Watercolor: Let's Paint a Pumpkin

1. Watercolor: Let's Paint A Pumpkin Introduction: Hi. My name is Mary Evelyn. And thank you for taking the time to learn alongside me during this class. I do often find myself at a coffee shop. However, mostly I'm sitting at home in my office, at my desk. During my classes, I hope to inspire and encourage those wanting to get started on watercolor. Together, we will go through each step to create your very own unique watercolor painting. This class, we will be learning how to paint this pumpkin. I'm super excited about this. We're gonna go through each step with how to create these beautiful washes. Salt techniques. Where do you wet on wet went on dry. I've got a list of steps that we're gonna be doing. I'll walk you through each one. You will have a list of materials as well. There's a pdf of the materials included in this class. I have not always used water color to create art. I started with oils and acrylics as well as graphite. Ah, wire colors intimidated me. Ah, lot. My dad was a watercolor artist. Naturally, you think I would be one? Unfortunately, wasn't until his passing when I got a hold of his watercolor supplies that I started to work on. How watercolors would work for me. I do want to share that with you during this class. And maybe I can just give you a little peek into some of the joy that I have experienced through water color. If you are like me. I did try watercolor in high school and was very, ah, disappointed in the results. Many of you may get discouraged, just like I did. Well, I'm basically here to tell you you've got this together. I want to walk you through to create a painting that you're going to be proud of. Watercolors don't have to be daunting or disparaging. Just remember you've got this. All right, let's get started. 2. Supplies Used: I would like to now go over some of the supplies were going to be using in today's class. I'm gonna review some of these brushes first. These were just a few of my favorite. I've got a number two round. This is just a I believe it's an artist. Loft brush. We're going to have a list of materials in the pdf on the downloadable. Pdf. I have got a divinci it zero. I do really love this pressure. Holds a lot of pigment and water as well in the bushels. It's great for large areas of washing color. I have got a number one. It's a Princeton brush. It's got a nice long tip on. It carries a lot of pigment without over doing it. Um, with detail. All right. You are also going to need a pin for transferring. We're going to transfer our image onto our watercolor paper. You will need a foam board. This is what I'm going to use to tape our watercolor paper down to transfer the image. I have got my palate. I've already gone ahead and put my paints in the palette. Set this down here. We also have a list of the colors. Now these air just color suggestions, not necessarily exact brands and colors that you need to achieve this pumpkin painting. I wanted to go over quickly with you. The paints we're going to be using in today's how to paint a pumpkin class. The 1st 1 I'm gonna show you is an iridescent gold. It's by Daniel Smith. Its got some beautiful properties to it. This one is called Lunar Violet. It is also Daniel Smith. It has a granule ation properties to it, meaning it separates and create some really nice textures. This one we're gonna be using for the leaf. It's called Serpentine. Genuine is also a Daniel Smith. I do enjoy that brand. So, So much. All right. My favorite watercolors, however, are the core watercolors easier by golden paints. This is the Conakry tone gold deep or going to using that for our pumpkin as well as the quinacrine own gold. This one has a little more orangey tone than that one that was a little more read. Our next one we're gonna use nickel azo yellow this one creates it just kind of pushes paint out of the way and we're gonna have some nice highlights with that color as well as we're going to use birth C and a natural, a yellow okra and a van dyke brown for our stem. All right. You're also going to need some paper towels which are great for absorbing going back and forth with the brush on. You know, if you have too much water in your brush or not, you can print the image of the pumpkin just on some plane. Printer paper would be great. We're gonna use this to transfer the image on to our watercolor paper. And to do that, we are going to need if he's of graphite paper. Explain. Graphite papers say there's a shiny side that's aside that's gonna go down underneath our piece of printer paper and that will be shown momentarily paper I'm gonna be using today. But this is 100 and £40 cold press watercolor paper holds up beautifully. We are gonna tape it down. I've gone ahead and marked my lines for the masking tape. Which brings me to masking tape. Another important element. I dio actually just prefer the dollar General brand. You can also find it at pretty much any store, just plain masking tape. Okay, There is also a printable sheet that you can print off. This is more of a guideline. I've actually gone ahead and printed this one on a piece of watercolor paper organized just warm up with a wet on wet water bloom, wet on dry and then to salt techniques, as well as warming up with some leaf painting exercises. I've got two types of salt, a little bit of a more coarse salt sea salt and then just a plain table salt. It's gonna both create two different types of textures. Okay, One final item that I forgot to mention is going to be your water. You just need something to contain water, and I tend to use a larger container. It keeps water from getting muddy quite as fast. You may feel free to use to smaller cups, one for dirty water, one for clean water. That would be also a great recommendation. And for this, this is our project for today. We're going to create some of these really large washes. As you can see, we've got two types of textures here again that's created by the two types of salts. Of course, I'll explain that, and then just taping off the piece, let's get started 3. Basic Techniques: paper that I printed out again feel free. This is more of just a guideline than anything else to practice our technique. So I'm gonna just walk you through each one that'll get us warmed up and then we'll continue on to the bumpkin. All right. Our first technique we're going to practice is going to be our wet on wet. Am going to use that divinci brush because I love the way it covers a lot of area. You can pick any of the colors that you've set out for this pumpkin. There is no again no particular colors that you have to use. If you want to do a green pumpkin, feel free to do green, pumpkin or purple. The same principles are going to apply as faras values go. All right. I'm just getting a section of this wet. You don't want to get overly saturated, you know there's a nice shine now there are a few little points where the water can run. It's actually a little point right there, but that's OK. It's absorbing into the paper quite nicely, so I'm gonna let it just rest there for just a second. Many go ahead mix up a little bit of this burnt sienna here. Actually, I'm gonna move this to the side here so we can have a little bit better. Look. All right, so now that I've got this damp, it's not overly saturated. Just enough to allow our paints to spread. Okay, so I've got my brush loaded. I'm just gonna let it do its thing. This is a wet on wet technique. My brush is saturated with water as well as paint. I'm gonna go over a snag, Another color. I'm gonna do the quinacrine tone gold deep. Just gonna load that up swing that appear Siocon. See what I'm doing when you use this little section here to just kind of see where I'm at pigment wise? Because the more you go in and grab, the darker that pigments gonna be. I'm just gonna go along here and just run my brush back and forth. And then once I let up, more pigment is going to come off of that brush and you kind of start to get a feel for the push and pull of the two colors. I'm gonna go in here and grab this van dyke brown. This hopefully should be a little bit darker. Okay, If you even want it a little bit darker, feel free to snag some of this lunar violet again. You're gonna want to just let it run some water across its You get that darker color, I'm gonna go over here and just add a little bit of the deep brown tone just to kind of see what it's gonna do. Each paint is gonna react a bit differently, and that's OK. There's nothing wrong with that. So that's just a basic warm up over here is a little bit more saturated than this side that's going to create that. That texture is going to change as the paper starts to dry. It's it's a little unpredictable. I'm going to use my number two round brush and I'm going to get some pigments from here and just put it straight onto this dry paper just to kind of get a sense of how that's gonna work. Now, you can certainly go in once you have that there. You could go in and Grady eight colors. But you just want to get a feel for the brush. If I pushed out a little harder to get bigger. If I start, then go down and then back up and you can tell where the pigment how long it takes to leave your brush. You're just great little warm up techniques to get you more comfortable with the tools that you're using. Okay. All right. Do you want to go over this water bloom with you real quick? Also going to use that divinci brush Gonna load my brush with some water brush, brush, brush. Okay. I'm gonna come over here and get a little bit of a darker tone. Get some of that van dyke brown. I'm actually gonna get a little bit of that lunar violet just to get the point across of how water Bloom works again. This is why I love watercolor creates really neat textures. Just gonna pull a little bit of that water up off the edge. It's kind of pooling. It's not quite what I wanted to do. So basically a water bloom and I'm gonna take my long brush here, load it with some water I'm gonna do is touch. I'm gonna put a drop, and what it's gonna do is just just push that warrant, push the pigments out of the way. So after a time and sometimes depending on how damp the paper as you could do that too, a section that you've already worked on. And like I said, this particular paint has a nice granule ation. So it settles into this texture of the paper, which is just very cool. So I'm going to do one more little little place here and grab some deeper orange. So usually you would wait just a little bit for that to kind of settle and then go in and see how the pain moves. So basically, we're Siri. We've got that nice and damp, and it did push the paint out of the way just a little bit. This is a little bit better example of just dotting that water onto their and it should push those pigments Adelaide again, this comes with practice. So the more paintings you get under your belt, the better you're gonna get at handling how to create those highlights using a water bloom technique 4. A Pinch of Salt: All right, I'm gonna put down some water on beach each side of this. I'm gonna put a color down, and then I'm gonna put the salt on and let it dry, and you're going to see two different reactions from each side. I am gonna go ahead and just use that to Vinci brush to put some color down. I'm putting down water first. Just enough to make couple patches. Now, this side you can see the water or the water pools down there at the bottom versus over here. I've got just a nice sheen. Okay? I can actually go in and pull up a little bit of that water after patting off my brush onto my paper towel. I can pick some of that water up so they don't have a little pool of water. I'm going to use the screen, says the serpentine genuine what we're gonna be using on the leaf. I'm gonna go ahead and get some water in there. Let it let it sit and marinate. It's what I do to my paints. Let the marinate. All right. I'm just gonna spread some green around willy nilly because that's a thing, right? Two sides of green here again. I really don't want there to be enough water to pool anywhere or run. Kind of like here. I've got a section, but I'm just kind of setting it on there and filling in those areas. Okay? And again, you can take your paper towel, dry your brush off, coming here and pull some of the water up off of the patches that I'm making. All right, I'm going to put the table salt on one side and the sea salt on the other side, and we're going to watch what happens to the reaction of, um, okay, the salt, the darker the paint is the better results you're going to see with the salt picking up those pigments. This was a little under underdone, and once that is completely dry. Then you can move those pieces of salt out of the way. And as you can see, we have some really nice texture happening here as well as over here. And I'm just gonna push us. Not all of those air dry because they held the moisture. So you just want to be really careful when you go to move your salt that it is completely dry 5. Practicing Leaves: I think I'm gonna dive into the leaves. Were just gonna briefly go over that. We're going to a little more depth as we tackle the bigger painting. What I'm going to do is just wet this entire shape with clear water. Don't mind a little bit of this bleeding. Like I said, I printed this on a piece of watercolor paper. I just cut it to the size that would fit in my printer in half by 11 and ran it through, and it is gonna bleed just a little bit. All right? That was just to fill in the shape using the DaVinci. I'm gonna take my long brush. And this is since I put water in here. We've got We've got this really nice pigment going on going here, water it down a bit just to get a feel for how that green is gonna come out. I'm gonna do is I'm gonna follow along the edges here. Just gonna follow follow, follow A. So you can see how nicely that brush holds that color and where it's a little bit more damp . It is gonna spread out more. Go. And I want my darkest point to be kind of this fold right here, basically just following the edges. And again, this is just a warm up, just kind of getting the gist of it down the color tone. You're always great to do before you tackle a large painting. I'm going down here and I'm snagging some of this nickel azo yellow Or as, um, he's so And when my Jews is gonna touch a little bit here and there, that is going to spread. I'm even going to go ahead and grab some of this gold. This gold is super pretty part of what I love about it. I just got some really nice iridescent textures. I'm just gonna let it do its thing. Pull this closer CNC now for the center until they do want it a little bit darker. I'm gonna go ahead and grab with this lunar violent wonder that down just a bit. I'm just gonna touch it to the middle. Here I come over here with that leaf edges and then over here. Now with that just sitting there, I'm gonna take my brush, clean it off, put it on the paper talents a little bit. I'm gonna drag that color out just a little bit. Now you feel free to if you feel good about moving on. Don't worry about that second leaf. And this right here is just stem. But feel free to experiment. If you want to do a brown leaf or whatever color you'd like feel free to get creative. This is not a set in stone. You know, Project. Use your creative thinking to make your own and put your own spin on it. Okay. I think this leaves probably a little too damp and actually use the small brush for this. Another reason I love this brush is actually catch myself painting larger sections with it . All right, so I'm gonna come over here, get that screen, and what I'm doing is this is softer now, but I'm just kind of thinning it out. You can use it more pigmented or less pigmented, and I'm just gonna follow the edges on this one again. This is going to give you a feel for how those paints move. How much water you're supposed to be putting on your paper, etcetera. And you could even go in and grab a little bit of the the burnt Sienna. Touch it on there. You can see how. What this paper is right here. I believe we are ready to move on. We'll see in the next segment. 6. Taping and Transferring: now. They didn't take quite too long to take down that paper quickly. Um, just feel free. It's just basically just to keep your paper tight. As the water absorbs into that paper, it's gonna tend to buckle and wave. But once it's completely dry, this should keep it flat. Now, I'm gonna take my transfer paper, shiny side down. This is the side with the graphite. So we're just gonna set Since my pumpkin is actually a little bit wider, I'm just gonna set it here. Typically, I would have a full sheet cover, but there's really no need for that. And take my image again printed on plane, printer paper and that pdf should be in the downloadable files of this class. All right, I'm gonna put it where I want. I'm gonna take a little piece of masking tape, and I'm just gonna keep that paper in place by taping a little piece at the top. All right, take my pen. All I'm gonna do is follow all of the lines around this image. Feel free to get a little creative if you want. This is not a set image. You feel free to kind of do however you would like. And basically, my lines are not gonna be perfect. But I just want to get the general image down Monaco, across these a few more lines, and then I'm gonna lift up my paper and I want to check to see that my line work is being transferred properly. Don't want press too hard. You don't want to press too lightly, but I just wanted to check that. Okay, I've got that part dining big ahead and remove my paper in my team. I've got a nice outline and we're ready to go on this. 7. Painting the Pumpkin Part 1: Okay, let's get started on our pumpkin. I'm going to approach the pumpkin in segments. You don't want water to touch water. I'm gonna take this in segments, meaning I'm going to skip each piece until they're dry. And I'm gonna come back in and fill each section. I don't want the water to touch, because once those touch your paint's gonna believe into the next section, so must start with this top or outer most rim. Just gonna fill that in with some water. I'm gonna take my round to brush, and I'm going to snag some of this quinacrine owned gold. And what I'm gonna dio is I've got quite a bit of pigment right here, and I'm just going to run the brush on the edge of my water here. Just small little strokes and you're going to see where it starts to fade out. We've got a nice and deep tone here. Then I rinse my brush off over here in the water when I come over here and grab some of my yellow okra broker yellow Oakar hooker. I don't know how you pronounce it. I just paint pictures. Okay, so you've got a little bit of a yellow tone with that. Now, if we want to deepen that even more, you want to come over here and get a bit of that burnt Sienna, push it into the edge, just dotting it, not even really dragging the brush. And as you can see, you've got even a deeper ridge. Now I am going to go ahead and run some more of that gold cross there. Um well, let it be now when this does dry just a tiny bit. I am gonna grab some gold and Edgett just to give it a little bit of Schumer. And we are going to add some salt to that. But I'm gonna let it sit for just a minute. Somebody for over here and do the same thing with Phil. Phil, Phil, you don't want too much water, so I'm kind of constantly going over here getting my brush dry my court here and grab some of that and all you need is like small swipe. Now, if you feel like this brush is a little too big for the section used. The longer one. You're more than welcome. Teoh, adjust how you like to paint? I would not be painting in watercolor had I done a style that was not my own. Okay? 8. Painting the Pumpkin Part 2: so see how I'm I'm skipping sections. I'm gonna go ahead and fill this one in here getting water everywhere. Now, even this little tiny bridge right here. If the water hits it, it will start to fade into the section. So I'm just being mindful that just watercolor is about being mindful because you have control. For the most part of where that water color goes, you just have to know how to harness that power. Could start quoting Spider Man, but we won't get into that. Not today. Now, since this is a bigger section, I'm gonna go ahead and stick with this davinci brush. Come grab some of this gold. How does he vibrant color? I love it. Don't worry too much. If your lines are a little bit messy, we're going to go in and refine those at the end. See how it's pushing towards this side. I'm gonna do the same thing on the other side. It's gonna push back, and you're gonna have that nice highlight in the middle of this rounded part of the pumpkin . I'm just gonna take a nice swipe at it and grand my long brush, overhearing it a little that's of burnt Sienna. Just edge it right along there. Because that highlight is is here in the middle. It's not necessarily that deeper side. OK, I was just a little hit of that. And now I'm gonna grab some of that yellow Oakar. Just kind of pull it up and down the middle. Pumpkins have ridges. All right. Can I have to work a bit quickly? If you want to use salt, this part is already drying. I'm gonna go ahead and grab some more gold and fill that back in because I really want to create grab my other brush. I really want to create a nice texture with the salt. So to do that has to be all has to be in the same realm of witness. I guess that's how we want to label it, Gramps more that yellow over here and again. Just kind of following that curve is I'm just creating those stray shins of it. Now with this, I'm gonna grab some gold. They want edge the top here with it. That's almost dry. But I'm gonna go ahead and stick a little gold there in a drop Some table salt onto this first piece, okay? And we see what it does to this back piece. This needs to be slightly drier than it is now when I lift this up here and see if we can show, you can gauge that range of shiny and see where the bottom It's got a little more water than I would care to have on there. So I'm gonna let it sit for just a minute. I'm gonna jump over here to this one. I'm gonna go ahead and grab this other brush. I just kind of moved back and forced to what I feel like I can get into the space is how big the spaces are. All right, that feathered out quite quickly because this I put a bit more water than I usually dio has some of that burnt sienna. Pull it up. You can have really a lot of freedom with this. This is not a You have to do it like this. Um, this is really just the idea of the values, the darks toe lights to create the shape. So I'm picking up some of the water with my brush. We don't really want all of it on their grabbing smart pigment. Because this is under the Leafs. That needs to be a little bit darker. Now, I'm gonna jump back over here for a second and a little bit of gold. Just a few dots. Maybe one here at the bottom Gesture, Kate. A little interest. I'm gonna go ahead and throw some salt outside edge following that shape. My go ahead and put some of the sea salt down the bottom here. Well, what? That's it for a minute. Can't work on that one. That one still pretty wet. I'm gonna go in and grab these two sections here. Move that salt down the way again. Same idea or using that wet on wet technique. Grab some of that gold or should just say orange is It's really the only orange I have on here. Just following This is the stem. So I just skipped over that stem. I goes to the leaf. You have a little bit of burnt sienna just for that deeper tone. This is setting up really nicely. Munna I just a little bit more table salt right in here. You can just kind of gauge those things as you go. I'm already starting to pick up texture over here as it's drying. And I do need the salt out of the way. So I'm just gonna tap it. Just gonna move that salt out of the way. Just be careful. If the salt hits, the paint doesn't roll across your paper. I've done that. It's always fun to discover later. 9. Painting the Pumpkin Part 3: tha. The's two sections are not quite dry, but mostly I'm gonna go ahead and use my long brush. Fill that in here. Some water. It's a little too much water again. I'm just going over in my paper towel and pulling off some of that witness. All right? All right. It's actually setting up pretty well. Care my yellow. All right. A little bit of gold down here can just to kind of create some interest. You got some? It's just amazing how different paints react. A little bit of salt. A few pieces of this she saw is almost ready to be painted over here. This is still pretty damp right there. And there's gonna let it sit for a couple of minutes. Okay. Ready to jump back over to this section and again? I just waited couple minutes for that paint to set so that, you know, if I did go over the edge, it wouldn't bleed all over the place because that is what it will do. What the paint will dio will bleed. I didn't know paint blood, did you? What does it does? Okay, that was a little dramatic, but go in and grab some birth, Tina, I am just fresh, fresh, fresh and see it. It does believe just a little bit. It's not quite dry on that side, and that's okay. I said, Well, touch some of that up. I'm gonna take some of this nickel yellow here. I'm gonna run it across the edge again, these colors or more for just kind of to play with color than anything. You really just need an orange or brown and whatever tone you're going for, because again, you could just have a lot of fun with texture. So I'm gonna go in an alibi. Darker tone. They're at the bottom. Grab some of this orange, seeing it spreading over into my other side here, which is not entirely what I wanted it to do. But it's not worst case scenario either. So I'm not. That's it. Jump back over here. Were closing in the gap, snagged a bit of my salt on the way, passing that piece. Now again, this this size, Aiken, jump back over and use a little bit smaller brush this time going around the edge of the leaf, down the side, down the side. And that pain justice really cool things, and I'm gonna let it. I'm just gonna let it do what it warrants. I'm gonna add some of that yellow Oakar. Put a little bit of that burnt sienna underneath the leaf There, down here along the bottom. It's really wet down here at the bottom. So pull some of that up. I'm gonna create a little ministry ation here in the shape that we're going. Go ahead and jump to this last piece here. Must stick with this brush. Same thing. And again, you can pull up some of that pigment with a dry brush. Add some of that gold at some golden there. I'm ready to put some salt on this side. Yeah, some salt down there. This is still a little bit too wet. I'm just gonna let it sit for a minute. Going here in alum or gold. I think you can never have too much gold. Just a few of those water blooms. It's gonna push the pigment out of the way. Okay, Murray, to add a little bit of salt on here. He said the bottom is still a bit wet, so I'm just going to dry off my brush over here and scoop up some of that water. Put some of that sea salt down. Okay? And that is it for the base of the pumpkin. We're gonna let that dry, and then we're gonna tackle the stem. 10. Painting the Stem: we're ready to work on that stim. We're gonna use the same techniques that we've been using on each section of the pumpkin. I am going to use me smaller brush to fill in this shape. All right, Now, once you can see how what we've got that I might actually pull up some of that water. And I'm gonna do that with my bigger brush till easier to dio. Okay, I'm gonna grab some of that van dyke brown here at the base. I'm just going again. Kind of following the edges. Once we've got the base down, I'm actually gonna get a little bit of that lunar violent watered down just a bit too little darker here. The base to create some depth again, kind of following those lines. I can actually outline just little bit this part reading it a little bit creative, if you like. Or a lot of it creative. You could change this entire stem if you so desire. This is really just consider this more of a guideline. Okay? I got a little bit too much. Just spread that out and again, we can go back over that with some detail once it's dry. And that's what we're going to do that in our final steps. 11. Painting Leaf: All right, We're going to fill in this shape just like we did in the warmups. Be careful not to touch that stem cause it will pull into your leaf section. Got a little bit of salt hanging out over here. Okay, we've done that. Start diving into that green here just following those edges and letting the paint really decide what it wants to do. This is the part where you can fill in any little maybe missing pieces. Phil, Frida, get in there and fill those. Okay, So that's the simple version you can mix over this Van Dyke brown with the green to create a deeper green. Just go along here. It was actually, like, part of the leaf over that part, deep in the center, run my edging just a little bit, create a little bit more of the vein ing, really get in there with edging, and I'll go back over that once. It's dry so we can add those details in began. Just getting a little bit of a different tone of green on here. You can certainly add in a bit of that. Yellow to the tips. Can an a little bit of the gold. And then what I'm gonna do is I'm gonna take a little bit of that lunar violet, Bring it over here. Mix a little bit of the green. So we have even a darker green creates a really pretty shade. We're just gonna go in and just don't worry. Want. Now, that stem is still hanging out by itself. Reduced. Take a little bit of that green and just connect the pieces. Now I'm gonna let that dry and the move finish up with our final details. 12. Final Details: Okay. I've gone ahead and wiped off the salt. We've got her. Painting is dry. We're ready for those final finishing details. I'm gonna go ahead and finish up the pumpkin area with just some outlining. Grab a little bit of this gold up here and just gonna outline again. This is your choice. You can certainly have what we just did be your final result for a looser feel. You can go in here and just straighten up some edges. Anything you feel like, needs some work. I tend to be a little bit detail oriented, so I get a little caught up in the details. But that's OK. Nothing wrong with that. Sometimes use watercolor pencils and my paintings. And that's always a fun tool to clean up any edges. If you really like a clean, crisp edge on paintings, I'm going to get a little bit of this burnt sienna. Just a kind of give a nice edge to this piece. Here, Mr Peace Assault. If the color is not quite covering what I want, I just go to the darker shade and always feel free to mix colors. The lunar violent is a great one. The mix between a lot of these cause. It will really give a deep color without making it on awkward shade and feel free to mix. You know, any of the colors really kind of an interesting shape, right? There wasn't intentional, but it works. It's the beauty of nature and plants and vegetables, and they all have their own unique shape, Kind of like a snowflake. It's just cool. You could just create what you want and not feel pressured to have it look exactly a certainly. Now, if you want to maybe add a few striations, just water down some of that quinacrine own gold and just feel free to add a few of those. I'm gonna go in and grab some of the then Dyche, I'm gonna edge a little bit of the stem. She's gonna pull a few a few swipes up again just to kind of give it a finished look. I like crisp edges, get a little bit of that lunar violent and mix it just a little met for some of those deep tones. Kind of create a little bit of that would texture on their okay. And on the leaf, she's gonna go over here and grab some green. Maybe mix a little bit of that lunar with the green just gonna go along as I feel necessary . I'll just drag that green up to create a bit of a vein effect. This is where that leaf overlaps create a little bit of shadow and feel free to just kind of creative with where things go. - All right. And again, feel free to take this. However you'd like ASUs faras details. You can take it further. You can leave it. You could have just ignored this whole step perfectly fine. But you have just completed your watercolor pumpkin. 13. Thank You, Share Your Projects!: Okay. You have now completed your watercolor pumpkin. You all did. I'm sure. Amazingly well. And I hope that you had fun creating these textures and just playing. And I encourage you to keep experimenting. The more you practice, the more familiar you're going to get with how the paint reacts. How much water to put on your paper, All of those fun little nuances. I would love to see your projects shared. If you would do that in the class, that would be great. And I will hopefully be reaching out to you soon. Thank you so much. See you next time.