much like the first segment in that lightenery
pumpkin section, this dark and moody
one will also include some wet-on-wet
pumpkin painting, it will go wild and you'll get to see me
dial it back with lifting. In Segment 8, we are doing quite a bit, it's one of the longer
segments in this class. I'll talk more
about how to select and handle your brush, using your hand motions to get the best shapes
from your brush, and then we'll start layering and creating florals by
painting one petal at a time. Now, here's the fun part. If I had my way and I
could do this over, I would do Segment 10 next so
I'll talk about that next. In 10, we paint the background which is wet-on-wet dark
colors using a lot of paints and you'll know exactly
which they are. We create this really moody feel by using the wet-on-wet method
with these rich colors. We'll also make our subjects
pop and even dial it back when we need to
create more depth in our piece and more contrast. Now, the reason why I
would do that first is because in the video, I go around each eucalyptus leaf and you can spare yourself
that extra bit of work if you do the background first because guess what? We're using an opaque
medium such as gouache, after a wet-on-wet technique with watercolor so we
have that freedom. That is all I have to say about that eucalyptus is such
a great subject matter, it's something that we can add into a lot
of different pieces, and it's awfully
simple to create once you get the hang of it. That will be what
Segment 9 is about. Now, as you've already
gotten the feel, this class has different mediums going on, mostly watercolor. Even in watercolor, I am
using mostly fluid paints. Don't feel that you have to have fluid paints to
create this painting, I just find it a
whole lot easier. Because if I'm working
in a wet-on-wet way, then it's easier to use paints that are already wet
coming out of the bottle. You can create the
same effect by pulling your paints from their
paint wells, adding water, and creating a nice
mix on a mixing well to take your paint from
and paint on your paper. That way, it's already fluid and you don't have to
battle with trying to make it more wet or
perhaps to create fluids because that's what we're
here for, at least I am. I love watercolor fluids. Secondly, we'll add
gouache on both paintings. It's very similar to
watercolor, it's water-soluble, it ends up chalky and not plasticky at the end and in the finish
as acrylic does so we can actually reactivate
it right in our palette too, so they play well together, but the gouache paint will
add also a different quality. It's not just about using
a different medium, just for the sake of it, it adds a different
texture, a different feel, and a different quality
even in the colors. Now, in the final tutorial, in the dark, moody pumpkin, we'll also use markers. Since it goes dark, it's nice to have the
paint markers on hand to then be able to create
light on top of dark and it also creates
a nice uniform line which creates some
visual tension. I'll talk more about that later, but I want you to first have a snapshot of the supplies that I'll be using
segment to segment. These are the colors. Again, don't feel
that you need to have exactly these things. I purchased a very
large set of gouache. I went to town
with those colors. You can create this piece from beginning to end,
all in watercolor, but you'll need to plan
because you won't be able to overlap the way that
we do in this class. Like I said, on this painting, we will also add on paint
markers here at the end, but mostly we're going between
watercolor and gouache so that we have the feel
of wet-on-wet bleeds, flat florals, and then some
graphic lines at the end. Let's get started on
our pumpkin florals.
3. Keeping It Interesting: When I approach a subject matter that I've done many times before or I've seen done
many times before. There's something
that I ask myself, what do I find interesting
in this piece? What could I possibly find interesting in this
subject matter? I've noticed that there
are a few patterns that I go back to. There are few things
that are just tried and true when it comes
to creating artwork that needs a little
gust of fresh air. The first, and it's my favorite is to bring in some beauty, and that's why with my pumpkins, I pretty much always shroud them in flowers because obvious. I love to infuse more color, heighten the color
that's already there. Another thing that I'll often do is consider the composition. I will create a composition
that might be more harmonious and less stagnant if you've
ever painted just a pumpkin, just plops there on your page. It is cylindrical, maybe it's a little wider than it is high or taller
than it is, wide, but it needs a little
more beauty added around to it to really punch up the cozy fun nature of it. We don't usually think
of things isolated, and yet we paint them isolated. What I mean by that
is when you see a pumpkin out in the
wild, in real life, you don't usually see it against a white background with
nothing else around it. You see it in context. Bringing in that context
in a beautiful way will surely help the
viewer just jump right into that subject matter in
a way that they couldn't if it were just on a
white sheet of paper. The second approach I
want to commend to you is juxtaposition or mix. When you mix it up a little bit, maybe you're mixing up the subject matter
with something else. You could add a spider
that adds a little drama. There's a little tension there and in creating more tension, we're creating more interest. The way that I am introducing in this class to create
some juxtaposition, a little bit of a mix is
actually through the mediums. We start with something
really watery and lush with the watercolor and
then we add flat color. Our eyes are reconciling
these two looks together. As long as they are
intertwined in such a way where we are at peace
as we're looking, it's a good thing
to keep looking. When we have mystery that we can't quite
settle in our hearts because this element over here is isolated
and flat looking, and this element over
here is really watery, we can't quite put
those two together, but by intertwining them, intermingling them
were doing just that. Another way to create
visual tension or juxtaposition
besides, as we said, two subjects together or
two different mediums would be in the
composition again. Rather than having a
central composition, which is what's
shown in this class, we can consider what
can be happening elsewhere to create
some visual tension where the eye is almost
struggling to figure out where do I want to settle. Because these are
both so interesting. Third, I commend to you one of our favorite things of life, which would be humor. When you infuse
humor into your art, you are bringing a little
refreshment all on its own without needing to
rely on the artwork itself. If you're interested in
creating greeting cards, humor will go far. Now, when I create humor, I also like to be able
to create in such a way where it's layered so that I can use the
art without the humor. Let's say for something that's more used for its aesthetics, like let's say tabletop, if I'm creating a dish with
pumpkin and IV around it, I don't necessarily need a
funny little quip to it. But for a greeting card, I would totally go for that. When I create, I make sure that that humor element
can be removable. This might not be something
that you have to do. If you know that you want to go into a particular industry, then go for it, and you know that humor is part of your
style, absolutely. But if it's something that
you're just toying with, you might consider
creating it in an area that's a little hidden. Perhaps that spider that
created juxtaposition is actually a punchline and is crawling out
of some little spot, and it's a peekaboo element. Or maybe your humor
is in the lettering, I would combine them digitally for commercial presentation. Now the other side
of humor is drama. We can create drama
using high contrast, using vibrant colors, or dull colors that are
in war with each other. This drama in the
painting can come across, I think especially
in this class, in the vertical pumpkin where we have a really
dark background. Adding some drama can help push this piece into an area
that is not boring anymore. As we're talking about
humor, drama in general, you might have a unique
perspective on pumpkins. Maybe you do, I don't know. If you have a
unique perspective, meaning you have an
editorial commentary that you want to
bring to the art, be it activism towards
pumpkin protection or the way that
pumpkins are harvested. Going organic or
growing them yourself and showing some farming tools or gardening boots
added to your piece. Those little bits of commentary, your unique perspective
can also really push your work in the way that you are wanting to
communicate a message. That means a lot to you. The more it means to you, you're probably going
to really be able to infuse that in
a powerful way. I'll leave you with the
last way that I thought up. The easiest way to
spy something up, and that would be
with a color shift. You've already seen this. I don't know if you've noticed the blue and white pumpkins, maybe even a sage or emerald green pumpkin
around in artwork? Blue pumpkins really had a day and they're fading
out a little bit, making way for white pumpkins. It's a trend, what can you do? But all those color shifts are just us artists taking
something that's a little played out and
just nudging it in a slightly different
direction without changing the subject itself. In truth, those colors
of pumpkins do exist. But I would say that the
safest way to shift colors is, it doesn't take a lot, it's just a little bit. When you look at the color wheel and you consider the color that something is just
shifting a little bit to the left or a little
bit to the right, can really do a lot. Your pumpkin could
be a true orange, or it could be a red-orange
that's almost reddish in its dark cracks or even pink. I would love a pink pumpkin. Beginning again with the orange. We can shift in the other
direction of maybe your pumpkin is yellow-orange or
just plain yellow. Or as I was saying before, more into greens or even white. The color-shifting
idea is nothing new, but we also never get tired
of it because it means we can enjoy the same thing
within the same values. Let's not mistake those, but it gives it just a
little bit of *****, a little something new. If you're truly adventurous, I would love to see some Neon Iridescent
pumpkins all day long. Hopefully, that got your juices flowing and you
have some ideas for some things that you want
to bring to the table when you're creating
your pumpkin floral. I wanted to prep
you before watching these videos on how
exactly to paint. Because in that
instruction, yes, you're going to get
nuggets on technique and how to go about it. But what's more important is
that you find your own way, your own voice, your own
flavor to your artwork. That is much more valuable than my telling you
exactly what shade of yellow-orange to use next. Let's get to work, gather
your art supplies, we're going to start
with watercolor and then we'll move
into other mixed media.
4. Horizontal: Plump Washes: Now I'm going to show you two different paintings
from beginning to end. One is going to be
light and airy, the horizontal perspective
on this pumpkin. It's like a squatty, squashy, little
pumpkin, super cute. The other is going to be
darker and a vertical layout. I wanted to give you
a little variety depending on what
mood you're in, depending on what
layout you need to use, or what you prefer, and there are nuggets
of wisdom in each one, but you can select which
one suits you best. I'm going to be using
this large flat brush. It is so handy
because it's going to make painting this
pumpkin so very easy. I'm using Dr. Ph.
Martin's Hydrus line, so it's a watercolor
that's a little thicker than the
ones I usually use that are of the radiant
saturated line. The trick to this is
having a very wet brush and creating each side of
the shape of a pumpkin. You know how pumpkin is ribbed and has a lot of tears to it. We're creating each one
with a single brush stroke. Now you'll notice that
my brush is very wet and there's a reason for that. We really want to have
the paints flow through this wet surface and
then once it is dry, then we'll be able to
add a lot more details. We're not going to worry
about those just yet. Right now, I'm focusing
on combining colors and making this pumpkin vibrant. Now on my palette, I have
a few different oranges. I will list them here, but really don't feel
that you have to have exactly these oranges
and like one orange, it's more on the yellow side and something that's a
little of a darker red. That way I have a
variety of hues and I'm not just thinking about value being light and dark. I'm thinking about all the colorful variations
within there. Now, while my pumpkin is wet, I add in these colors. Now, notice how I've
turned my brush sideways so it's a lot skinnier in
a lot of these strokes because I'm going
between the ribs to create a little
bit of shadow between each indentation that's
on this pumpkin. I'm not going to
be very literal. It doesn't have to be
each and everyone, but you'll start seeing a
rhythm evolve from this. I'm using much more
concentrated paints, using a little less water and even drying my brush and ready for something
that's a little sharper. This is a round brush, Size 12, so it's pretty large. Still not going into details. This is very much
the first stage. The top half of my
pumpkin is dry. The bottom half is still very
wet but I'm ready to paint the stem reaching
for a muted green. I can always add
more vibrant color to the green if I want to. I'm going to create kind
of a triangular shape. It's going to look like
the top of a witch's hat, something that curls over a bit. I'm really just blocking
in that shape while I'm waiting for more paint
to dry here on the bottom. I think I'm ready to bring
in that vibrant orange that I poured into
my palette first. Look at how fun that
is. It just bleeds and creates this
beautiful little web where it's dissipating
into nothing. Very cool. As I create, I'll create a
little channel, so to speak, of just wetness with my brush and then dropping the color. You'll see me do this
over and over again. This is something that you can practice on your free time. This is the basic
wet-on-wet method, creating a channel,
an area that's wet, and then dropping your color in. The trick is to not touch it
too much to not blend it. Even though you see me
pushing the paint around, I am doing my best
to not blend it into the creases of this pumpkin because it's that
bleeding effect that I want to retain and the more that I touch
it, the more I smudge it. Now, when I'm
shopping for a brush, I'm looking for a brush I
can do both of these things that can create really thick, voluptuous lines with the
thickness of the brush, and yet also create really
small detailed lines with the very tip of the brush. When you're shopping
for a brush, look for a brush that
has a thick body once you press down
on it on your palm and also has a very nice
pointy edge or end to it and then you'll be able to use it for much more than the
size of it represents. This is a Size 12. But some of those lines
that I'm able to draw with the very tip of my brush
or that of a Size 8, Size 4, maybe even smaller. Moving around the pumpkin, creating more of these lines, it's just fun at this point because you already know
where this is headed. You're not feeling like it
looks too terrible just yet. There are different
stages of painting and you will
experience them all. You will experience, is this going anywhere? You will experience, does this look good? Or you will also conversely feel this is
actually working out. I think this is what
I want it to look like so don't be surprised when you have all those feelings surrounding your painting because you will feel
differently about it at different points of creation. This stage, it's all about defining
the shape of the pumpkin. The first thing that we do
is we lay down the form, that general idea, the general big shapes
of this pumpkin. Then we go into defining
it more and more and I first defined it
with the colors that were already represented
in the pumpkin. Now, I will feel like I can
expand into darker colors and create some nuance there. I'm reaching for blue as
a fun different variety from going to a darker green, a more traditional
look would be to use a darker green on top
of a light green, but I always like to twist
things just a little bit, tilt it a bit so that it has a little more interests
in the way that I paint. Always, as you'll see me paint, I am working around the
page as things dry. Since I love to use
the wet-on-wet method, I have to be patient and it's
really hard to be patient when I'm in painting mode. What I do is I either have a lot of different
paintings before me and I hop around or I hop around within
the page, if I can. At this point, I'm
working on the stem, giving it more definition
with those blue lines. My pumpkin is dry and so this
first stage, it shook out. This is what it looks like. I'm ready to apply a more
concentrated application of watercolor paint to this pumpkin using the Hydrus orange
color that's very rich. I'm going to start
adding in some lines. Don't feel that you
need to outline every single ridge
of your pumpkin, all the outside lines. When we look at
things in nature, not everything has a
dark shadow around it. Oftentimes a new painter, someone who's new to painting, will often feel the need
to outline everything and it's just not necessary if you look at a
pumpkin in a real life or a photo reference, you'll see that those
lines just aren't there. If you feel like that's
part of your style, that's totally fair game, but if you're trying
to render a pumpkin in a slightly realistic way with some flair and color and style, that's what I'm doing. When using lines, I
use broken-up lines because there's only some areas that are darker than others. It also creates interest
because as your eye is guided around the
edges of this pumpkin, it has to stop where
that line stops, where it's being guided along, and then it jumps somewhere else and so it keeps the
viewer engaged, looking at every part of
your pumpkin and wondering, where should I look? There's just so much to look at. It's that an overwhelming
feeling that we feel when we see something beautiful that we want to portray
when we're creating these paintings of
these beautiful things.
5. Horizontal: Giving Form: The paint that I'm using now is a gouache paint by Arteza. I like to alternate between
watercolor and gouache and you knew that was coming. Now, you might not
have known that it would come so
soon in the game. Even though our florals will be very much primarily in gouache, in another media
outside of watercolor, it's important too to
not have something that's entirely of watercolor
that is completely untouched by the other medium. That way we tie together
the new with the old mixing a little bit
and make them marry and look good together. This green that I'm using
is the darkest green. What's great about using another medium is
that right now, I'm realizing, you know what, I'm not sure I can
push my existing dark blue or green much further. Watercolor tends to dry lighter than it looks when
you first paint it. Then you have to wait
for it to dry and see, is this dark enough? If it's not, I can have
the advantage of reaching for another medium and adding
on another darker layer. What's wonderful about
gouache is that it behaves a lot like watercolor. Now it doesn't have
the gorgeous bleeds and it doesn't flow
quite as well, but I can add water to it, reactivate an old bit of
paint on my palette and have it be lightened quite a
bit to look like watercolor. This right here is
gouache watered down. I'm creating the ridges of the leaves of the
pumpkin by creating a lot of little b's
and then uniting them together to make the
outline of the leaf, and drop in a dark application
of paint to the center and just let it sit
there and bleed. That way I don't have
really crisp blinds, I just have a very blended, muted, simple way
to paint leaves that's both easy on me
and visually interesting. Now I'm reaching for a
slightly different green. This is eucalyptus green. It's one of my favorites
from the Arteza paints. I haven't found it represented really
well in other brands, so I use it quite a lot and it's a color that's very trendy. Doing something that is a
bit like a eucalyptus leaf, I often will add in just
these simple leaf shapes. It seems odd that it's
a little cut off. It's cut off right now
by my imagination of what I want to have in
front of this leaf. I don't often dry
before I paint, but as I paint, I'm considering how I'm going
to frame this composition. I'm making a little space knowing that it's
always interesting to have some things peek out
from behind something else, and so I want to
allow space for that. These muted greens
look fantastic against a very bright orange. You're welcome to use
a very bright green. But the reason why I'm using
a muted green like this, eucalyptus green or a sage
green, and emerald green, something that's actually
not very saturated, a moss green, is that the orange is going
to stand out all the more. Obviously green
and orange are on opposite sides of
the color wheel. These, however, have an
even more further tension or push because
there's a difference not only in the
relation of the colors, but the relationship of
how saturated they are. Another way to push it is by
going with light and dark. The very center of my
pumpkin is very dark, whereas these leaves that I'm painting
at first are light. Always start light first. That way you can always
work yourself up, particularly with watercolor. Now let's work on some of the elements surrounding
this pumpkin. Using the wet on wet method where I am painting a little
circle of water and then dropping in little droplets of different shades of brown, I'm going to let that
sit for a little while. Now wherever I have one
on the bottom left, I'm going to try to add
in one on the top right. Now I'm not trying to create something that's
perfectly symmetrical, but that way when the
eye sees something down there that
looks interesting, and then its pulled back up to the other extremity
of my painting. I'm bringing it
back to the middle, which is where I want the eye to really be captivated
by the pumpkin. Again, the trick at this
point is to let it dry and not mess with it too much. It's a good thing, we have several things
that we're working on, several little floral elements
in our pumpkin setting. Those brown centers are going to be the centers of sunflowers. We're going to let that dry
before we bring in some yellow because that will interfere with the
brown quite a lot. It's time for some pink. I really think it's
time for some pink should be a thing
for most people. There's even a little
pink within our pumpkin, so this flower shape is
going to do us well. Now what's fun with
gouache is that I can make a very simple oval, and I can overlap my pumpkin even it can go over it where, as with watercolor, I
can't overlap as easily. If I were to overlap a flower onto this pumpkin with pink, I would need to saturate
it quite a bit, rub quite a bit smudge, trying to break up the
color that's underneath, that's already sunk
into the paper. But with gouache, I
can work right on top. This style of floral is
going to be very simple. We just create some ovals and we'll add some
details later. Now that my sunflower
centers are somewhat dry, honestly, they're
not completely dry. But I'm eager to see
these come together. I'm ready to reach
for my yellow. Creating a radial orientation of a lot of elongated
triangular petals, I'm just going to
layer these on. If you look at a sunflower, it's a lot of rings, different layers, a wandering of petals overlapping another. Honestly, they could be
less pointy on the ends, I think that would
be more accurate. They're probably different
kinds of sunflowers. I'm using a couple
of shades of yellow because like I said, these petals on the sunflower are going to overlap each other. With an application of
white and with some yellow, I'm going to get a
variety of shades. Now the thing with gouache is it is not going to flow quite as smoothly as watercolor does. You might be used to
creating something that just oozes
off of your brush, and if it doesn't, you can always add a little
water to your gouache. I'm trying not to because I'm working on something
that's a little wet, so I might activate that
brown center underneath. But it's really important to me to have this angled
look on this flower, and I think it'd be
fun to teach you. We have a sunflower that
is facing downward a bit, so you're going to
have some petals that are going to overlap
the brown center. That's why it was important
to do that first, and that's also an
advantage of using an opaque medium on
top of the watercolor. While the watercolor
center is there and dry, we can overlap it with all of these little petals one-by-one and create little pockets where
the center is facing out, where it's peaking out through
a lot of sunflower petals. I don't want to
cover it completely. You'll see that
I'll try to avoid covering the center
in the sunflower by creating petals that
are just barely touching the other
end of the flower. It's time to do it. Let's try it. Is it dry? Here we go. I just want to
create the illusion, the feel of these
petals overlapping and really creating a cup, a bowl of this flower. Really wish I had more
space on my page. I always run into a
corner somewhere, and I'll just say that it's just that I
enjoy painting so much. I just keep going to the edges. Now that those are dry, I've got my basic shape down. I can add in more rows, more layers of the
sunflower petals, one-by-one, one brush stroke at a time. I notice what color is already existing there in
the existing row, and then I'll go either darker
or lighter on top of it. That way I can tell and
the viewer can tell the difference between
one and another.
6. Horizontal: Texture Punch: It's time to address these
pretty pink flowers. We'll call them
something like roses. They could be ranunculus
flowers, I don't know. But I'm using a very heavy
application of gouache. I'm reaching for a scarlet, crimson red to start from the center creating
more of a radial. It's almost like these
lines are wanting to meet, but they're more like
swirling around each other. With this top flower, I'm trying to
create the illusion of it being a bit sideways, just like our sunflower was, by outlining a few lines
that are just coming straight out from
the pumpkin outward. Those are the petals
that are on the side. You do not need to outline
every single thing. This is part of a style that's
really trendy and has been trending for maybe seven years, almost 10 of these very
simple novice flowers, you see them a lot
in vintage art and it's totally having
a revival right now. I'm ready to use a green that rivals the
center of my pumpkin. If I were to look at what the values are on this
painting right now, that center would stick
out quite a bit as with the centers
of the sunflowers. I want to create a
little more contrast. As we progress
with the painting, that's all we're
going to be doing. We're going to be
pushing it a little more and pushing it a little more. With this dark emerald green, I'm just creating a
variety of leaves. Think of a floral bouquet. You have different
leaves going on. I have one that's suddenly
being squashed by the pumpkin. A lot of them are going to be so peeking out from
beneath the pumpkin, but they are serving a
purpose of making the pumpkin look very much
celebrated and glorious. It's okay pumpkin.
It's okay leaves. We're going to all be
serving a greater purpose. Part of that greater
purpose is also making these florals stick out so much. I don't know about you, but I see a huge difference
between our flowers that were on white paper versus against this really dark green. You'll see me create different addendum to
my watercolor sketch. I first had some leaves
that were peeking out. I might cover those up
with the gouache now. I'm really constantly
looking at the contours, the outside silhouette
shape of our painting, and then creating more and
more interest as I go. We're going to be
doing a lot of leaves. They're the supporting actors, but they're beautiful filler. There's something about green
that brings so much life to any botanical illustration
that you're doing. Of course, this harvest
look is no exception. You can make your leaves
yellow and orange and red and brown as well to keep
in step with the season, I personally wanted to
keep things very green, just so that the orange
would be pretty singular. Towards the end, we'll add in a little
more red here and there, and that will help tie
in the pumpkin so that it's not the only glaringly
orange thing in our painting. Now, I'm not a big fan of green. I've admitted that in
several of my video lessons, but when it comes to green, I am using every single
one that I like. Greens that have a little
bit of blue in them, like the eucalyptus green
or the emerald green. Green that have a little bit of yellow like
this, olive green. You won't often see me
use a very true green, closer to the green
that I'm using, closer to the sunflowers
here on the bottom. I don't use it very often. I just really find
these more interesting, and be curious to hear
what greens you like. Maybe you'll turn me on
to a green that I've just not been able
to really jump onto. But what I have done is created a little bit of a tension, a challenge by having
a variety of greens. We've got a warm feeling and a cool feeling fighting
against each other, and sometimes that fighting
looks really interesting, and sometimes it can
be very jarring. It's a tight rope to walk since you know what this painting is going
to look like finished, I think you can trust that
this is going to work out. But a trick that I use in using a lot of warm and cool together is to make sure that
they are intermingling. Right now I have the
interesting, difficult, tricky task of trying to make this very chunky
gouache seamlessly hide behind a cool
application of gouache that was much more watery. I'm creating an overlap
of the warm green, that would be the green, that air is more yellow,
than olive green. A cool green, which
would be a green that has quite a bit of
blue and is a bit muted, which is that eucalyptus
sprig of leaves. It's like playing a little
game of connect the dots. As you're trying to visually imagine what a leaf
underneath another one, what a shape underneath
another one would look like. It's time to incorporate some
pink, it's pink time again. I really like those flowers. I feel that they are
lonely at this moment so I want to incorporate
a little more pink, but I do want them to stand out. So what I do is I mix the
paints that I have existing, got a little bit of yellow and a little bit of
pink to work together, and I'm going to use
it on the pumpkin itself to create a new orange. What's great about
this step is that you can cover up
any bleeds or parts where the watercolor
was not doing exactly what you had wanted
by the time it dried, and it also creates a little bit of this dry brush texture. This dry brush
texture is something you can only achieve with, something that's
an opaque medium, like gouache or acrylic,
sometimes with oil. Oil is better known for blending and creating a little
bit of interest by distributing the
same color throughout, and like I said, I'm going
to bring back that orange. It helps unify the
entire piece while not competing with the bright
orange that we have as our statement subject. Let's add in a few more details. This dark green is going
to work beautifully as some details on some of
the light green leaves. I let my brush go thicker
and thinner as it wants. Again, in nature, we don't have a lot of
perfectly manicured lines. There is a perfect symmetry. There are things that are just scientifically
calculated just amazing. But when it comes to some of
these more organic shapes, it's part of the fun, that we can really
just let our brush go thicker and thinner
according to whatever is on it. Be pleasantly surprised
by what comes out. Now, another fun part of using gouache is being able
to put light on dark. This is something that we're not able to do with watercolor, at least in its purest form. We always go from
light to dark with watercolor and with some
of these opaque mediums, you can go from light to
dark or dark to light and back-and-forth. Now, sometimes that
can be confusing. I find it to be
confusing personally, I like the order of watercolor. But when it comes to
these little details, I'm just adding
visual interests and tying colors together
throughout the piece. It's definitely a plus. It's also in step with this
vintage way of doing florals. I think it's time to give our second sunflower a
little more dimension. Let's add another
row of petals to that sunflower using a
slightly darker yellow. Now this one is a lot simpler. It's facing us. I think something
is propping it up so that it's looking
straight at us. As a sunflower usually
does when it's standing and tall and proud. This second application,
we're going to add in maybe a
little more variety, not only of petals
but of colors. This one on the bottom, it has such a variety
going already. Mixing these colors, I'm getting all surprises coming
out and I'm digging it. The darker value of my
yellow instead of it being orange or it being dark brown. I'm using a little bit of pink and a little bit of orange. It's this peachy feel. I very much like a warm pink, which would be like
a coral or a peach. I think it has this warm
welcoming tone to it. As I said before, we're going to bring in
a few elements of red just to give for
one, some contrast. Also, to tie in
some of those lines from the flowers, the roses. I don't necessarily
always like to have the same color berry. I think that's
something that's really interesting about how
things are in nature is that there is no single
one color that something is depending on different points
in its growth or maturity or it's just the way
the light is hitting it or how much water
essentially it's getting, you get a variety of colors. I am taking advantage of that and using it as a design motif. My berries have a
nice little opening. Just a cusp, like
a blueberry would, crown of a slightly
different color, just to give it
also some direction as to where it's coming from. What's especially fun
about working in that way is that you can also
use another color. Is another way of
introducing another color and tying them altogether. Using a dark green and
creating the stem. For these pretty buds, these pretty berries,
whatever they may be, some of the stem goes
out into nothing. I think it's always
fun, interesting, even important to
have some stems that don't necessarily
go or end at a berry. I think that it's also
shows that we're looking at something taking inspiration from how it is in real life. When we top each one, crown each one with a berry, it looks a bit like just
a little too contrived, I guess. I'd say. With that said, I am adding in another berry on
top of the pumpkin, just so it's not all of them
that are of the pumpkin. Do you see how that would feel a little too contrived
like to deliberate and planned and
not very organic? I wanted a few to come
out on top as well. It's time for some dark darks. I'm using a very dark brown to bring in a little bit some of these sunflower seeds
to bring them out. That texture is so fine. I wasn't planning this, but I will be using
this dark quite a bit. It's a little bit of violet
mixed in with a little brown. I'm going to create
some tiny little read some leaves that are connected
by a thin little stem. Nice little collection here, because the contrast was
just so delicious to me that I thought we needed
to have a lot more of it. I'll create a few more of these little leaves through out. Deciding on where they end, where they might come out of, where there needs to
be more contrast. So I am adding in
one right here. It's going to stick out quite
a bit against that white. It looks pretty
beautiful though. I want to show off how
pretty this color is, like a midnight color, which might add a little
bit of a Halloween feel to our pumpkin without
needing to necessarily be so. But it just really
adds to the style, the vibe that we're going with. If you look around at the
painting at this point, you see there's a dark
in the upper right and dark in the upper left, and a dark in the bottom left. A few more touches to add a little more
definition in contrast, to make sure that in my composition is not
looking too blocky. Adding in a few sprigs here close to where there
already is a dark. Give it a little more of
an off-center support, and also guide the eye towards
my pretty pink flowers. I'm constantly thinking
about the composition. But at the end here, when we're using our darks, that is our most powerful
weapon to finish our piece, to make it look unified, and also make sure that eye
is guided around properly.
7. Vertical: Long Washes: I'm using a flat filbert brush. A filbert brush has an edge
that resembles a filbert nut. It has these rounded
corners to it and they're still going
to serve us really well in using the same
technique for our pumpkin. Now I'm using a
very wet brush with a little bit of
yellow-orange on it really, I just have some color on there so that you can see
what I'm doing, but you can just use water. Each one of these brushstrokes is going to be one
single rib section. Then as I load up my brush
with the hydrous paint, in the red-orange, and drop it just on the
bottom half you can see it's seeping upwards and
how vibrant that is. This is the wet-on-wet
technique in all its glory. But I want to show you what it's to add one color on the top half and to add another color
on the bottom half and to let them
meet in the middle. I'm using orange from the
Dr. Ph. Martin's line. Now I'm going to bring in some burnt orange for
the middle sections. These little middle
lines are actually shadows where each one
of these sections of the ribs of the pumpkin are meeting and creating
a bit of a channel, a little crease, so they're
going to be darker. I drop in, just a
little more color in some of these reddish areas
which are getting very red, a little redder than
I expected it to be and curving the bottom half, making sure any edges that
might have gotten lost or were created in the moment
needs to be cleaned up. Now I'm drying off my brush
because this is very wet and I want to show you
how to lift paint. If you feel like you have
applied too much color to your painting
and it's still wet, dry off your brush, wash it off and dry it off so that
you have a clean brush that will soak up some water
and paint along with it. Blend around any areas
that you see fit. You can also use a
napkin or paper towel if you need to
soak up some areas but the trick now is to let it dry until the next phase. This stage is very satisfying because we get to add definition to a very blobby watercolor at this point,
that's just orange. The most satisfying part, I think, to begin with, to make sure that everyone
knows that this is a pumpkin, is by painting the stem. The stem, I'm painting
with a bluish green. It's a muted green, I can always add
more color later. This is actually a little
bit of gouache already, simply because I really
like this muted color. The pumpkin color itself is so very vibrant right now that adding a touch of a muted
green just felt very right. Now is the fun part of adding some definition to the
sides of our pumpkin. I did have a little loops of a bit of orange
coming off there, but it's okay, we're going
to cover it with flowers. For now, I want to focus on what the shape of this
pumpkin looks like. I'm using a very pointy,
round sable brush. It's a Size 12 of a
watercolor brush. The brand is Master's Touch. I tend to use pretty
inexpensive brushes, but I always look
for that pointy and combined with a full body. With that pointy,
I'm able to define what these little
sections are like. Smooth over some of the blades that might've been
a little too wild for what I wanted to portray. There's always this tension
between having a very fluid, vibrant watercolor that
just goes everywhere to then relaying it in to making it look more
defined and make sense. Now I don't like how
some of the ends of each one of these lines
are very well-defined. They should be a little fuzzy, at least on one side. I'm using a dry brush that really doesn't have
very much paint on it, making sure that the outside of the brush is on the
outside of that line. It's getting the smudgy
side of my brush. It's not getting
the pointy side. Whenever I want to
smudge something, I really wanted to get
the body of the brush, so I'll angle my hand
the way that I need to. I'm covering up a little
bit of this pinky color with a light wash of orange. I didn't even grab any paint. I'm just really extending
the same orange that I used within the
creases to blend it outward. Now it's time for
some definition while those parts dry. I'm going to be using a blue as I did with our first
pumpkin to add some lines and definition to the
stem of the pumpkin. It's just a nice little nod to the bit of blue
that's in the green. As always, I'd like
to introduce a color that might be a
little unexpected, but still, look harmonious. I'm getting really granular
with some of these lines on the stem here of the pumpkin but as they gather
where it curves around, it really just doesn't make
sense to portray every line. I went ahead and smudge that. Like I was doing with the
pumpkin before in the body, you can use that same
paint if you feel like you've used too much
paint in one area, go ahead and dip
your brush into it just as you would your pallet because you want to
remove some paint and you need some
paint and other areas, it works both ways. Now that I look at my pumpkin, I'm thinking that it needs to be a little more rounded out. I'm going to use a little bit of a yellow-orange to do that. I have a Size 4
brush in my hand. It's round and the brand
is Master's Touch. It's nice and small
because, at this stage, we are gaining a
little more control and wanting to hone
in on some details. It's what I have in hand, that's what we'll be using. I need to round this little
guy out a little bit more too. Now I don't want it to
extend below the pumpkin because this section
is really playing as another one of these
little ribs sections. I am going to keep it
curved on the bottom. I don't want it to look like
an orange all of a sudden but just keep in step
with that idea of, it's another little
column in our pumpkin. I'm using the same colors, blending the red-orange with
a bit of the yellow-orange. It'll be handy for covering up this little paint
streak I have here.
8. Vertical: Painterly Plants: Now we're getting to
the fun part, at least. I think this is
the most fun part. The flowers, I'm adding some
white to my warm palette, the palette with the
orange and the pink. I'm going to mix
those two together, creating two little drops. Now, I'm going to mix them
with different colors. That's why I created
two different drops. One will edge over to the
pink and mix with that, and one of the whites
will edge over to the yellow ocher,
and mix with that. The first flower I'm
going to tackle here. We're going to tackle together, because you're following, is something like a dahlia, and it's going to be easier
for us in this style, more simplistic and using the shape of our brush
to make each petal. I'm mixing the yellow
ocher with the white, so we start out each row
with a different color, and that'll also help the eye understand what is going on. Now, when I think of
this flower form. It's like a bowl shape, so it has a lot
of little noodles sticking out of the same base. If you think of it that way, it might be a little
less intimidating. So I'm creating the top row. By far the hardest
would be the sides where you are
basically extending one longer pedal to overlap the ones in more of a
succession rather than a cross. Going a little darker
with the yellow ocher, with a tinty bit
of the red mixed, maybe a little wide at times. I'm creating each petal
with a few brushstrokes only because the paint
is so thick that I'm needing to work it
just a little bit more. But really, you could do
this with one brushstroke if your paint is flexible
enough to handle it, with each row and adding
a little more red, so I'm going deeper because I'm going inward into the
center of the flower, so it's going to get
a little darker. But now I'm going
lighter because these petals are sitting
on top of the center. They are the front of the bowl if I were to look
at it that way, whereas we started from
the back of the bowl that is further from us. I might create some that
are a little askew. It's looking a
little too rhythmic, so I might need to open my
flower a little bit more or have a few petals that
don't go perfectly around. We don't want
absolute perfection because I feel like that
looks just too made up. Let's try this again
with another flower. Same kind, just on
a different side, making the first row, this one will be smaller. It's also angled upward. Same side angle, so we're still going
darker towards the middle, same method as before, where I'm getting more
reddish with my brushstrokes. I'm really just trying to create a different row here,
different feel. Even if that means adding
some white to the red, and that's not necessarily
the way we went about it the first time. That's okay. They're still in the family,
they're still showing that they are playing together, that they're the same
flower for sure. As I did with the last one, finessing any shapes
that might help make this final shape
of the flower look more believable with
more realistic. So that is the center. Then sometimes you have a few
petals that splay downward, outward, and that
looks pretty good. I feel like those are the
details that you notice when you're looking at nature, and you want to show that
when you're painting. Now, as a disclaimer, I am going to cover up some
of those petals in the back, they're looking too tall, so I'm going to cover
those up later. It just didn't turn
out to be exactly the shape that I was going for. I wanted this rounder shape, not that tall shape, so I think I'll just paint over those parts with our background. Again, the beauty, the magic of working
with a mixed medium. Squirting out some
emerald green, something a little darker, and while I have it on my mind and I know exactly what
shape I want to create, I'm going to take some of that with my brush being
very careful using the edge of the very
end of my brush to create whatever
shape I want to be, I can mask the flower petals to be exactly the
way I want it to be. I'm going to need a paper
towel here underneath to paint into because I'm definitely
going to get this on my desk wouldn't
be the first time. But if it's avoidable, that way I can paint
a little more freely. So much like we
do in watercolor. A lot of times, we create the shape
with the gouache and then fill it in. Gouache is a very flat
way of overlaying color. It's a very chalky type paint. The difference between gouache
and acrylic is just that, acrylic is more of a plasticky
substance once it's dry. The gouache is more of
a chalky substance, and I like that
shape a lot better. Ready to move on, maybe add
another leaf right here, so it creates an arch as the eye is guided
around the painting. Now I'm washing my brush to
use a much lighter green. I want this eucalyptus leaf to go on top of a darker color. Even though with gouache, we can work in a layered way, we can do light on dark. If it's better to avoid it, it's better to avoid it. To paint light to dark. I think in general, it's
for one easier to make judgments on what we
need next in our piece. It's also just
technically easier so that there isn't a
possibility of the paint that's underneath
it being lifted up and it messing with
what you expected to happen in your painting. Really liking this olive green, it's like the friend
between the yellow ocher and these cool greens elsewhere. As my brush already has, some of that yellow ocher adding in a little bit of
the eucalyptus gives us slightly different color to add in more leaves
and more foliage. I'm going to keep adding
leaves and foliage throughout. Just very simple. Half circle pointed at
the end type leaves. As we continue with
this vertical pumpkin.
9. Vertical: Eucalyptus: Eucalyptus leaves are
really trending and they just add a touch of elegance
to any floral arrangement, as far as I can tell. They're also very easy to paint. What we're going to do
is just create ovals that then are connected
by a very thin stem. Be aware that some
of your ovals should extend downward or
be angled sideways, so you actually end up looking
at a very elongated oval. These flowers, these leaves
would feel more natural than if they were all looking
flat, straight on, and using, of course, the eucalyptus
color from the gouache paints that we've already
squirted here. Now where I've added one
eucalyptus on one side and I'm going to
want to add more and just play around with
how would this stem extend? Knowing that they're
all going to be connected to the stem, it's easiest to create the stem and then create the leaves
that are stemming from it, so that you have a
roadmap to go buy. If you go off the
page, commit to it, as I have it looks really
blocky and novice to have the very end of a leaf or of any element come right up against the edge of your paper. It's nice to just
make it be something that's an image that's somewhat cropped into the painting and just extends beyond the edges of the paper
and that's that. I'm alternating between
eucalyptus green and a bit of the olive green, I'm a big believer in
that our proponent of how nothing in nature
is just one flat color, and so adding a little
variety is always fun. It also adds to the illusion that maybe some of
these are facing downward and some are
facing up, some are angled. Even though I'm not rendering
shape really intricately, having those little
nods to reality, keep the painting from feeling
too fake or cartoonish when I'm going for more
of an illustrative style.
10. Vertical: Background Bleeds: The most daring
thing you do today, we're going to add a
background to this painting. I'm not going to
use just one color, we're going to use
lots of colors. It's going to have this
funky autumn dark feel to it that we have to believe
it's going to pay off or else we're going
to be scared to do it. I've prepared a lot
of different paints. Most of them are the paints
that we've used so far. I'm going to start safe with
a blue that we have used. Actually, I've used
this blue a lot. It's a slate blue by
Dr. Ph. Martin's, and I'm using the
wet-on-wet method. This is going to be
really critical. I'm first painting with water and then dropping in the paint. The reason why this is
critical is because it keeps the entire area flowing so it doesn't matter what
color I drop in next. If I were to use wet on dry, meaning that my
brush is loaded with paint onto a dry sheet of paper, this could end up looking like a very bizarre puzzle or mosaic, perhaps even stained glass because you would see
the edges of where each color started
and where it stopped. We don't want that. We want them to blend
together in a way where you can't quite
tell it's very nebulous where one color
starts in one ends. Much so that it's like
a very starry night or something that you
could cross your eyes and all the colors will
blend together into one. Now, something that's key in doing this is that
I'm watching my values. I'm going very dark when I'm
getting closer to the pumpkin or closer to the landline,
the horizon line. If I were to look
at this painting, the pumpkin is
sitting on something. Then let's say it's
on a pumpkin patch. Right now, we're extending
into the sky upwards. I want it to be darker
in certain areas, closer to the ground, maybe closer to the edges. I want to be intentional about how dark I go with each one. At the moment, I'm using
such a variety of colors I'm going to tell you right
now which ones they are. I'm using slate blue, mahogany, I'm using coffee
brown, and violet. Sometimes mahogany just isn't
violating enough for me, I want to add even more. Even combining these is creating a whole new
gamut of colors. When I combine that
blue with the brown, it's like combining
blue with yellow and it gets a little greenish. When I'm combining that
greenish with the brown, it's creating something
that's a very dark color because green and reddish are
going to become very muddy. What this is is a muddy mess that's going to
look so beautiful because it's watercolor for one and we're using the proper
method being wet-on-wet so that we don't have
these little ridges of where the water dried and
we end up with a line. Now it's going to be tricky and this is where the bravery, the boldness comes in. Is getting close to the edges of what
we've already painted. We want to keep the
tip of our brush always at the edge
of our painting of what we've already painted. Keeping the pointiest as part of our brush in those
parts will give us more control in being able to avoid what's
already been painted, smudging or blurring, letting
things bleed into each other because all we want
to bleed right now are the colors that we're
painting at the moment. Nothing that we've already painted should be
blending in with our work right now
with our spooky sky. I don't think it's spooky,
I think it's more dramatic, maybe even romantic. I don't know, depends
how you colored. Little by little as it is really a puzzle creating
a little bit of a puddle in each little crevice of white that's going to
be this background color, then dropping in a variety
of colors, alternating, working all the colors together, not blending too
much so that they do have a chance to bleed
into each other, making sure it's wet. You're going to get the
hang of that is making sure that all those little corners, now that they are pretty dry, are nice and crisp. If you feel yourself extending and afraid that you've lost some of that bleeding
action just re-wet the area and it'll bleed again. Get comfortable with
some areas now being exactly how you
expected them to be. Give yourself some time and you'll be surprised
when you come back to it. You're going to like it actually a lot more than you thought. Using the same wet-on-wet
method as we did with this guy so that our pumpkin is bookended between two watercolory
explorations here of colors blending
together and creating a mood. May or may not feel
finished to you, but it's almost done. Can you believe it? We're just a few minutes
away from being done. I am now going to
work with marker. Now, the markers that I'm
using are paint markers. They happily work on top
of existing paintings. Sometimes they might
even blend in, mixing the color
with the marker. It's not anything intrusive, it's not terrible, it's paint delivered
through a marker. Now, I'm going to go to
one of my favorites, bubblegum pink, and do maybe something
a little unexpected, creating the lines on my
leaves with the pink marker. There's something about
having a warm color on top of a green leaf
that's so dynamic. You'll see this in palm fronds
with orange veins or kale, that dark green
with the purple rib right through the middle of it. It's really beautiful. I'm taking a hint from that and I'm also having
fun at this point. I'm playing with
different ideas because we have such a beautiful
base to work on top of that, we can really just have
fun and get creative. You'll notice that the veins that I put on my
leaves aren't uniform. That's just part of
how I like to work. You may or may not choose
to work in that way. I feel no harvest
cornucopia arrangement is complete without
a few berries. This very thick mint green
marker is going to be so useful because it works
perfectly to that width. Sometimes only to go over
some of these markers with a second coat of the same color if the color wasn't
uniform enough. Then using the same pink, creating the little berries, being careful to
also overlap them, so it's not looking like
a bunch of berries, just decided to fan
out and wave at us. You want to break
it up a little bit and have some overlap going on and it does look that
way, doesn't it? Has some overlap
going on so that it feels just a
little more natural. I'm having a little
trouble getting this light green to not
scratch off some of the paint on the
dark green leaf. But it's such a good
little showcase because of the
contrast for some more of these little sprigs and let's break it up
just a little bit. You know what, my marker got dirty with a little
bit of that green, but we'll just blend it in. Creating a little more depth in our color range. I'm okay with that. Bringing in some of the blue that was in the stem
of the pumpkin, a little bit of the sky. I'm bringing it into the leaves. These are more stylistic because there weren't leaves
there in the first place. But I'm creating them with
more of a design motif where they are outlined
and just ghosted in. I love to work in a way where I begin with
nature as a cue, and then I incorporate some other design
elements and motifs, some things that I
think are pretty or I find captivating. I think that's what
creativity is we borrow from what we've seen. We unknowingly are
constantly influenced by the things that we see
and as we get better, as we grow in our creative walk, we start to notice these things
come out in our artwork. Can be able to diagnose
where that is coming from. If you don't have markers, you can also use more gouache
in a very calculated way. The difference with
using the markers is that it has a little
more of a graphic look. It's a little more of amusing design elements
a graphic look being that it's very flat, the line is very uniform, and I'm using
different techniques like these dots and lines, very simple techniques
to add more interest and make it its own thing. I think this eucalyptus
leaf would be better served overlapping the pumpkin. Working in mixed media
means I can do that. I can bring that in, bring it forward even
when it was behind, and work on top. I liked that pink so much. I'm going to use it some
more in the flowers, outline some of these petals so that they look a
little better defined, even creating even more
rows of the petals than I intended to at first. These are just little
tricks and just fun that we get to have as
artists of creating as we go. Adding in these little
design elements, these little details at the end really make a huge difference. The pink isn't
pushing quite enough, so I'm going to go
a little darker with straight-up bread. You know what, just at
the ends, I like that, just at the tips of the petals.
11. Final Thoughts: I'm itching to see
your pumpkin florals, whether it'd be
vertical, horizontal. If you use mixed media, maybe you stuck to watercolor. Maybe you just did the pumpkin. Maybe you did the florals. I don't know. I am dying to see, and I can't wait to see them
here in the project gallery. I will check on them myself, and you'll see a little
feedback from me. If you want any
specific feedback, please do tell me, indicate what you'd like
to hear back from me. Maybe you are putting
your work out there for the first time and
really what you need is some encouragement
for someone to see that it is a big deal to
put your art out there. I get that. Or maybe
you had some questions regarding just
some of the videos are some of the
parts of the lesson or maybe ways that you
want to develop it later. As you take your second, third, 10th take on pumpkins. I'm here for it, so just ask. You can see my other
classes right here on Skillshare I have several. As you'll see that I love
to talk about watercolor, illustration and a little bit
of design as we just learn how to really live this
creative life well. Please sign up for my emails because you'll want
to get some free tips on painting in watercolor and just general creativity
on a weekly basis and those are tip Tuesdays
you can subscribe, right on my website at
watercolordevo.com. Or if you're brave enough to
spell my entire name dot com. Florals are timeless. Pumpkins aren't going away. They feel like home. They feel cozy and they shine that beautiful color
of orange that we love to enjoy this
time of the year. How did you spin it? I would love to see your cake. I hope you enjoyed the class
and do let everybody know, everyone you know,
how great it is. Until the next one.
Amarilys Henderson, Watercolor Illustrator, Design Thinker
