Pumpkin Florals in Mixed Media: Illustrate with Watercolor, Gouache and More | Amarilys Henderson | Skillshare
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Pumpkin Florals in Mixed Media: Illustrate with Watercolor, Gouache and More

teacher avatar Amarilys Henderson, Watercolor Illustrator, Design Thinker

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Pumpkin Florals

      1:18

    • 2.

      Class Overview

      8:35

    • 3.

      Keeping It Interesting

      10:02

    • 4.

      Horizontal: Plump Washes

      9:49

    • 5.

      Horizontal: Giving Form

      10:25

    • 6.

      Horizontal: Texture Punch

      16:05

    • 7.

      Vertical: Long Washes

      7:22

    • 8.

      Vertical: Painterly Plants

      8:18

    • 9.

      Vertical: Eucalyptus

      2:28

    • 10.

      Vertical: Background Bleeds

      11:20

    • 11.

      Final Thoughts

      2:11

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About This Class

Create timeless art for surface design using the icon of the season: pumpkins! Watercolor, gouache, paint markers and other mixed media combine to make classic traditions both beautiful and unique. This class not only shows you the techniques to painting, but does so through two final project options and introduces greater concepts. 

This class covers a lot of ground and you'll enjoy the full ride.

Meet Your Teacher

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Amarilys Henderson

Watercolor Illustrator, Design Thinker

Top Teacher

Hello! I'm Amarilys. I process on paper and I problem-solve with keystrokes.

As a commercial illustrator, I've had the pleasure of bringing the dynamic vibrance of colorful watercolor strokes to everyday products. My work is licensed for greeting and Christmas cards, art prints, drawing books, and home decor items. My design background influences much of my recent work, revolving around typography and florals.

While my professional work in illustration is driven by trend, my personal work springs from my faith. Follow along on Instagram

 

Learn a variety of fun and on-trend techniques to improve your work!

See full profile

Level: Intermediate

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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.