10 Watercolor Sushi Images | Daniela Mellen | Skillshare

10 Watercolor Sushi Images

Daniela Mellen, Artist & Author

10 Watercolor Sushi Images

Daniela Mellen, Artist & Author

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25 Lessons (1h 23m)
    • 1. Class Intro

    • 2. Class Supplies

    • 3. Using the Template

    • 4. Sushi Image #1: Salmon Nigiri Part 1

    • 5. Salmon Nigiri Part 2

    • 6. Sushi Image #2: Uni Part 1

    • 7. Uni Part 2

    • 8. Sushi Image #3: Unagi Part 1

    • 9. Unagi Part 2

    • 10. Sushi Image #4 Tomago Part 1

    • 11. Tomago Part 2

    • 12. Sushi Image #5: Sesame Maki

    • 13. Sushi Image #6: Hand Roll Part 1

    • 14. Hand Roll Part 2

    • 15. Sushi Image #7: Shrimp Part 1

    • 16. Shrimp Part 2

    • 17. Sushi Image # 8: Tuna Nigiri Part 1

    • 18. Tuna Nigiri Part 2

    • 19. Sushi Image #9: Roe Maki Part 1

    • 20. Roe Maki Part 2

    • 21. Sushi Image #10: Maki Part 1

    • 22. Maki Part 2

    • 23. Class Wrap Up

    • 24. Bonus Class Part 1

    • 25. Bonus Class Part 2

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About This Class

Are you a sushi lover? This stunning food is visual art in itself, and in this class, we will capture it in watercolor. This class is geared towards intermediate watercolor artists and uses basic watercolor supplies. Follow along as I paint 10 pieces of sushi, with an assortment of nigiri and sushi rolls.We’ll work on building layers, creating texture, and adding glazes to intensify the paintings.

The class is divided up into chapters by illustration. You can watch all 10 illustrations being created or just select the ones that interest you.

Class Includes a Class Supply List, Class Template (to sketch each image) Sushi Vocabulary Sheet, and a Bonus Class of watercolor sushi accompaniments.

Meet Your Teacher

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Daniela Mellen

Artist & Author


I'm an artist and author living in coastal Florida and surrounded by plants, animals, marine life, and the warm sun - all things that inspire me.

I am drawn to creating things and love to get lost in projects. Each day is a opportunity to learn something new, build on existing skills, and branch out to new ones. I was formally trained as a educator which is my passion and incorporating art into teaching makes my life complete.

I upload art classes every Friday, here on Skillshare. You'll see handmade books, memory keeping, watercolor, acrylic paint, unique art supplies, and photography composition. Thanks for joining me and I look forward to seeing your work.

Check out my blog for additional info on my website danielamellen.com or my YouTube Channel for additional c... See full profile

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1. Class Intro: Hello, I'm Daniella Melon and author and artist. Thanks for joining me for today's class on painting 10 watercolor sushi images, the class is divided into lessons by sushi piece, with most classes under two chapters and under 10 minutes long. Each illustration is unique and focuses on a characteristic of this cuisine. The illustrations come in various shapes, just a sushi does with different toppings like sesame seeds and row. We will use basic watercolor painting supplies and built up layers of watercolor. We'll practice using a glaze to add depth to our image and intensify the color. The images are designed for intermediate artists. Each illustration comes with a template to help sketch the image. Also included is a class supply list and a sushi vocabulary list for curious students. Try your hand at creating a watercolor sushi image and take a photo of your artwork and posted in the project section. Please follow me here on skill share to get notified of future classes. Please consider leaving a review and thank you for joining me today. 2. Class Supplies: the supplies for our sushi images class include your basic watercolor supplies. We have your pigments, which will include a list of the exact pigments I use in the class download on class supplies. I have my templates, which include a template of all 10 images. And then I have a bonus page of just sushi accessories, as I call them. I also have a brush three brushes a 12 and four because those work for me pencil an eraser and a white gel pen toe ad highlights to my images when they're complete. And then I have an assortment of paper towels that I'll use toe lift up pain and clean up spills for the watercolor paper that I use. I like to cut them down to size, so I have a five by seven to make our biggest image here. That hand roll. I have a five by four to make the next biggest image, and then I have eight pieces of paper cut to four by three. To make each one of these pieces, you can combine images or use multiple images on a paper, or however you'd like to do it. Put all of them on one sheet. They fit on an 8.5 by 11 so you could probably strategically place them to fit an eight by 10 as well. In the next chapter, I'll demonstrate how to use the template. 3. Using the Template: to use the template. I like to just trace my images over it. And so what I do is I take my watercolor paper that's cut to size, and then I'll just place it over the image I want to trace. And what's very handy is, if you have some sort of light source from behind your image, you can even go up to a window with sunlight coming through. Put your template down and then your paper on top. Here, I just have a light pad and I illuminate it. And then I could put my paper right down. Trace the image I want. So I find the image I'm gonna trace here, put my paper on it, and then with my pencil, I just carefully trace around the image and I try and trace lightly so that I'm not etching the paper. Once I have my image traced, I'll go in with my eraser and erase anything that I need to erase or modify the image as I like. And I'll continue with this drawn, tracing every one of the images on their own piece of paper. In the next chapter, we'll get started painting 4. Sushi Image #1: Salmon Nigiri Part 1: for our first image traced this piece here of salmon and I'm gonna put it on the paper as I did, and I'm gonna add the rice and the fresh salmon on top of it. So I'm gonna start by painting the rice. To do that, I'm to take my small number one brush and put a wet spot of my palette. And then I'm gonna take just a teeny bit of black, put it in with my water, a little bit of purple and just a little bit of blue. And I'm just trying to get the essence of color here at a little bit more water. So I wanted to be very, very faint and then with my brush, just got a deposit. Little images of rice, kind of like pellets. It's a nice light color, so it will dry light. And that's exactly what I'd like trying not to fill the image. I don't want it to be totally filled. I just want to create some shadows there. Then I'm gonna take my larger brush here, remember to brush, and I'm gonna create some of the color for the salmon, so I'm gonna put some water on my palette and then I'm gonna take some of this lemon yellow and mix it in with that water. And I want the intensity of this color sharper and deeper than the rice school that we made over here. So I'm gonna take that yellow could make another spot here in my brush on the palate with more water. And I'm very, very carefully turn my piece to the side and not the little stripes, but the big pieces. I'm going to start at the end, closest to the rice and pull some of that water down. And so what I'm doing is two fold here. I'm trying to saturate the image of my paper in each of these sections, so it's controlled, and I'm also added, depositing just a little bit of color. So I'll go and do this on all these little sections here in between these white lines. Once I have that nice and wet all over the paper, I'll go back in with that deeper color really soaked into my brush and deposit that just a the edge closest to the rice. Come back and pick that up and kind of pull that towards the center When I have that done, I'll rinse my brush and take some of those over 1,000,000 Hugh and mix it in with that color, that intense color. If there's anything left on the palate, then I'll take that. And I'm gonna pull it on the opposite side here of our little piece of sushi again trying to avoid those little spaces that we created of dry paper in between each of these yellow sections. And for now, I'm just going right to the end, not pulling it towards the centre just yet. Just trying to deposit some color, create that shape of the sushi. Then I'm gonna come back in and a little water to my brush and gently coax it towards the center of the piece of sushi. This point are colors will start to interact, not necessarily form a crisp blend. And all I'm gonna do is make sure that they don't make a straight line. I kind of wanted to form a curve just like on the piece of sushi. So that means that the areas towards the top of each of these sections will be a little thicker. And then I'm gonna take a little Was parallel in red and mix that in with the orange and deposit a little right on the edge Here just a little bit Then I'll foot my piece over Rinse my brush and switch to my number one brush Really Pick up that red pigment and go over and create nice sharp lines Gonna go create just the top piece entirely here Rinse my brush a little bit So it still has some pigment But not too much And I'm just gonna create the bottom line here just like this Bringing it all together I'm gonna let this layer dry We'll come back and add a glaze and a shadow 5. Salmon Nigiri Part 2: So now there are layers dry. I want to go in there and mix and nice glaze. And to do that, I'm going to take some of this hands a yellow, which is kind of a a orangy yellow and mix it with just a little bit of this reddish orange color we have here. It's kind of a very pretty color, and I can add more of this orange hue or takes him for my palate. Until I get a nice, warm color. I'll add one brush full of water just so it really rolls around and moves. And I'm just gonna paint this right on top of my piece of salmon here, pull it down Trying not to create any straight lines. I like the brush stroke look, so I'll let that go. Come right to the top with this pretty glaze. Number is switched to my number to brush again and really wet this down. Get it nice and light. And I don't want my brush supersaturated, but I do want a light color here and I'm just gonna drag that down on that area that we left white. I think that's a nice look. My number one brush. I'm gonna go back in with a little of this, hands a yellow and just pull some color up just to meet the top of the deeper color that we added our glaze that I'm going to switch back to my number to brush, take a little cerulean blue. I don't want that too intense. And then I'm just gonna take a lot of that on my brush and just pull that right from the bottom here to create just a little cast shadow and pull it out. Just like that, I'll rinse my brush and just fade out those edges. And there we have our first piece of sushi, a salmon nigiri. 6. Sushi Image #2: Uni Part 1: Our next piece of sushi is called uni and its sea urchin or with a seaweed wrap on the bottom and then two pieces of avocado sticking out the top. So I thought we'd work on this as well. What I'm doing is taking my number to brush. I'm gonna work on this seaweed layer, so I'm just gonna wet the peace here and right at this corner, which is not really a corner. It's a rounded corner. I'm gonna leave it totally white and dry. So I'm just going to a little wedding of the paper on the right and the rest of it bringing it down here with a little dry section with a sharp point of my brush. I'm gonna mix some black with some water, and I'm just gonna deposit that, creating that outline beneath the oniy and all the way to that dry spot that we made not worrying about coloring in all this with pigment. I just want to deposit it in areas and again, the point that's closest to us here on this little curve, I'm gonna leave dry, so I do this on both sides. I want to make sure it makes a nice shadow underneath the uni. Go in there with a little more pigment, particularly on the bottom and right underneath And then there rinse my brush and make two spots of water on my palette. Take some deep green And I want just a little bit on my brush here and intense pigment I'm just gonna deposited in certain areas. I also dragged this to combine these two spots and then I'm gonna take a little purple, get a nice, intense color here and again. Not a lot of pigment on my brush, But the pigment that I do have is gonna be pretty intense. And I'm just gonna deposit that. No, I see if I have a little bit of overflow that's running into my uni section. So I'm gonna take a paper towel at this point and just try and pick up that little error. So I put it down to absorb it. It absorbs it, and then I'll just go back in with a little black, create that line. So now I want to work on these little avocado pieces here, so I'm gonna take some of this very light green. It's like yellow green. Get a nice intense color on my brush. And I'm gonna brush the avocado, particularly the outline of both pieces here. Not gonna cover it completely. But I do want the center of this piece in particular, the one up front to really show. And then I'm gonna pick up my with my brush, some of that deep green we used for the base. And I'm gonna deposited here again, leaving some white on my paper to give that painterly effect. And then I'll just created outline on the back of the back piece here. I'm gonna let this layer dry, and then we'll come back and and are topping. 7. Uni Part 2: So now they're layer has dried will work on the Rooney up top with my number to brush I'm gonna wait, met make a wet spot on my pallet and add some yellow Oakar And so this is a very warm brownish yellow And they will make a second spot with whatever's on my brush and pick up some of the sepia and it kind of warms it up toe almost a coffee and milk color here, whatever's on my brush all mixed with my original, um, spot of yellow Oakar. And then I'm gonna take my brush and I'm not working. I'm not trying to color in the entire piece solid, but I'm just gonna create little texture spots on each section leaving some white of this uni. So this is supposed to look like the sea urchin, the inside of the sea urchin, which is almost spongy looking, and I'll take the same color and do the same thing here on this back piece again. I'm looking for really a lot of texture. It will raise my brush, switched my smaller brush, pick up that same color, and I want to go around and create that boundary very lightly up top. And right here on this piece is Well, I want to give us just a moment to really absorb into the paper. But with my number one brush here, I'm gonna take some of that yellow green that we have that and just a little bit of the darker green. And I just want to paint it over the entire section here of these avocados to kind of glaze it and make that line blend a little better. So it's a little softer just like that. Then I'm gonna come back with my number to brush and with that coffee color that we made gonna pick that up on my brush and I'm gonna deposit that in sections on the uni as well take a little more sepia and mix that in. And now it's completely darker And again, I'll just add a few spots of that creates a nice little contrast. And we maintain our texture as well that I'm gonna flip this over and it takes more that cerulean blue, very light color for our cast shadow following this shape here of our sushi piece and make a little more pigment closest to the piece of sushi. Rinse my brushing with a wet brush. I'll just make a soft line coming out of it, and there we have a piece of money. 8. Sushi Image #3: Unagi Part 1: for 1/3 piece of sushi. We have a piece of in Auggie, which is a smoked eel, usually with some type of sauce, and it's wrapped in a piece of seaweed. So we have three elements here we have the rice, the seaweed and the topping, which is the eel. In this case, we're going to start by painting the topping first. And so I'm just gonna take a wet brush and go over the peace. And I'm gonna leave a little separation between the top of the peace and the side here to create depth. They're gonna take some sepia sepia over here on my palette again with my small brush, because I want to really control it. And I'm just gonna add a few little spots of it, letting the color run right on top and just a little bit of the base and very base here again, I'm not looking to create a straight line just like that, that I'm going to switch my brush and take this brown here. It's a medium brown, and it's a little warmer, so if you don't have a second brown, you can just use the sepia with a little yellow in it or little orange or even a red. And I'm gonna put that on my brush and with a sharp point gonna go over the areas up top that weren't colored in with the sepia again. I want some white showing and I want a nice contrast between the Browns that we're making here. And then I would take my sharp point and meet the bottom piece here that we made of Brown of Dark Sepia not going completely to the edge. And right here I really like the way this is coming across. I'm gonna pick up some more sepia on this brush, get a really intense color and a very sharp point. And I'm just gonna deposit that in certain areas. Really like the contrast. And I know when it dries, it drives much lighter, but I like the way that looks gonna let that dry for now and after it's completely dry. Well, at our third color to it, I want to work on the rice, however, and so I'm gonna make a little spot of water. My palate take a little gray, a little purple, a little more water because I want that to be very faint, and then I'm just gonna make my little rice shapes here and there. The color is nice and light, so it will dry even lighter. And I just really want to create a little bit of texture. Now, lastly, and take some of those black, really intensify that little spot we have here and then with a very sharp point, I'm gonna pull the color down and I don't want to coloring the entire piece. I want to create kind of striations. So I'm gonna start here at the edge and I'm gonna stop right at this corner. That's closest to us. I'm just gonna pull some color down just like this, making my edge a little more pronounced, and they will take that color and I'll go up from the bottom and do the same again. I'm just pulling up for now, and we'll let this layer completely dry. 9. Unagi Part 2: So now that are layer has dried, We're going to start adding our glazing in our shadow. When the number one brush, I'm gonna go in there with some of this yellow Oakar. I'll put a little spot of my palette and I'll add some of that warm brown that we mixed just enoughto warm it up a little further, created, making a little darker. I'll add a little more water. I'm gonna go over here and just tap while creating a nice outline on those areas that had some white in them. Not all of them. But enough of them to really warm up this piece. I'm gonna bring that color right down to the edge that I sketched out with my pencil just like this. It has a little more dimension, and I like the way that looks. I'll come back in, pick up some more. Once I'm happy with that, I'll just deposit a little more color just to make it really intense when it dries and they will take a little more. And I want to leave a little white border between the top on the side of this piece. But I also want to deposit some of this color to tie it in and coordinated with the side could take some of this deep green, very intense, with a very sharp point. And I'm gonna pull that down right on my little strip of nori here, or seaweed and pull it up. So just making another layer on that already layer black we created, then I'll take some or the black and reintroduce that again. I'm creating a dry area over here that's closest to us as a highlight. Just like that, Go to my number to brush for the cast shadow, create a little cerulean hue and carefully pull some color right from the bottom, wet my brush and just blend out that edge ever so slightly. And there we have our piece of a Nagy. 10. Sushi Image #4 Tomago Part 1: for our next piece. It's a piece of mango, which is kind of an egg or an omelet on top of rice. So to do this, we're gonna start making our rice. But it put a little water in my palette from a wet brush and get just a little bit of gray and a little bit of purple here and will make our little textured rice. So again I make my little rice pieces or at least texture with a very light hand that I'm going to switch to my number to brush and turn my piece to the side. And I'm gonna take a little of this lemon yellow and a lot of water. And I'm gonna paint the top and the side of this piece, and I'm gonna leave a little dry space right where the pencil line is. So I'm just gonna pull my color closest here, and I'll start with the top again. I'm leaving a little white up to the pencil mark, and then I'll paint over here in the bottom and again, I'll leave a pencil mark right up top. So there I had my first layer. There's a little bit of white exposed on the paper. That's wonderful, because that'll give a nice, painterly effect. So now I'm gonna take a little this yellow Oakar and blended in with that lemon yellow that we next and with a sharp point, I'm gonna pull out from the area. That is where we'll paint the seaweed in the next chapter once this layer dries and I'm just pulling that color out from the seaweed to the edge just like that, I'm gonna take a little of this hands. Yellow has a little bit of orange in it, and I want a really intense color on my brush. They're just gonna deposit that in sections. And because my background is wet, it does nice things in bleeds and blends, and it looks, um, a little chunky. So it has its own texture that it adds in because a nice effect just like that, I want to emphasize the rice a little more and have some fun with this yellow. This is an optional step. So I take a little water on my palette, my number one brush and just a little purple, and I'm gonna pick up this purple and just deposit some areas right inside the rice. Just think that's a fun little effect, and we'll let this layer completely dry. 11. Tomago Part 2: Now that this layer is completely dry, I want to go in there and erase some of the pencil marks around the top of my piece here of where this egg is, so I'll just do that. And I'll just lightly erase some of the ones on the bottom here by the rice as well. So now I'm gonna take my number one brush on a little yellow joker with a very sharp point . This is because it's a nice dark color and I really want to get that sharp point. And I want to create the outline. Somebody turned my piece to the side and just very gently touch my paper. Creating that outline might not be over every area, but I want to do enough of it so that the lot the eye sees a line I'm gonna go down here is well, creating that line an outline, all of that piece of omelet. Then go to pick up some of the other yellow on my brush. So it's a little lighter, and I'm just gonna pull some color in from the edges and in from that little strip of seaweed. We'll do that in the bottom two this just intensifies the color again. It creates a texture and a look. Here. Switch to my number to brush and create some of that seaweed. So I'm gonna take off a good portion of the water you want to just barely wet. And I'm gonna pull and moist saturate the paper a little bit from the ends leaving this space dry. They will pick up some black once again with a very sharp point. I can switch to my number one brush if I want, but my number to brush here has a nice sharp point. Just gonna pull that color deposit some pigment down and up from the bottom. I'll switch to my number one brush, pick up a little this dark green and really try and create shape here, right here of this seaweed again leaving nice white spot here of dry paper. Come back, pick up the black. Create that edge nice and dark at the bottom. Nice and dark further away. Create that shape. Then I'm going to switch to my number to brush and work on that cast shadow. So it a nice spot of water, a little cerulean blue and I just pull a little cash shadow on the bottom. I follow the contour of the base of the piece of sushi and then blend those outline. And there we have our to mongo. 12. Sushi Image #5: Sesame Maki: for next piece here. This is the piece of Maki, and you could fill it with whatever filling you want, whether it's vegetables, tuna, white fish, etcetera. And for the outside here, we're gonna create a sesame seed and rice crust, so that will give another image for us to work on another texture. We're going to start with that rice crust. So with, um, wet brush, my number one brush again would make a very light gray. And this is because I want to create that texture of the rice and rice is always tricky because it's white. But you it has a little bit of shadow, a little glistening little translucency. And that's what we're trying to capture. So when I have a nice gray color in my palette, I'm gonna create my little rice up here. Now Rice goes all the way around here as well as here. We're gonna create the top being, um, the cross section cut have more white rice and this section here being mawr peppered with sesame seeds. So I'm gonna first create my rice, and I'll just make my little texture. I like to go around the edge, creating that texture and it drives very light the same thing up top here, and then I'll add a little inside of it, and then I'm gonna turn it over. I'm gonna makes one more brush full of water to make it even later. And then I'm gonna create that texture, and I'll start with the perimeter. And I do want to have a nice area of white showing of just the paper. But I also want to show some texture. So I left a little bit of a lip here of dry paper, and right now we have our white showing of the rice. So we're gonna leave it just like that. For now, I'm gonna work on this filling here, and I'm gonna do a tuna filling, so that's gonna be a dark red. And then I think I'm gonna add, like, a white fish as well. So it'll be a two tone thing. So I'm gonna put a little water on my palette, take a little this crimson lake. This is a deep pink, and I'm gonna add just a teeny bit of green to that this deep green, and I'm gonna take it in this big section here is what's gonna be the tuna? So I'm gonna very carefully at texture to where I want that tuna to be creating that border between where it, ah butts against the other fish create that little outline just like that. Gonna take my brush and go in there with a little bit of sepia. Get a nice little intense amount of my brush and just deposit that in some spots. Now create a little variation, and I like the way that looks. And now for the white fish gonna put a little water on my palette, Take a little yellow Oakar and a little bit of this cobalt blue just with a little brush stroke. I'm just gonna deposit a little bit here and there. Kind of gives an almost a green effect, but it's a very earth color. Then I'll rinse my brush, remove a good portion of the water and just blend some of this out. So it's not very harsh. Then I want to come in here and add my sesame seeds, and they're gonna be a combination of brown and black. So I'll start with my yellow Oakar, get a nice, intense little color and then I'm just gonna deposit some. And I want to do a few up top here on the edge. So I'm not gonna space them equally and just gonna add a few here and there. And I'll do that all around with this yellow Oakar this light color and then I'm gonna put a few in here Now put little Bunches of some together that I'm gonna rinse my brush, take the sepia and I'll do the same with a little sepia Someone got put close some of space getting a nice effect A nice blended effect of the rice and the sesame seeds And again, nothing inside this role will have that I could rinse off my brush and I'm gonna combine this yellow Oakar with the sepia We'll add a little more sepia Ah, a little yellow Oakar Now a little more sepia So I have another color and I'll just deposit some of this as well And I'm just peppering it around so it looks a little more intense. Gonna take my sharp point and a little bit of black But I don't want it to be loose on my brush. I wanted to be very controlled. Just a few little dark seeds here and there. I'm going to switch to me Number two brush and make my cast shadow. Put some water down a little cerulean blue, a little more and then I'm just gonna create that little shadow. Once again, I rinse my brush so it's wet and just blend that portion. And there we have our sesame seeds studded Maki. 13. Sushi Image #6: Hand Roll Part 1: and not make our hand roll. So this is a piece of seaweed that's stuffed with rice and all goodies in this case, salmon and avocado, and it's gonna be rolled up so it looks like an ice cream cone, and it's served flat on a dish. So this is what we're gonna make. It could take my large brush, my number four brush, and I'm gonna wet this big part here of the seaweed. And I'm gonna leave this spot here up top a big round circle completely dry. So just try and saturate the paper underneath. Around that circle, it was my number to brush on. Mix my color here. I'm gonna mix three colors, so put three little spots of water. The 1st 1 is gonna be black, and I really want to achieve a dark gray and the actual I'll add this right away. I'm gonna create the outline here of my cone, my seaweed cone here depositing color and what I'm really doing is creating that shape. And I want to go right to the top again, going back and depositing color and see how it runs on the paper we saturated, going right to the edge and they will be a little bit of this showing right at the bottom as well. But I want to make sure there are no straight edges. So I'll take this and just go right here and again. I'm not looking to color the area completely solid right now. I'm just creating that shape and then I'll just go back in and deposit some pigment just like this. Why Couldn't find these two? So I'm gonna rinse my brush, Gonna take a little bit of purple, make a really intense purple here, mixing with just a little bit of black And I'm gonna do the same thing with some deep green . So take my deep green and mix it with a little bit of black while I have that on my brush. Gonna just deposit some of these colors overlapping the area we've already made with the black And then I'll come back in, rinse my brush and pick up that purple and do the same thing again, leaving this section up top dry as a highlight since my brush pickups more of the black just deposited to break up any of the color. Then I'm gonna wet my brush and come over here and just let this edge bleed where it was stark white. Now, before now it has a little hint of color over it. I can take a look and see if I wanted deposit more color and I'll take a little of the screen and deposit it just like that right over there a little bit here just to get a nice rich color and we'll let this layer completely dry. 14. Hand Roll Part 2: So now that our first layer is dry, I'll come in here and start adding the filling, and then we'll work on the texture of the role one more time. So if I never to brush, I'm gonna go in here and make some of this yellow green with just a little hint of this deep green and I'm gonna deposited here, leave a little space and then deposited on this big section of avocado switch to my smaller brush at a little the deep green to that color we just mixed and then deposit that in little splotches all over the top of this piece of avocado began. It just adds a little dimension, a little texture. I'll come back in with a little this lemon yellow on my brush, and I'm gonna glaze over that layer of avocado right here and then I want to do a salmon here, so I'm gonna take some more of that lemon yellow on my brush and I'm gonna avoid those little stripes gonna paint that first layer with this yellow again, avoiding the stripes here. Then I'll go in there with a little vermillion. Hugh, a little bit more mix that in and I'm gonna deposit it just on the area we painted. I want some yellow to remain intact and showing, but for the most part, we're going to see this orange color. The beauty is in the variation. It'll come back, take a little this lemon yellow, move that pigment around. Then again, I'm gonna go over those pencil marks that we have. And then I'm gonna take a little parallel in red and mix it in with that orange mixture remade. I'm just gonna deposit that on the far end on both sides of this piece of salmon. Gonna come and pull in those stripes to make them less thick. And that's just completely optional. I just think that sometimes it's stripes take on a life of their own. Then I want to just take a little bit of sepia little point of it where I can control it and just bring it closer to the area of the avocado. So there's a little border essentially between the salmon and the avocado, and then I just wanna make sure it blends out a little so I might go back in there with some of that red color just to make it a soft blend. I'm gonna rinse my brush and I'm gonna take a little bit of water on my palette mixing a little black so I could get a light light color to make that rice with. And then instead of using purple, could he use just a little deep blue just to give that gray a hint of color? And then I'm just gonna carefully deposited over here, creating some texture. I'll let that dry. And I just want to add a little bit of texture here to this role. So I'm gonna take my larger brush my number four brush, and I'm gonna go in with the black, really wet it on my brush and just make brushstrokes here and there. Make them heavier by the sides, little dabs. I'll go in there with some of this purple. And again, I want intense color, not a lot of water. And I'll add that as well. And this kind of gives the rough texture of the dried seaweed. Turn this around, rinse off my brush. I'm gonna go in there with this green and again. I don't want a lot of water, but I do want a lot of pigment, and I'll just add some swatches of that as well. Again. I want them closest to the end so that the darkness works its way up toe lightness in the centre closest to us. The same thing over here. Could it take my cerulean blue for my cash shadow, make a light pigment and then come over here and just create that cast shadow. It's my brush fade out the end and there I have my hand roll. 15. Sushi Image #7: Shrimp Part 1: So now we have our piece of cooked shrimp or a B, and what's when the shrimp is cooked? It takes on different characteristics. So the orange and red spots get really intense and the actual shrimp flesh becomes opaque. So it gives a different effect, and we want to be able to contrast that with the rice. So with my number one brush, we're gonna start with the rice and I'm gonna go in here at a little gray. So makes a little black with some water. And I want to mix a little of this Prussian blue with that as well, just to give the rice a little hint of blue and then with my brush and just got press it down here to make the texture. And if I add too much, I'll pick it up with my paper towel. It's like that, and I'll continue to add a little more water and just continue to add some texture here to the rice. We'll see how this looks when it dries. If we need to do anything more to it, create that nice edge. And now I want to make make my spots on the shrimp. Here these little what look like buttons and the tail to have beautiful color. So I'm gonna put a little water on my palette, and I'm gonna mix some of this hands a yellow What makes a little bit of water in that without as well, I'm gonna turn this on the side and I'm gonna paint all over. This may be one more brushstroke of water, and I'm just trying to saturate the paper with color and create my outlines in my shape. So I'm gonna leave a little dry spot here in the tail, right in the center of it. Kind of the split it, and I'll do that. The bottom piece is, well, the bottom tail. And then I'm gonna be very careful. And the spots in between the buttons as I call them and this little area here, I want to keep white. So I'm gonna bring my color. And I'm only gonna color these little buttons with this hands. A yellow, a little more water. You can color the entire button or just sections of it, leaving some white of the paper. And I'm gonna do that. I like that. Look, I think it looks very painterly, and it can also really showcase highlights on the paper as well of your image. So once I have that, I know that that's the area that's gonna be the cooked flesh. So now I want to go in here with some vermillion Hugh, make a nice, rich, intense color, and I'll mix it with that hands yellow, and it's a beautiful color. Could pick it up with my brush, and I'm going to add it to this kind of like a U shape over here and on the areas that are wet, it will run nicely, and if it has dried, it's not going to run it all. It's just going to stay there, gonna go in there first and deposit color on four of them back here. And then I'm gonna rinse my brush, take a little of this hands a yellow and on the areas where it didn't run, I just introduced some more wetness. Pick up this color again and I'm gonna work on this orange of the tail over here. Poor little color in in the same thing here for the bottom because we already put down the yellow layer, we can leave some areas exposed of the yellow. But it also builds up the color very pretty way gonna go over here and finish adding the orange, creating that nice shape and getting that nice blend rinse my brush, go back and pick up some of that hands a yellow, just to make sure the colors really do blend work together. Then I'm gonna go in here on my palette and just take some over 1,000,000 who straight not blended with any other color. And I'm gonna deposit it Great in that, you hear right in the far back of each of these pieces. It is a beautiful blend and a nice intensity. Gonna take that same color and add a little bit to the tail or at least pieces of the tail . Gonna flip my piece over. Take a little of this color that we used for the rice. I'm just gonna deposit a few more spots here along the bottom, and I'll let this layer completely dry. 16. Shrimp Part 2: So now I just want to take some Prussian blue on my palette with a little water just a very light wash of color. So a little more water. And I'm just gonna outline this piece of shrimp here. I wanted to be a little different than the white of the paper as well as the rice ball here . So I'm gonna pull it in between these pieces, went my brush and just drag it just like that. I'm going to switch to my larger brush, take some cerulean blue and make that cast shadow pull it right on the bottom. Here and there. We have our baby or our piece of shrimp on the rice. 17. Sushi Image # 8: Tuna Nigiri Part 1: So now we have the tuna nigiri. We have the tuna, the piece of seaweed covering it and the rice underneath. We'll start panicking the rice. Somebody takes some water on my palette. A little bit of black. Well, that's a little too much black, So I'll move my little spot of water on my palette again, blend in some of that black, and then I'm gonna take a little bit of this Prussian blue mixed that in little brush full of water. And then I'm just gonna make my texture just like we did on the others for the rice. Here, this started the bottom. Work my way up, leaving nice white of my paper. Then I'll take rinse my brush and an Cem pieces here Sweet, a nice texture. Then I want to work in my tuna So the tuna is like a dark red Sometimes brown could take some of this crimson lake in a little sepia with that a bit more. And then I'm gonna go and page right up to the line that we make the little pencil line, creating each section the outline with my pigment openly little space with the rice and then When I have a nice section like this done, I'll dip my what? Brush and water and just blend out those edges and I'll continue this all the way here with each section, make my outline, thicken it up a little and then blended out and again, I don't want to color in all the areas white, all the areas with my pigment I want to leave some areas. Wait, Leave a little space here. Then I'm gonna go back in, get a lot more of that Crimson Lake and at the bottom here, I'm just gonna deposit little spots. It's nice and wet on the paper. And so it will run and will be nice and intense at the base closest to us just like this. I'm gonna take a little sepia, mix it in with s'more vis to get a different color and I'm gonna deposit this on the top. It's a very subtle difference, but it gives a different effect. Then, with a very sharp point and my crimson like heavy pigment, I'm just gonna combine all of this with a little outline. Very gentle E, and we'll let this layer completely dry. 18. Tuna Nigiri Part 2: So now to make this strip of of seaweed, I'm gonna take a little water on my palette actually, to switch to my smaller brush here, and I'm gonna add some dark green, and I'm gonna just pull that color a down, leaving this section dry, so create the shape, do the same thing from the bottom up, and then I'm gonna go in there with the black male. Deposit that and use that to pull the color as well. Pick up a little more pigment again, pick up some more intense pigment, and then I'm gonna switch here to my large brush and create my cast shadow. So I take some cerulean blue water and just create that edge. Then I rinse. My brush can blend it out. And there we have our tuna, Gary. 19. Sushi Image #9: Roe Maki Part 1: So now we're gonna make a piece of maki. But instead of covering it with sesame seeds or just plain rice, we're gonna cover with rice and row, and the road we're gonna make is gonna be a combination of orange and reds. And it's a very, very pretty look. So this piece is square instead of a rounded piece. So we're gonna start with are rice. I'm gonna put a little puddle of water and just a little bit of this cobalt blue, just like this could have a teeny bit of purple that cools it down even further. And I'm just gonna put some dabs to create texture of rice. Now, the top is also gonna be rice, but it's not gonna have the row in it because this is a cross section of a role. So I'm gonna create my texture of my rice first and again. My brush is not that wet. It will dry very quickly. Could have put this to the side at another brush full of water to make this even lighter color. And I'm gonna create my rice inside here just like this. Put my piece to the side and now I'm gonna work on adding some of the row. We'll start with this hands a yellow, which is like a yellow orange. Get a little bit of pigment on my brush, a little bit of water and a kind of a sharp point. And we're just gonna add little dots and these air round perfectly round balls. They were actually transparent and quite beautiful. And we're just gonna pepper it here, and we're trying not to be particularly evenly spaced. We're gonna really go for some areas. Gonna be really heavy with particular color in some areas will be light, very organic. So I'm adding my dots. I wanna make sure I have enough on my brush, and we're not gonna do it inside the rice up top. But we are gonna do it right on the exterior, the same thing up here, them to take a little vermillion, Hugh, and mix it in with our color. We'll add a little water, and now we're gonna deposit some of this is well and again, Really, I'm gonna try and work because its color is brighter. I'm gonna work on creating more rounded shapes with my brush. And that may mean adding a little more pigment in water. If my pigment dries too quickly just like this, so it's not rolled in the row exclusively. There's a lot of rice on there for it to cling to, and row comes in different colors. If it's green, it's usually a wasabi based, so it's very spicy and these roles just have a little salty flavor. And so now I want to take a little more of this, hands a yellow and mix it in to get a blend of those two colors and just add a little more here and there. Just like that. I love the way this is looking very different from the other sushi pieces we've made. And so now I'm gonna work on this filling here. It's outlined with a piece of of seaweed, so we'll add that touch last. But right now I want to add some nice green here for either in avocado or a vegetable. So I put in some of that green and just had a little deep green as well. For contrast. Good. Put in a little orange here again for maybe it carrot or something just like that. And then for the last pieces. I'm gonna add Mediate something indicative of tuna. So I'll take that Crimson lake. And that sepia can add that again, leaving spots of dried paper, and we'll look this completely dry. 20. Roe Maki Part 2: So now gonna make my little nori piece so I'll take a little bit of this black on my palette, and I want a very intense color, and I'm gonna mix a little bit of dark green with that so I don't want to be very loose. I want to be very intensely pigmented and almost dry just so that I can control it nicely. And I'm just gonna outline with a very sharp point my filling here. So I wanted to look like it's wrapped in a role here. I don't go in between the pieces. I just wrapped them all together just like that. I want to come back in here and just add a little more dimension to my filling. So a little more intense color just in spots. And I'll do that with the orange one and the tuna piece the red one. And then I'll just make my, um, cast shadow, so use water and once again, cerulean blue follow two sides here, rinse my brush and then just blend it out. Just like that 21. Sushi Image #10: Maki Part 1: for my last piece of sushi. We're gonna make a square, which is part of a role. So it's sliced again. We have the cross section here, and the exterior isn't gonna be rice, but it's gonna be a piece of seaweed, so we'll have rice on the inside. Then we'll have a piece of salmon and some with sob e. So I'm gonna take a wet brush. Actually, I'm gonna jump right to my number to brush. I'm going to saturate the outside piece here with water, leaving this top corner dry. So I saturate that nicely and then I'm gonna mix my color so I'll take some black, get a nice, intense color, and they'll make a second peace over here with that color. Whatever's on the brush, it will take some of this intense green. I'll create my shape first. And since I have green on the brush, I'll start with the green, pull that color, creating that shape. Then I'll rinse my brush and pick up that intense black and deposit that maybe a little more pigment and depositing that all along Gonna switch to my smaller brush here and I'm gonna pick up that black intensity and because it wraps around the piece of sushi, I want to create that just like this. And then it also wraps around the filling. So I want to make that evidence. I'll come back in, deposit some color, pick up the green. Then I'll rinse my brush and just blend this color out here. So it's lighter, but not perfectly white that I'm gonna mix some water, a little bit of black and some Prussian blue. Here, add a little bit of water to really lightened that up, maybe to brush falls and then with my brush. I'm just gonna create the texture of this rice over here, and I'll rinse my brush so it's wet. I'll pull that color just around. I picked up any of the green or black, take a paper towel, just dab it and then go back in and fill that in, and I'll let this layer completely dry. 22. Maki Part 2: So now that our first layer is dry, I want to go in there and add my filling. And so because it's going to be a salmon and wasabi, I'm going to stick with those colors. I'll start with hands a yellow and I'm just gonna deposit that color right in the area that I want that salmon piece to be again. Not all of it's gonna be colored in with pigment, but most of it mix in some vermillion Hugh and drop that in. Then I'm gonna go in there with this light green Pick up some of this darker green and I'm gonna deposit it with texture all the way down here Rinse off my brush, pick up some more of this light green and dab that on as well And then I'm gonna switch to my brush, make my cast shadow So I had my cerulean blue and my water and I create that just like this Prince my brush and blend out the edge And there we have our final piece of sushi 23. Class Wrap Up: So here we have all our completed sushi pieces. This is the point where you could go in and use your gel pen at any highlights that you want in any spots. Like for example, here, any area that's close to me that I think needs is a little drab. I'll just add a little highlight here or there throughout my work. I hope you've enjoyed the class today. Included is a bonus class with just some sushi accompaniments, so no more pieces of sushi. But using the template, you could make some soy sauce, chopsticks and a little wasabi bead if you'd like. Please take a photo of your work and posted in the project section. Be sure if I will be here on skill share to get notified of future classes and please consider leaving a review. 24. Bonus Class Part 1: So now for the bonus class, I took a five by seven piece of watercolor paper and sketch my image on it. Just changing it around a bit. And now I'm gonna start painting. I'll use the same techniques from class with my number to brush. I'm gonna start here on this soy sauce bottle and the cap. I'm gonna make red. You could make it red or green if you want to try and be realistic. And so I'm just saturating the area with clear water just on the cap and I'll mix my color here on my palette. So I'm gonna take some parallel in red, Really? Mix that in some of this for 1,000,000 Hugh. And they will make another little spot on my palate with more of a 1,000,000 vermillion. Hugh. So it has a little more orangey nature to it. I'm going to switch to my smaller brush just so I have some more control. And with that parallel in red, I'm gonna create that shape and I'll start on the bottom here, create that shape, and I'm gonna go all the way up here just below this pencil mark. I want to create just a slate bit below the pencil mark here. If I went to high when I paint the other side the cap, I'll just leave us Gap up top. And then I'm just gonna pull my color towards this side because my major highlights on this side, I'll try and leave an area with some highlights just like this. Then I'll flip my piece over and work on the top again. Using that color, we'll create that outline. And here's where I'm gonna leave just a little gap. I deposit my color. It'll rinks my brush. It was my vermillion, Hugh, here. I'll just deposit some color here just to really make that nice and rich gonna jump right now to this little wasabi blob here. I'm gonna saturate that and then I'm gonna take some of this yellow green deposit that all in the shape I'm gonna have my darkest spot on the right hand side. My highlight on the left. And so I'll go in, take some deep green, my palate, mix it with a little of this yellow green. And now I was gonna deposited here. They don't take this the teeniest amount of deep green and deposited here. Just so there's a nice variation between the darkest dark and the latest light of this green runs out my brush very carefully, and I'm gonna mix some of this yellow Oakar and some sepia and a little more yellow Oakar and then one splash of water and I'm gonna take this and I'm going to start creating my chopsticks. I'll start with one on the far right pulling this color all the way down from this stripe. I'll continue to outline it Here, have some areas that are still white. Now I'm gonna try and leave some spots of white. I like that. Look, I'll come up here and continue to color in the chopsticks. I like how this looks, and I'm gonna really make it heavier on the right hand side here. So I add some more pigment and they'll take a little bit of this Van Dyke brown and just deposit that every now and again he'll rinse my brush, take off some of the water and just help this to blend out. And then I'm going to switch turn my paper so that I could work on this other chopstick. I'll take that main color create my outline and then fill it. And mostly, how could you continue doing this? The length of the chopstick. When I get to the base here, this second chopstick is behind the 1st 1 So I'm gonna leave a little gap of white dry paper in between. Just like that, I'll come back and fill in some of the area again. I'm gonna make it a little heavier with color on that one side. And then I'll come in with a little of that Van Dyke brown and just deposit that in some areas we'll go back and just really emphasize that on the other chopstick as well. And then I want to start working on the soy sauce bottle some to take some of this cobalt blue and mixed it with a good amount of water. When a very pale blue here for the reflection of the glass, I'm actually take just the teeniest bit of black too much mixed that in a swell. So I have a very light grayish blue. I'm gonna very lightly just paint this area here In between these two walls trying to indicate that this is a glass, we'll come down here and then over here do the same thing. Just putting some light layer of this blue, leaving a little space between the end of the glass and the top of the jar, and I'll let this layer dry. 25. Bonus Class Part 2: So now that this layer is drying But I come back, I'm gonna work on adding some color here to the soy sauce in the jar. So what? That area where the soy sauce will go and then I'll just take my brush and just very carefully went up top here. So there's a nice dry spot in between the two sections of soy sauce. It takes in sepia give a nice, intense color. Build that up and I'm very carefully deposited with a very sharp brush. Various points. I don't want to color the entire paper. - When I had my outline, I'm gonna takes more about Sophia and a little bit of the black on a really deep in it and really weigh it on one side here. Then take a little of this purple. Just drop it in just some areas here to give another little color Little introduction. Here, I'll come back, take some Van Dyke brown have that in, and all these colors will blend nicely. Instead of looking like a solid color, I'll switch to my very small brush here, my number one brush and pick up some of that brown I want very carefully sharpen the edge up top here, but then make a little bit of color back there. Then with a lighter with water on my brush, just blend that color out, leaving a little space in between. Good to take my number to brush. It's a little water, my palette in a little cerulean blue. And then I'm gonna put just my cast shadow here, rinse my brush, have it blend out. So there's no harsh edges. Go back in deposit a little more color on this one. Do the same thing here just with a very light line. Very pale color. And then I'm gonna come in a cure. The little black mix that in with my brown and very gently going to outline here. These little stripes on the chopsticks bled a little from the shadow. So I'll just pick that up. And it's just a little bit of a gray color, really. And I'm only gonna really emphasize it on one side. Then I'm gonna take some cobalt blue, get a very sharp point. Just outline. Here, there we have our bonus class