Assorted Cookies from Drawing to Painting with Watercolours | Eugenia Sudargo | Skillshare

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Assorted Cookies from Drawing to Painting with Watercolours

teacher avatar Eugenia Sudargo, Watercolorist and Graphic Designer

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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

22 Lessons (2h 1m)

    • 2. SUPPLIES


    • 4. CHECKERED COOKIE: Sketching

    • 5. CHECKERED COOKIE: Base Painting

    • 6. CHECKERED COOKIE: 2nd Layer

    • 7. CHECKERED COOKIE: Glazing and adjusting vibrancy

    • 8. SPRITZ COOKIE: Sketching

    • 9. SPRITZ COOKIE: Painting the cookie

    • 10. SPRITZ COOKIE: Painting Chocolate Dip

    • 11. SPRITZ COOKIE: Highlight and Finishing

    • 12. LINZER COOKIE: Sketching

    • 13. LINZER TEXTURE: Technical Exercise

    • 14. LINZER COOKIE: Painting the Base

    • 15. LINZER COOKIE: Jam, Texture and Shadows

    • 16. LINXER COOKIE: Jam Details, Icing Sugar and Final Details

    • 17. PALMIER COOKIE: Sketching

    • 18. PALMIER COOKIE: Masking and Base Colour

    • 19. PALMIER COOKIE: Texture and Cracks

    • 20. PALMIER COOKIE: Redefinition of Textures

    • 21. PALMIER COOKIE: Sugar Particles and Finishings


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About This Class

­Hi everyone my name is Nia and I’ll be your teacher for today’s class. For this class, I’ll be showing you my process of how I painted these assorted cookies, right from colour mixing, sketching and painting, but for those of you who want to jump straight to painting I’ll also provide a line art for you to trace in the resources section, so you can get the same cookie shapes as the ones I’ll be painting if you want to.

 In this class I’ll be showing you my techniques to achieve subtle cookie textures as well as other elements which you can also try to apply to your own cookie paintings outside of the ones that I’ve included today. Because this is quite a long class, feel free to take breaks in between or you can even spread out the task to sketch and paint one cookie a day.

This class is aimed for intermediate students who are comfortable with brush control and colour mixing as the mixes here have very subtle changes, but if you're a beginner of course you can also give this a go, just take your time to paint step by step and enjoy the process.

Like all my other classes I’ll be speeding or skipping through parts of the class where  the steps might be repetitive or if my hand is off camera to get the class going, so if you decide to paint along, I’d suggest for you to watch either the full class, or lessons prior to painting along so you know what to expect. And when it’s time to paint, you can pause in between the steps, so you can always work and figure things out as you go in your own time, and move on to the next step when you’re ready.

If you're interested in painting these fun assorted cookies, feel free to join me in this class and LET'S BEGIN! ^_^

Meet Your Teacher

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Eugenia Sudargo

Watercolorist and Graphic Designer


Hi, my name is Eugenia, and I go by Nia. I'm a graphic design graduate from Curtin University, Western Australia, who loves to paint with watercolours. In my final year, my teachers back in university noticed that most of my design works incorporate watercolours. So I guess I picked up the medium by accident, but now I'm totally in love with them. They're so versatile, flexible and wild at the same time. There are times you need to tame and control them, but there are also times you let the watercolour do its thing!

Mid 2017 I started a watercolor YouTube channel, nianiani and I was quite amazed at the response, I also realised how much I loved uploading videos and sharing tutorials. I started teaching art and watercolour end of last year to children and adults, as a part time jo... See full profile

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1. INTRODUCTION: Hi everyone. My name is Leah and I will be your teacher for today's class. Today I'll be showing you how I paint these assorted holiday cookies, right from color mixing, sketching, and then onto the painting. But for those of you who want to jump straight into painting, you can also download the lineup. So your final painting will have the same cookie sheets as line in this class, I'll be showing you my techniques on how I achieve those subtle cookie textures, including other elements like Jan and The Chocolate dip for the slider. And hopefully this is something that you can apply it to your own paintings as well outside of the ones that have included today. And because this is quite a long class compared to what I usually post here, feel feats, TPP breaks in between whenever you need to. And you can even divide the task to paint one cookie at a time. Unlike any of my other classes, I'll be skipping or maybe speeding up some of the process of I've become a bit too repetitive in terms of the steps. If my hand is off the frame just to get the class going. And I understand that everyone works at a different pace. So I would always suggest for students to either watch the whole past or lesson before painting along. And then when you are ready to paint along, feel free to pause in between each step so you can figure things out as you go and work at your own pace. And then when you're ready, move on to the next step and repeat the process before we begin, let me go over the class outlines so you know what to expect of this class. After this introduction, I'll be showing you the supplies that I'll be using for this class. Followed up with a quick overview of the colors I've chosen to use and how using them. Then we move Street to the cookies. First, starting with the checkered cookies, I'll first show you how I sketch them in case you want to draw your own, then I'm going to paint them, breaking the steps down into several lessons so it's easier to digest. And going to take on this order for the rest of the class so that the next cookie I'll be showing you is the muni spirits cookie, from sketching to painting against upgraded into several lessons followed up by the lens or from sketching and painting. And then finished with the last cookie, which is Apollinaire. Again with this sketch and painting steps included. Then I'm going to close off with the classroom reject. And then the specific coordinator because this is what I personally find is easiest to the hardest. But if you want to paint one or the other first, feel free to just skip around and work according to what you're comfortable with. But anyway, I hope you guys enjoyed this class and let's begin. 2. SUPPLIES: So here are the splice that I'll be using for this class. Firstly, this is what you're going to need if you want to sketch along here I have my sketchbook or you can use any other paper as well, including print paper. And here I have my pencil and also an eraser. I won't be including my way of tracing in this class, you can use any method that you're used to. But on the left here, this is the outline that I will give out in the resources section. You will also need a masking tape. And as further watercolor paper, I use the brand R2. It's a 300. Yes, I'm a 100% cotton. But you can use any water color paper you have on-hand. I would just suggest to use at least 300 GSM to reduce warping for your painting. The final dimension of my painting is 20 by 25 centimeters. But if you want to create something of a different size, you can also do that and also alternate the composition if you would like to. Here are the supplies that I'm going to be using for the painting. Firstly, I have my brushes here on the left. I'm going to be using toothbrushes. One is by Holbein, as you can see, it's quite large. This as a size eight. It's also a natural brush here, so it can come to a very fine point and it can hold a lot of water. So it's very versatile. And the other one I have as my Winsor Newton, which is a size 0, and I use this for all of the fine details. Next, I have my palette here. This is just a cheap palette that I got from dy. So, but you can use anything that has a plastic or maybe even a porcelain surface. Just make sure that the color of the surface is white so it's easier to see the colors that you've mixed. Here are all the colors that I'm going to be using for my painting, for all of the cookies. And I'm going to go over them in more detail in the next lesson. I'm also going to be using my whitewash. Here I have sink white, which is fairly transparent, so I do have to double up on the layers. If you have something more opaque, like permanent white or TT white, I would recommend for you to use that. For the rest of my suppliers. I just have a clean jar for my water. And I also have tissue to clean and W brushed. And last but not least, a couple of scrap paper. I'm using the exact same watercolour papers so I know what the colors and textures will look like if I practice them before applying it to my final painting. I almost forgot to mention I will also be using masking fluid. Mine is a pen version, but you can also use any type of masking fluid you have. I just find that this is a bit easier to apply to the painting because of the fine tip. And here's just a written list in case you'll want to take a screenshot to get everything ready. 3. COLOUR PALETTE: Before we begin to paint, I'm just going to go over the colors first. These are all of the colors that I'll be using for the whole class. And this first three is going to be the main base color for all of the cookies. Now the next three colors are going to be the supporting colors. These are going to add on to the shadows or to either mute or add richness to a darker value of the previous colors. For the last color here, it's optional and I'm only going to use the for one of the cookies. The color is going to be very subtle. And if you don't have access to the scholar or you just be bothered, you won't make too much of a difference. So it's okay if you don't use it. So here I'm just going to sketch out the colors first so you get to see what the colors look like on paper. The first one is Hans yellow by Daniel Smith, and then vermilion by Holbein, yellow ochre by Holbein, sedia by Holbein, Manganese Blue by Winsor Newton, crimson red by Holbein, and cobalt violet light by Holbein. I'm also going to be using my white Winsor Newton whitewashed. I used zinc white, which is not as opaque as I want it to be. So if you have something like titanium white, that would be great to use for this painting. Next, I'm going to show you of how I'm going to be mixing my colors. So here for all of the cookies, I always like to start with those three colors that I mentioned before, which is the hands-on yellow vermilion and yellow ochre. So what I do is I always activate the paint and put them on my palette separately. And then I'm just going to mix it in the middle whenever I need to and adjust to the ratio. To start off, I always like to use very thin consistency paint. In this case, my mixture will have the highest ratio of pansy alone with a bit of yellow ochre and even less vermilion, depending on the tone of the cookie or going for, you can always add more for a million to get better bit more warmth. But this is something that you can build by glazing a transparent layer on top. So I would always suggest for you to use a very thin consistency of the dominantly yellow color to start all of your paintings. To be able to mix your own colors, you would have to understand how each color would affect your mixture. So as an example, if I want my color to be bit more yellow, I would had more hands yellow. If I wanted to go a bit more red or a bit more of a richer tone of orange, I would add vermilion. Whereas if I want a slightly muted color or a bit more of a brownish tone, I would add more yellow ochre. Meanwhile, the consistency of your Pete also matters. So like I mentioned before, it's better to start with a light consistency so you can gradually build your colors. Moving on to the next bunch of colors, I'm going to add a little bit of suburbia here. I use it very lightly because. It is a very muted dark brown color, and if I use too much of it is going to muddy the paint. So here I just add a little bit off the previous mixture. And now as you can see, it looks a bit more brown. And in comparison to the darker value by adding vermilion, you can see that the richness is now gone, whereas this is a bit more of a muted brown. This also depends on how much you put into your color mixture and their ratio will also matter. So I'm going to show you what it would look like if I mix the vermilion and disappear together. You will see that the brown will be a bit more rich compared to the previous Brown that I just watched. Now as you can see, that Brown is moreover reddish brown, but it's still fairly dark because I mixed it with quite a high ratio of sedia. So now I added more vermilion and you can see it's a bit more red, but it still has a brown quality to it. So now let's include the hands, the yellow and the yellow ochre and to the mixture. As you can see the hands, the yellow and the yellow ochre will lighten the colors. So now it has more of an orange tint, but still has more of a brown quality compared to if I were to mix the three previous colors from the hands-on, yellow, yellow ochre, and the vermilion. So next I'm going to show you how I use the Manganese Blue. This is to introduce a color tone to the rest of the warm colors that I have here. And I always like to include a bit of cold temperature to compliment though weren't of the reds and the oranges and yellows. However, this as optional, I think some people would also prefer to have more of a rich warm color. But for me personally, I like to add a little bit of that color tone very subtly because I find that it adds more interests if you play around a bit more with the temperature. So here as you can see, I'm using the blue very lightly. And yet you can still see the color has turned to more of a greenish tone. But here I'm just going to add a little bit more yellow, so even less blue in terms of ratio. And now I'm going to glaze that on top of the orange tone that I switched before. You can see that it brings about a different tone of colored that is still suitable for cookies. And I find that introducing this different tone subtly will be beneficial to the final painting if you want to add manganese blues here, a painting though, I would suggest for you to swatch it first and play with the color a little bit. Because if you add too much, as you can see, you can turn green. And in my turn, your painting also a little bit muddy and sort of unappetizing if the tone is a bit too cold orbit to green. The next color I have here is the Crimson Lake. And I am going to use this similarly as the vermilion. This as, because they're both technically red, but the vermillion is a bit more warm, whereas the Crimson lead is more of a richer and a cooler red. So far I can only use up here to darken my colors or if I want to make shadows. But as I showed you before, if I mix the vermillion to the mutant Brown quality of the Suburbia, it's going to brighten and make the brown Richard. However, because vermilion lighter and value, i can't go as dark as if I were to use this appeal by itself. So what I'm going to do is replace the vermilion with the Crimson late because the Crimson Lake is a darker value than the vermillion. So as you can see, by adding the vermilion with the sepia, I can create an even darker brown without losing the warmth or the richness of the color, the CAPM, the Crimson lake, or the colors that I'm also going to be using for the chocolate dip as well as the jam. But I'll go over that in the lessons because it's not going to be as complex as the main cookie colour mixtures. So that's how I'm going to use the Crimson lake mostly. But as I mentioned before, you can also use it to alternate with the vermillion. So you can use crimson link to add on to the hands the yellow and the yellow ochre as well. So a lot of color mixing is just a lot of playing around and experimenting and just understanding the quality of each color and what the effects are going to be. For the individual painting lessons, I am going to show you the colour mixtures that I'm going to use. But I think having this background knowledge will be useful for you to make your own adjustments. And when you understand my initial way of thinking of why I chose these colors, they think that way you'll have a better overview of the whole painting. But because there's going to be a lot of repetition in terms of color mixing as well as textures. So from these two colors that I just watched, as he can see, these colors are very rich and quite dark and value. And this is by mixing the Crimson late with the previous colors that I mix. So by adding more comes in Lake, I am using less Serbia and the ratio because the Crimson league itself is already quite dark and value. And this is something that you can play around with as you paint and make your own choices that are maybe different to mine if you would like to adjust any of the colors of the paintings. As further last color. I'm only going to use this very, very lightly for the reflections or highlights on the chocolate dip for one of my cookies. I always like to introduce a slightly different q, two reflections, but even then, I'm still going to mix it with the chocolate color. So it's fairly noticeable and is very much optional. So it's up to you if you want to use this or even included in your palate. Here I have my final painting. And as you can see, even if I use mostly the same colors, the cookies can have different tones. And because you can always adjust the ratio of those colors. So some cookies might look a bit more yellow or a bit more orange or more brown. And hopefully with this little bit of information on how I mix my colors, you'll be able to adjust the tones of your own paintings if you ever wish to customize it. 4. CHECKERED COOKIE: Sketching: Let's start out by drawing the easiest 1 first. This is the checkered cookie. This is essentially just a shape of a flat box. So you'll see me starting with just a square facing front on. And then I'll just add a little bit of dimension by creating the sides and extending it slightly to create the three-dimensional shape. This is very easy because the beige shape is something that we're all comfortable with. And you can also play around by twisting the angles and tried to get different viewpoints to study it further. So once you're comfortable, you can start to add the simple detail of the checkers by following the existing guidelines. This does not have to be even. And in fact, I will make my look more imperfect for the final drawing by creating an even edges. For all of the checkers or the little squares. It will make it look more like a cookie that way. And f naught, as you can see, at this point, it just looks like a broken Rubik's Cube or like any other geometric shape. And we're basically trying to make it look more organic and handmade. Again, this is the time for you to study it further if you need to. So I'll just draw a couple more and then I'll show you how to add the little imperfections to make this look more like a cookie. Moving on here, you can add round corners to the cookie and given a softer look. And you can try to apply this to the other blocks that you've previously drawn as well as practice. Once you're ready, you can try to draw a larger version to add further detail through the slightly uneven texture. These cookies are cut out cookies, so they remain the same shape as their beat with minimise bread and rice. This is why they can keep their shape quite well with the edges still remaining quite sharp. With this set though, it's still fairly uneven because when fingers touch the cookie dough or when it's cut, it might not be as, even as it should be, which is why I like to add a little bit of jagged lines, grew all of the edges for the little squares or the checkers inside. It's made out of two flavors, usually vanilla and chocolate. And because they're made out of little sections, I like to actually draw them out separately and create their own separate textures. This I find makes it look very organic and handmade with little imperfections without distorting too much of the main shape of the cookie itself. You'll see me softening some edges of the squares to separate them and create surfaces which my protrude higher than others. These are very subtle textures, but I find that it will make a huge difference to the sketch. And with a liner that I will provide in the downloadable. So you can always use this to trace the mean sheep if you like the angle. Then as you trace, you can also add your own little tweaks for the textures if you want slightly and personalize your cookie. Because the checkers have two colors, you can play it in two different ways, with the chocolate having four blocks, or with a chocolate having five blocks. I personally like it when the triplet has four blocks, only because I prefer lighter colors than darker colors since it makes the composition lighter. But this is your choice. You can colour it the opposite way for your final painting if you would like to. Here I'm just adding some textures and shadows for better visualization. If you want to turn this into an ink doodle, you can include them in your sketch. But of course for me, since I'm going to be painting them, this is something that should be done in the painting stage with minimal pencil marks. 5. CHECKERED COOKIE: Base Painting: Let's start with the first cookie, which is the checker cookies. And for this, I have the colors vermilion, Hen Zi, yellow, and yellow ochre. I'm going to start with those 3 first. And I activated on my pellet and I also added a lot of water to make sure that the yellow we're starting with is very light. You can also try this out on a scrap piece of paper to make sure you have the tone that you like. I sketched out before. I want five of the squares to have this yellow tuned. So I'm just going to color it in. The reason why I'm coloring this and with a very light yellow tune as because the cookie itself as very light in color and I don't want to overwork it. So it's always easier to layer on more colors, which is why I'm starting with this really watery consistency. If you find that this tone is too yellow, you can also add a bit more yellow ochre or a bit more red. But I find it's easier to start with yellow because if you already use too much of the red from the vermillion, it might be hard to tone it down more sense, it is a darker value then the yellow. So starting with this yellow F later, i want the cookie to be a bit more beat and golden brown. I can always over the red. I'm going to start painting the sides. And for this, I want a reddish mutant Brown. So I started with over a million and I also activated a little bit off CPI and Manganese Blue. Again, I'm avoiding too dark of a color, so I'm still using a light to medium consistency for this. And I just keep on adjusting the color and trying it out on a scrap piece of paper until I find the tone that I like. I like to always keep my colors separate and, but at the same time mixed on my palette. This is because I always like to switch up the Hue slightly as you can see me doing here. From the more muted Brown, I switch to a more red and now two more yellowish color. And this is to build interest because the subject itself is quite simple. I tried to build up the texture and the interests from the colors. I'm going to do this for all of the edges. And I also play around with the values. So if I start with a color that I feel is a little bit too dark, I go back to clean my brush and just pull the residual paints that was left on that area to soft in it. And you will see me doing it here. This is because the bottom part, I want to be a bit lighter than the side. So you can also play with the value as well as with the colors. This will also build up the texture to make the surface look a little bit more uneven because the light is hitting it in different ways. And I'm going to do the same again here you will see me using the mutant Brown, the red brown, and the more yellowish brown. You can just keep alternating these colors. You don't exactly have to follow what I did. I used to reference photo for this and I'll link them on the resources section. But the thing is, I always use the references loosely. Even some of the angles of the other cookies are a little bit different. And as further colors, I always try to interpret them myself. So this way you still have the flexibility to paint according to your will. For the chocolate part of the key, I use a mixture of suburbia and for a million. And I'm going to do the same thing. So for this one, as you can see, I pleased the color on the bottom left side and I continued on with just clean water and I pulled whatever access pains I had on that area. And as you can see, the pool of paint on my pellet is separate and net mixed. So I have the left side which has more sepia and the right side which has more of a million. So you always have the flexibility of taking more of the reddish brown or more of them YouTube Brown whenever you want to. You can also reverse the previous step, like what I did here. Instead of making the dark brown and then pulling it towards the empty areas for this particular section, I wet that whole area and then I added the darker brown By using the wet on wet technique. And this will feather and dispersed the paint. And naturally, I'm just going to paint all of the brown squares for now and I'll get back to you once we are ready to move on to the next step. Ok. Moving on to the sides. Now, I'm just going to stick with those two colors to Serbia and for a million. And I'm just going to layer a thicker consistency for the sides. It's okay if it's not as thick as it needs to be at this moment because he can always wait for it to dry, to layer on more paint. I'm using the same method as how I did the sides for the yellow parts. And this is to play around with a value as well as with the colors. As you can see here, I started with a mixture that is heavy with sepia, and I slowly moved to the more reddish brown using a very thin consistencies. So the bottom part looks darker than the top. I'm going to do the same for the bottom part. But another point I'd like to make as the fact that I tried to make my brush strokes very small even though I am using a bigger brush. But this is because the more strokes you make, even if the paint is still wet, the more textures you're going to create because you are distributing the paints on evenly. Well, at least that's what I'm doing here. I'm slightly dotting the paint on, so some parts are a bit more rapidly than the others. I'm going to go back to the vanilla parts of the cookies again. So I'm taking bit more yellow ochre hands, a yellow and vermillion for those colors. And this time, I'm also going to add a little bit of the Manganese Blue. This is so I can introduce different type of brown or a different type of the yellow brown that I've made here. And essentially we'll create a shadow color, but instead of using the sepia, I'm going to use the Manganese Blue. The Manganese Blue itself is a cool color which will mute the warmth of the yellow, but it's not as dark as the CPI. Because if I add more savvy at this point, I think I would make the value a little bit too dark for my liking since I still want to build up on the layers further with this, I'm only using it very lightly and IP and some of the edges to make it a little bit uneven and to give it a tiny bit of texture. 6. CHECKERED COOKIE: 2nd Layer: While I still had a bit of the Manganese Blue and my brush, I took some of the yellow brown colored to mix it with the slight Manganese Blue. And I'm just going to paint some parts of the size of the cookies to further enhance the shadow. I'm again, still going to play around with the value as I glaze over this area. So you can still see the different types of Brown's that I include the sides. I'm just going to keep layering the different tones of brown on the side until I get the value for the shadows. And I'm doing this the same way as I did for the base layer. I just keep on changing the tone of Brown's as the paint is still wet on those areas. And at the same time, I'm trying to also build texture. While I wait for those areas to dry, I'm going to move on to V chocolate section again. And I'm just going to use the same two colors, which are the sepia and vermilion. And I'm using a thicker consistency this time so I can build up slight value, especially here along the sides first. And I feel like this creates the uneven surface because these are made separately and then combine together. So I want to suggest that the height of the cookies are slightly different, or it just has a little bit of gaps here and there. And I feel like these imperfections will make the cookies look more natural and had made. Now that the layer of the base paint is also completely dry, I feel like it's a bit too light, so I am going to glaze over more of the browns, still alternating the brown to builds more interest. And I'm just going to keep doing this for the rest of the squares. Watercolor is always much darker when it's wet. So it's very normal to see some parts feeding a lot as it dries. And it's very easy to keep building upon the colors and the value because you can always later on more colors. This is why if you're uncertain about some painting or an area of a painting, words really lights from the reference photo. It's always best to start with a very, very light consistency because you can always build up the colors easily. Whereas if you need to take off the color, it can be a bit difficult if you keep reactivating the paint and trying to take it off with a dry brush or with tissue, you might end up damaging the paper, which is why I would always suggest to work with light layers. So that's what I'm essentially doing here. I am doing this for all of the separate parts. I am working on the chocolate part again and I'm using the same method as before. This time I'm using a thicker consistency. And because I have the base color now, the police will look darker than the first layer. Switching to my small brush now and this is because I'm going to add smaller textures. And I'm going to take whatever paints I have left on my palette because it doesn't really matter if it's more on the bluish side or on the reddish side. I just tried to mix it up a bit. I take quite a thin consistency to just paint dots and little textures around to make sure that the surface doesn't look flat. And I'm going to do the same for the chocolate sections of the cookie as well. But this time I'm using the same mixture which is from the sedia ends per million. Again, I'm using whatever is left on my palate so I minimize wastage. Mm-hm. As the yellow part is drying further and further, it is fading slightly. So I'm going to take that same thin consistency from whatever is left of my pellet. So obviously if you don't have anything left to, you would need to activate more. But I still have some left and I just use a bit of water to take a little bit for my brush and I tap it lightly. So I create very uneven surface, leaving a little bit of white space here in there with my small brush. 7. CHECKERED COOKIE: Glazing and adjusting vibrancy: For the next step, I'm going to be adjusting my painting because the tone of it I find was a bit too light. And for the glazing, I'm going to be doing this tapping motion. I'm actually going to use a very thin consistency, so something much lighter than this. But as an example, I just wanted to show you something a bit darker so it's a bit more visible. So for the first one, I tapped using almost all of the heroes of my brush. Whereas the second one right here, I'm only using the tip. And as you can see, the textures are much finer and smaller. And this depends on your taste, or you can combine the two by using the larger tubs as well as the smaller tabs with the tip of your brush as well. This is a bit of a big jump, but I technically meet this misstate sense when I painted the checkers, I felt like the colors were rich enough, but as it gets drier and drier. And as I work on the other cookies, I realized that the checker is not as rich and vibrancy. I'm going to Wrigley's it, it's up to you. It's okay if you also make this mistake to always come back to it to balance and tweak the colors further. But to make this cohesive, I'm just going to show you that I am going to keep on glazing this until I get the color that I want. So you can go over this and later on, as many layers as you would like. This would depend on how light your glazes or how thick your consistency us. So for me, I think I did around three more layers because my paint was fairly thin and I like doing more layers so I can add more textures. I'm just doing the tapping motion here again. And I use the same mixture as before for the base, which is hands yellow vermilion and yellow ochre together. However, you also notice that I have a new color here, which is crimson leak. This as so I can add more debates. Look by adding a read that is more deep than the vermillion. For the side, I use an orange mixture from those three colors. And at the moment I'm just squeezing the whole thing because I want the more baked looks. So I wanted to be but more golden brown. But I'm going to go over it again this time. And you will see me mixing a bit of Serbia as well as the Manganese Blue too, that brown mixture. So I can start adding that different tone again. I decided to also switch to my smaller brush so I can make smaller marks which creates more texture. If you didn't see before that dark red on my pellets that's already activated is actually the cruisin leak and I mix it with SEP yet to create that reddish brown color for the sides and the sign, I'm using the same mixture for the chocolate section of the cookie as well. And I'm doing the same thing with the tapping motion. This will make the lines look more random and I will have more of the whitespace refueling the base color as well. I felt like the chocolate and it doesn't really need as many layers as I did for the vanilla part. So I'm going to build the final layer for the chocolate by using a thicker consistency and switching to my smaller brush. And because the final glazing was quiet lights already, I can still see the dots from the previous layer. So the only thing to add for the chocolate session is just the shadows on the side. For the vanilla section, I'm using an orangey yellow tune to paint more dots by using the tapping Motion with my small brush. This is because the previous couple of leaders have taken out the details that we painted previously. And I'm still using an inconsistency because I still want this to be fairly light. But now I feel like it has a good balance of throughout with the rest of the cookie. You don't have to do this at this moment. It can still depend on the other cookies that you've painted as well. But I decided to just combine this final step with this lesson so you have a good understanding of what my finished cookie looked like at the end. 8. SPRITZ COOKIE: Sketching: This cookie is called a Sprints cookie or a Viennese spirits cookie. I think it's essentially a butter cookie which is piped into different shapes and often decorated and garnished in different ways. When I was making this, I was thinking of a simple pipes cookie using the star tip. And this is the basic shape. You can make them rounder or longer, or even have the top wider than the bottom to create something like the shape of Michelle. I'm going to draw a larger one with a bit more detail. Now, the first thing is to know what the main shape is going to be. And then I'm going to draw a neat version of what the piping tip would look like at the bottom or at the end of the cookie. To give me the basic idea of where I should please the lines. The amount of lines will depend on how many points of the startup you want to include. I made mine with eight points, but you can also do less like six or even ten depending on how detailed you want the surface to be. And I just connected with the lines going to the top of the cookie while also following a slight curve to give a bit of volume to the cookie. Think of this as the contour lines and without the curve, the cookie might look a little bit too flat. So you might want to try to add the curves when he did the first sketch of the basic shape. And see if you can create something that's flat and something that has a bit more volume. Once I've pleased the lines on the main points, I created a curve between each of those lines, and I add another line in between to show that the surface of the cookie goes up and down following the start tip. You should keep this in mind when trying to figure out how many points you want to include so you know how detailed your drawing would be. And just like before, I like to include rough edges decree, an imperfect handmade look to these cookies. And I'm also going to draw curves following the shape of the cookie to section off where the cookie is going to be dipped in chocolate. It's also up to you if you want the chocolate to be at the top or at the bottom of the cookie. Something you would need to pay attention to is where the points of the chocolate is pleased. As you can see, it's creating a wavy line. And this is because the cookie surface itself as an event. And the tips are usually placed where the cookie goes up. And as it coats the cookie, it should also follow the curvature to, again help create the illusion of volume. You can try to draw a few of these because a tendon, a little bit trickier learning where to place those lines and how to still follow the cross contour lines to create the volume. And if you are an advanced student or you can also try drawing them out in a slightly different angle, which is what I'm attempting here as an example. For my final composition, I'm actually looking for a flat layout. So I'm going to stick with the simple angle like the ones that I previously drew. But you can always take on the challenge of you're interested. I just wanted this to be an example so you can see the difference and the cross contour lines from a different angle. As he can see, the tip of the cookie, as well as the line weight does not have to be even because these cookies tend to spread out a little bit more. And this will create imperfections and uneven lines as a bakes. So it's up to you doesn't have to be perfect. In fact, imperfection as what I always look for, open a drawer food illustration. So hopefully, knowing that it will take a little bit of the pressure off if you're trying to draw them in a different angle. Okay. 9. SPRITZ COOKIE: Painting the cookie: Let's move on to the second cookie, which is the spritz cookie. I'm going to start with the same three colors, which are the hands-on, yellow, yellow, ochre, and vermillion. It's okay if the color that you mix here is slightly different to the checkered cookie that would previously painted. I in fact, alike to vary the color slightly whether it be intentional or not, but I don't mine and a slight variation, it's always nice to a painting. I'm just going to layer it very lightly here as the base color first. And the reason why I'm starting with this lighter part of the cookie first, instead of going straight to the chocolate dip, is because the color is slider and that way I don't have to be as accurate with the placement of the paint. As you can see, I went over some of those chocolate areas. Whereas if you paint the chocolate first because it is a darker color, and then you paint the other side of the cookie as though light vanilla color. There's a chance that the brown color from the chocolate might bleed into the lighter of New apart while the surface is still wet. So I'm just going to take the same color mixture and tap lightly to increase the richness without adding too much paints at the same time, I want the left side to slightly be darker. So for the right part of the cookie, I tried to paint using a lighter consistency. I'm also not coloring in that top star-shaped because I want that to be slightly lighter and I'm going to paint it separately with the rest of the cookie. For the next color, I'm going to be using more of the vermillion, so the color mixture has a bit more orangey than the base color. And I'm painting this tips of the cookie where the points of the star is. And this is because the part that protrudes out will tend to be browner than the rest. So I'm just going to do little dots with the tip of my brush to try to suggest a bit more of a golden brown. I've tried paint those dots. I go over it again with either a slightly lighter color in a very thin consistency or just water to soften those edges. So there's a nice transition from the cookie to those edges. Once the paint is a bit more dry, it doesn't have to be completely dry. But once the paint settles, I added more vermilion to C mixture to make more of a reddish brown. This makes more of a golden color to the previous color that is now a bit more faded. And I'm just painting right at the tip. So you can still see the soft transition that we painted before. But I'm using this golden brown color just right at those edges. After that, I'm going to suffer than some of the edges again. And this time I'm not going to soft and all of them because I want to build interests by creating different textures. So I tried to avoid painting the same thing on those tips. Because I want the light source to come from the right. I'm adding another layer on the left side of each point on the right part of the cookie. I'm going to start with the light brown with hands, the yellow being the dominant colors starting from the middle. And I use a lighter consistency as I gradually paint towards the right. For the left side though, I used sapere very lightly and added two more orangey brown color with a little bit more vermillion in the mix, which is still made out of the same three colors from before. Using the same brown mixture with the slight addition of suburbia. I'm going to also start coloring in the back of the cookie, which is slightly showing here. And I'm just following the lines so I can see more of the Starship being more defined. This is going to change leader, but I want to keep that cheap. So even if we paint it to be more subtle, the star-shaped will still be visible. At the moment, I feel like the cookie still looks quite flat. So I'm going to define some of the shadows where the points are going down and meeting together. For that, I use a little bit of the Manganese Blue to mix it in with the Brown that I have on my palette already. And I use the very thin consistency to just layer and see how it goes. Don't put too much of this because that color is quite muted compared to the warm rounds that we have put before. And whenever I add a cooler color to tone down the warmth or to neutralize it, I always work in a thin consistency first until I find the look that I want. Because if you're not careful with using a different temperature, the painting might become a little bit muddy. I'm sorry if I've skipped the previous step, but I just basically used really warm red brown to paint a very thin consistency on the star to make it a bit more subtle. And now I'm going to build up with the same tone of Fred, but in a thicker consistency. So I can make the tips look even more baked because the paint is now bit feeded after it's dry. And I'm just going to apply this to all of the points using my small brush. I'm also making sure that the load and my brush is not too heavy, so the paint One puddle too much and the lines will be cleaner at this point because I feel like I have quite a bit of the details down already. I feel confident enough torque and a thicker consistency you because I have a better image in my head now. So for this, I'm going to make a bit of a gradation from more of the mutant Brown to the warm brown as it gets towards that point. And I'm just going to apply this to all of the sections. And hopefully from here you can start to get the feel of how I mix my paint. I don't always make fresh batches of paint unless I completely run out of paint on my palette. But I use whatever I have left and add whatever I need to get the color that I'm looking for. 10. SPRITZ COOKIE: Painting Chocolate Dip: In this lesson, I'm going to be painting the chocolate did part of the cookie. However, I am going to use my time when I wait for certain parts too dry to add on a few more details and work on the key part from time to time. Going Street with my masking fluid, I have a pen version, but you can use the liquid version as well that you apply with your brush. I'm just free handing this, however it feel free to also draw it out first with pencil if you need to, if you're unconfident about it, because it's also fine. I'm not actually going to leave this completely white. So you can always erase the pencil first before spreading the paint or the paint will cover the pencil marks anyway. So let me just explain further. What I am trying to do here is trying to imagine where the light would hit the most. And I'm thinking that it's coming from the right side. So I'm just going to add squiggly lines vary randomly on the right part of the cookie. Drawing it out first will help because you'll get a better idea of the sheep you're going for. And whenever you run out of ideas, you can always look for a reference or use the reference that I've attached in the project session. I don't own any of the reference images that I've attached, but I thought I would share what I used loosely as reference for my painting. And if you ever feel like you need more ideas and references, feel free to look for more until you get a better imagery of what you're looking for. Once you're done, masking makes sure that the masking fluid is completely dry before you paint on top of it. So make sure that the surface of the masking fluid as nice and tacky, I'm going to mix it first brown color that I'm going to use. And it's a mixture between vermilion and sedia. I'm creating more of a reddish brown and I'm using a medium consistency to paint the whole area of the chocolate dip because I want to use the wet on wet technique when I add the darker brown on top, I'm using quite a heavy load on my brush and I keep loading more to create a puddle on that area which I can easily spread without having to keep reloading my brush or at least do it at a minimum. I find that this is a good way to spread the paint quickly when trying to cover a slightly larger area while keeping the surface nice and wet. The next crown, but I'm going to make as a darker ration of this one more suburbia this time, and also use a thicker consistency to paint on distill what surface? I pleased the darker brown on the section of the cookie where the light isn't hitting it. And you can just reference from the cookie that you've painted in the previous lesson. And please the dark brown where the darker part of the cookies. When doing a controlled wet on worked, I would suggest for you to wait till the surface is not pedaling wet, but instead have an even distribution of a slight sheen that we the paint won't travel too fast and I feel like that's the best time for you to put the darker brown. So considering I have to wait for the job to completely dry, I went back with a very light glaze of the vermilion and I painted and certain areas only you can see that I'm not covering the whole surface, but only certain parts of that area to create a site interests. And this will make the painting pop out more without making it look flat. I'm also going to do this with a mixture of Manganese Blue and sepia. And I'm using a very thin consistency and only placing it and tiny areas because they don't really want the cookie to be blue or green at this point. By now at the chocolate dip section of the cookie should be dry. So I'm going to layer on the same colors again to just add. So firstly, I used more of the reddish brown with a bit more vermilion. And next I'm also going to work on the darker brown where I used more Serbia in the mixture for certain areas like the one in painting here, I started with a dark brown and I'm trying to create a gradient by using more off the reddish brown where it's closer to the tip. And I'm just going to keep building on the color like usual until I find the richness that I'm happy with. I'm going to be taking off the masking fluid after this step. So I really have to make sure that the paper is completely dry. If it has any site dampness, you'll risk ripping off the soft paper. So again, while I wait for this to dry, I'm going to work on the startup at the top by building on those more unbaked tips and connected a bit better to the star at the top of the cookie. I'm being quite brief with my colors. In fact, I'm using the reddish brown from the chocolate mixture and paint the cookie section that is facing down at the top. And I'm also going to define some of those edges at the front of the cookie as well using the same color. I'm using my small brush here so I can paint using small strokes to creat a bit more texture. 11. SPRITZ COOKIE: Highlight and Finishing: I'm going to be taking off the masking fluid. And before you do that, you should just tap your finger and tried to fill the paper to make sure that you don't feel any coldness or even the slightest dampness. And you can just use your fingers to takeoff the masking fluid. If you guys have watched my previous videos before on how I painted the bread, you'll know that I like using a slight purple to paint the highlights. And this is what I'm doing here. This is cobalt violet light and I'm using a very thin consistency as he can see to just paint on those white areas. But at the same time I want to disrupt some of the dry brown paint. And that way I get a little bit of that color mixed with the purple. You can also see that the edges from the masking fluid as a bit static and stuff. So I'm also going to soften the edges at the same time. I find that when I use my smaller brushes and, but easier because I can get more control when I'm painting those edges. And I can also reactivate and manipulate the paint already on the chocolate dip to customize the shape of the highlight even more. So here I'm ready to take up my white gosh, I'm using zinc white here, but I recently found out that zinc white as quite translucent compared to permanent white bar titanium white. But I can always layer more for extra capacity. I'm using my small brush to paint some highlights for both the cookie part as well as the chocolate dip later. And for the cookie session, I prefer to use a dry brush so the texture looks more and try and sharp. And I can create really subtle small brush marks, whereas for the chocolate Deb, I prefer a wetter consistencies. So the pink glides easily. Just make sure to double-quotes certain areas where you want full capacity if you're also going to use sing quite for the squiggles of the highlight. I tried to accentuate that more with my brush here because it's easier to create more of those squiggly lines, as well as the fine highlights where the tips of the points are. And that's pretty much it for the sprints cookie. 12. LINZER COOKIE: Sketching: Until the last cookie which I'm going to be painting for this class. This is the lindsey cookies, which are two cookies sandwich together with jam in the middle. And can either reserved, dusted with icing sugar or just plain. The top of the cookie is usually cut out in the middle. For my final painting, I'm going to be making a heart-shaped one to compliment the palm ears. But you can choose a variety of shapes like any other cookies. Just try to find the thickness that you prefer for this one. But just keep in mind that these are going to be sandwich, so the finished cookie will be much thicker. The single ones. These may look very simple to draw, but it's actually quite hard. Well for me anyway, because you would have to be accurate and creating the sheep. I only started with a circle, but I'm going to add curves on the side for extra detail. I love how the curves look. It just looks very dainty and more of a tea time snack that way. But if you find it a bit difficult to draw the curvy edges, you can just trace the outline that's available. Or you can stick to sheep instead of the one with the Caribbean edges. And to draw the curvy edges, I would like to add a cross-section and the middle to at least even not the position of those curves. I tried attempting at, without the grid and the circle. And if we can do this, that's great. But mine was quite disastrous. So I always like to use these as guides. What I like to do is to place one at the top, bottom, left, and right positions, right at 90 degrees. And then I tried to fill in the slides whatever space I have left. You can either do two or three depending on how large your curves are to make this a bit more visible, draw a larger vision like before. And this is what I meant with placing the curves and a 90-degree angle. And because this is much larger than the previous one that I drew, I also made the curves bigger. So this will depend on the scale of your final drawing as well. As you can see with the guide, as much easier to place those curves. And if pleasing three, like how I did is a bit too confusing or you still can't quite get the evenness of the positioning. You can also draw one in the middle of each of those sections first and then fill in the rest. Now to turn these into three-dimensional objects, I find that as the easiest to do when I draw it straight lines and between those curves to help us guide because the curves at the bottom might not align as well without those lines. However, to polish this further, I tried to turn those lines slightly curved because I find that this would make the cookie look less stuff. Because these cookies are not the type to be Jaggard. I find by doing this, it gives the cookie a slight puff from the baking process. And the only straight lines should be from the curves which are around the midpoint. I just draw the jam and repeat the same process for the bottom layer of the cookie. As for the center, again, you can create any shape, but I'm going to create a heart-shaped for mine. And hopefully you'll notice that I tried to also meet the heart, look puffy by avoiding sharp points. And I find that the heart-shaped looks cuter this way. 13. LINZER TEXTURE: Technical Exercise: Before we start painting the loser cookies, I'm just going to show you how I mix my peat and how I'm going to apply the texture because we're going to do it straightaway. So like the rest of the cookies, I'm using those three colors which assigns a yellow vermilion and yellow ochre. For this, I'm going to be doing the tapping motion like what I did with the checkers. But this time I'm going to alternate the colors because the space is much larger now underlings their cookies. So while the surface is still wet, I reapplied another color to my brush. So as you can see while doing the tapping motion, even if I have some white negative spaces, those areas which are wet or just going to mingle with each other, creating this really nice soft transition with Nolan's or cookies because there's going to be a large surface area of the cookie itself. We're going to build on this texture by waiting for the previous layer to try and painting right on top of it using the same texture. So we're trying to build this texture that is transparent on top of each other. For each new layer on top, you were adding slightly darker value, even though we're using the same consistency painting, which is very light. But as we layer more colors on top of the previous color is just going to darken slightly. This is how I'm going to build the value just like the rest of the cookies. For this, I'm also using the same method of the tapping and also changing of colors every so often to create an uneven texture. For the moment, all of the colors that we've been using so far are quite light. But for the edges, I am just going to show you that a USDA mixture of vermilion and sepia, along with the previous hands, a yellow and yellow ochre and the mixture. And this will just create more of a rich brown color instead of being very dark and music brown. This I use for the sides or parts of the cookies, which are going to look more bait. For this. I'm applying it the same way using the tapping motion to keep the texture. But this time, I'm also going to soften the edges by using a clean brush. But as I softened the edges, instead of using a flat wash of clear water, I still do the tapping motions, so even the transition itself is textured. So let me show you again one more time. I'm using the same color as before, and I'm painting along the edges because we're only going to do this in a very small section. So after applying the paint, I usually just clean my brush and then tap it on my tissue to get the excess water off. Because there is such thing as also paddling water when you are trying to create this transition. So essentially what I'm doing here is just reactivating the paints that are already placed on my paper. And as you can see, when I'm reactivating the paint, some of the paint can also be absorbed by my brush. So whenever I pull the paint, it might be a bit too pigment it. And when this happens and just clean it again and just reactivate the part where the paint is the lightest, and pull the paint until it transitions to practically white score, whatever the base color was. So before we move on to the painting, I'm also going to show you an example of what a flat transition will look like. So I'm going to apply the same paint again, but this time instead of doing the tapping motion, I'm just going to do a flat wash using a clean brush. And as you can see, even though you're still able to see the texture from the bottom layer because the topically is still transparent, it won't look as textured as what I previously made. 14. LINZER COOKIE: Painting the Base: And to the lens or cookies. Now, I'm going to start with the same three colors, which is fancy yellow for a million, and yellow ochre. I'm going to place them on my palette just like before, separately and then mixing it as I go. I always like to start with the lightest Brown, which has predominantly more hands yellow in the mixture. And I'm using a lot of water to make a very thin consistency for the base layer. Instead of creating a flat what surface for this one, because we have a large flat area. I'm going to start adding the texture right away. You'll see me tapping with the tip of my brush and varying the direction while also leaving some white negative space. I'm also going to alternate the colors a bit. So I might take a bit more yellow ochre or a little bit more vermilion as they go. I just continuously do the tapping motion to get the texture and uneven surface. As you can see here while I loaded my brush with the really lights consistency yellow, I also took a little bit of the yellow ochre to create a slightly darker value. And because the surface is still wet, That's going to blend together nicely, well also leaving a little bit of texture. We're just going to keep building upon this layer by layer. And as we make those textures and darken the colors. And also with the addition of adding slightly different colors. It's going to create a texture that is soft and yet uneven At the same time, which is what I want to create for this biscuit. Because I'm just painting this around the heart-shaped continuously. You'll see that this part I'm painting right now has started to dry. And you will see a bit more defined texture while I paint on top of it. This is what we're going to build, and I'm also going to add a slightly darker value by creating a slightly thicker consistency. It's still very light, but it's not as light as the first layer. Hopefully you'll start to see the slight changes of color here. The top was a bit more yellow and what I'm painting here looks a little bit more orange. You can also add some water with a damp brush if some parts look a bit too dark for your liking at this point, I also tried to add more colors towards the edges. The ten sunburn or a big faster than the rest of the middle part of the cookie. Here, I added a little bit more vermilion and yellow ochre in the mixture. So as you can see, the color is a bit more orange and you can always soft in this, it might look a bit dark compared to the pain that has tried off already. And if you want to soft in this, you can always use a damp brush to take some of the edges off and blended with the rest of the cookie. And I'm also going to do the same for the hardship as well. You'll probably see that I added more in certain areas than the others. This is because I want everything to be uneven so it looks a bit more natural. I'm going to start painting the heart cut out and the sides. I used more of a darker value for this. So I added a bit more yellow ochre and vermilion. And because it's such a small space, I just painted them normally without adding the additional texture. Well, the sides are mostly drying off. I'm going in with the same color mixture to add some shadows for each end or each dip of the curve to give a three-dimensional volume. Now, it'll start to feel like the curve has a bit more depth. And this is something that I'm going to build upon like here, I went back with a slightly thicker consistency to continuously map out the shadows. For this one, I placed them and smaller areas under each of those dips because the paint is almost completely dry now you'll see that the colors are starting to feed. So I'm going to relay or the colors again. And because of this additional layer, I'm also going to build up on those shadows later on again because they are starting to blend. Especially for this cookie, you just see a lot of repetitive steps because we're just trying to build the forum of the object, which is the cookie base. This might seem redundant and you might think, why not just add a thicker consistency to start with so you don't have to build as many layers. You can also do this if that's what you're comfortable and confident enough with. But for me personally, I find that creating the light layers give me more control over the colors, especially for lighter colored objects. And this is just myself painting for this particular subject matters so I can create those soft textures. I think that you can also start to see the form here as I keep building up on the colors I am using a darker value now, especially towards the edges, I would suggest, keep repeating these steps until you find the right tone that you're happy with. We all know that it's nearly impossible to get the exact same consistency for each layers. So yours after more or less layers than I did, might look more finished than what I have here. So just stop at a point where you feel like you've established a fair bit of color and form. 15. LINZER COOKIE: Jam, Texture and Shadows: In this lesson, I'm going to start adding the mutant shadow colors. So I started using a bit of the Manganese Blue, a little bit of Serbia, and also vermilion. So it's not as dark. And as you can see, I'm using such a light consistency because I don't want to make it muddy. And I'm just squeezing them on the side of the cookie for the whole left side. And as I get towards the middle and the right hand side, I add less and less because I'm still imagining that the light is hitting from the right-hand side. You'll see here I'm also adding that same mixture near the top curves. This is so those ends look a little bit rounder because we know that cookies doesn't really have completely sharp edges, especially after their bait. As you built the shadows, he don't always have to use that mutant brown color with the Manganese Blue, you can always go back to the warm colors again. And just by adding more of a darker consistency or a thicker consistency, you'll be able to also create shadow colors. And for me personally, I always like to mix tons of colors. And this builds interests so it doesn't look flat. And here you also see me placing that more orangey brown in-between where the gym is. And that is to also create the illusion that the cookie is rounder, instead of it having sharp edges. Same thing with what I'm doing here. I'm trying to reduce those hard edges by also painting and between the curves and slightly rounding off those shadow placements as well. I'm just going to keep enhancing those shadow areas between the curves at the bottom. I also created those triangular sheet and I find that it's often the curves even more. I think we have a fair bit of information painted already on the cookies. So I'm going to start painting the jam. Here. I have Cruzan Lake and I'm going to use a little bit of this. And also vermilion. I'm using a medium to thin consistency to begin with like usual, and I'm just mapping out the highlights first before filling the rest of the space. In terms of mapping out the highlights. And just like the previous cookie for the chocolate coating of the sprints cookie, you can always look for more references outside of the one that I have given. So you can have more inspiration of what you want the highlights to look like. Well, the surface is still wet. I'm going to add a higher ratio of The Crimson lake to just make the colors a little bit richer in certain areas. And here I'm just going to play the same colder mixture on the jam that is slightly oozing out from the sides. I'm going to wait for that layer to dry. And after it does, you can see that the colors are a bit more faded now. And I'm just going to build up on the colors using the same mixture but in bigger consistency. And I'm also going to start leaving a little bit of highlights. You can see the base color from before peeking out from the tips off the curves. I'm going to slowly build up the value and the shadow color by using the same color mixture from before, but this time I also added sepia to create an even darker rent. I also switch to my smaller brush, so it's easier to get to all of the edges and even to create than lines under the Huike. After we build upon the darker reds for the gems on the sides, you will also start to see that the rest of the cookie looks a bit faded and the color is not as rich as the jam. So this is where you can always go back to balance the colors. So I'm still sticking with my small brush. So I can also avoid some parts like on top of the bottom cookie, I left out a little bit off the base color. So you can see a bit of highlights and a bit more formed that way. I use the same color mixture with a more orange tone and I just create those uneven brushed again, but with my small brush this time. Because smaller brushes holds less water than the bigger ones, you'll see that some of the lines are a bit more defined. And I always soft and it again with just clean water like what I'm doing here to soften those edges. And even while I'm softening the edges, I just do the tapping motion again. So I'm going to do the same for the rest of the cookie. And because it is the larger area, I switch to my large brush again. And I'm just doing the same thing again by glazing. But this time I am using a thinner consistency because I still want those edges to look a bit darker. 16. LINXER COOKIE: Jam Details, Icing Sugar and Final Details: In this lesson, I'm going to be painting the details of the jam first. And I'm starting with vermillion in the medium to thick consistency. What I'm aiming to do here is to leave out and negative space in a random shape and then just fill in the rest with this vermilion. And the base colors should peek through the negative space to give the impression of reflection. Just like the spirits cookie for this one, you can use the reference that I've attached to give you an idea of what the reflection can look like, or even search for more pictures on your own to help decide the shape of the reflection. I'm also going to work on the side of the cookie on top of a jam by adding a slightly orangey brown from the previous mix. Because the color is not rich enough against the red of the Gem. And this reddish color should act as a slight reflection of color from the journal. So I'm going back to the jam again now that the colors have had time to settle. And I took a medium to fit consistency of the Crimson late paint, another layer on top of what I've already painted to make the color a bit more rich and for the previous reflection to have more contrast with this red. Now I'm going to keep building up the colors just like the gems on the sides. I use a mixture of the Crimson Lake and sub yet to create a really dark rich red, I'm going to paint some shadows where you can still see a little bit off the cookie showing through under the jam. And also in other areas, I'm doing this randomly again, so you can always look at references to get any ideas of where you want to position those darker tones. Here I made the decision to soft and the highlight by using whatever color I had left on my brush after dipping it in water. And I use it to color as well as reactivate Some of the paint around it. You don't have to do this, but I just find that the highlight here is a bit too glaring and the shape is a bit too simple for my liking. And with this small brush, I'm going to use the same color to create even finer details. It looks like whatever's surrounding this cookie is reflected on the jam and it looks a bit more realistic when you include those tiny fine details. Here comes one of my favorite parts for oil paintings, and that's putting on the white Guassian as fine highlights. For this, I'm going to just paint random squiggles as well as small dots, especially around this rounding heart area. And I'm also going to do the same for the gentleman, the sides. I feel like I'm quite happy with the Jan. And I think that it has enough detail and volume to it. So I'm going to balance out the detail on the cookie because at this point I feel like the jam as overpowering the cookie. So I'm going in with my small brush again to paint the final details like around the cookies, especially the edges. And I'm going to mostly use a very orangey red to build upon the warmth of the color. And I just keep on adding until I feel like the warmth is balanced with the richness of the jab. Whenever you feel like you need a boost of value, you can always add the darker red from the mixture of the lake and Serbia into the brown mixture for the edges of the cookies. When you're painting the orangey brown, I would recommend to soften the edges to create a curved look using a clean damp brush to pull it and words. But this time while you're softening the edges, stick to the texture brush strokes with the tapping motion that we've been doing for these cookies, that we doesn't turn into a flat glaze, but you're still adding onto the texture. And to finish everything off, I'm just going to add little dots on top of the cookie for that classic dusting of sugar. You can leave this out if you would like. But I personally like the snowy look at gives and it's somehow feels more festive. You can go about this a couple of ways. I personally like just adding little dots randomly on the cookie. And I tried to clump more and random areas so it doesn't look like it has an even dusting. Or you can also do the tapping motion with the white question using quite a dry brush consistency to cover more area or mix the two techniques together, like what I'm doing here. This will take a while to do, but I love adding little details with white gosh. So it just take your time and relax while painting this part. I also like to add more near the edges as well as the surrounding heart area. And I feel like gives a really nice contrast of color. 17. PALMIER COOKIE: Sketching: For the third cookie, I'm going to draw a French Almere. These are made of folded and cut up puff pastry, which is absolutely covered with sugar. I loved these when I was a kid and I still do now. It's so buttery and rich and the folds look like hearts. It's supposed to look like palm leaves, hence the name, but to pwd looks like hearts, so I'm just going to interest it that way. You can draw these out in different sizes and shapes because puff pastry is quite unpredictable when it expands as a bakes. But I'd like to make mine quite thin because I think it looks crispier that way. So I added the thin sites, but you can make it thicker if you prefer. I tried to not include as many faults because the puff pastry would expand as it's being baked. And you can also play around with how thin or how wide you want the cookies to be is usually folded from both sides coming to the middle. And I'd like to also leave a small gap at the Center for aesthetic reasons. But again, as the puff pastry usually expands differently, some would have this gap and some wouldn't. So it is an option. Here I'm going to draw the larger version. I started with just the same basic shape, but a trend to play around with those lines and tried to even make unintended folds and certain areas, as well as open cracks to give the impression of the layers and the sugar and butter which separates those leaders to make it really puffy. Sometimes it might be a bit hard to draw these off the top of my head because I need to practice those random and perfect shapes. So after drawing out the basic shape, you can also try to look for reference photos to give you an idea of what the texture of the puff piece tree would look like. And feel free to even use several references if you find a few that you like. Lastly, I'm going to add sugar granules around the outer layer, and also some which might have strayed on top of the pastry. I love adding the sugar and the drawing and painting because I think it just adds so much texture and detail to this one. I'd like to vary the placement and make it as random as possible, like having a huge clump of sugar or just a few cranes in some areas. Again, I'm matching the shadows. But for the line of the watercolor painting, I would try to make the lines as clean as possible. 18. PALMIER COOKIE: Masking and Base Colour: For the final keyword going to be painting the problem here, though, this has the least amount of color selection. This one does have a very different texture to the rest of the other cookies, since this is technically made out of puff pastry instead of the sugar cookie or butter cookie bass. So we're aiming to create the flaky lawyers here and starting out by masking off the sugar particles. This is actually not necessary because you can always paint around those particles. But it will definitely make it much easier and faster to paint stream on top of those most areas. Again, I'm using my pen version for easier application. But you can also use the liquid masking fluid and apply it with an old brush. For the bigger chunks on the site off the cookie. I'm not going to mask the whole thing because I don't think my paints will run outside of those lines anyway. But if you want to be more careful, you can always must let off to I just didn't feel like it was a necessity. When you see the outline, it does look like a lot of sugar, but after masking, I realized that I didn't have enough. So if you feel like you want to add more sugars, you can also add more with just your masking fluid in random areas to give a bit more texture. I'm sure you guys already know by now I'm going to start with the same three colors, which is the Hadza, yellow, yellow ochre, and also vermilion. And again, I'm going to start with a very light consistency of a yellow brown like before because I am going to paint on a fairly large area. I'm overloading my brush with that paint. And for now I'm just going to paint on the top surface of the cookie and leave out the sides. While the surface is still nice and damp. But even all around, I'm using more of an orangey mixture and I'm going to apply this to the sides of the cookie, which is a bit more bait than the middle, because this surface is still damp all around. It's going to blend nicely and it's just going to create subtle transitions. Still taking advantage of that wet surface, I am going to take an orange tone by adding more vermillion in the mix and apply it on the outer part of the cookie. If see the hues are blending a bit too much with the previous layer, like what's happening here, you can always follow up the color using predominantly yellow tone by reintroducing the Hadza yellow and bit of yellow ochre. And you can be a bit more brief with the colors as well. But you guys know that I like to play it safe and inner layers on top for extra control. I think I have a nice warm tone here, but as the paint is settling and mingling with each other and the colors are starting to fade. I'm going to introduce a brown tone by adding SEP yet into the previous orangey red. And I'm going to place them on the more baked areas of the cookie like the sides and the top. This is still the same wet layer that we've been working on. And what we're trying to establish is the positioning of those different tones as we add on more layers on top after this trial using the same brown tone. I'm now going to finally the piece layer of the sides. I'm only doing a flat wash, but it's okay if you leave a little bit of white space here and there. But like the previous cookies, I'd like to also play with the Hue slightly by introducing a brown that is sometimes a bit more yellow, bit more orange, or even a bit more read. The positioning doesn't matter too much. This is something that I feel we can play freely around with. Just make sure that when you're following up a certain color, I would recommend for that color to still be wet. So when you are introducing a slightly different hue to the Brown, the colors will still mingled with each others. So those changes are still going to be very subtle. By now, the surface should be somewhat damped and cold to the touch, but no longer wet. And I feel like this is a good time to add more colors because it's still going to slightly blurred out, but not as much as before as some parts might be drier than the rest. So here you'll see me using the yellow brown mix to start painting some of the crooked lines representing the folded puff pastry. 19. PALMIER COOKIE: Texture and Cracks: Before we move on to painting the textures, because this is a bit more complicated. I'm just going to draw it out, so hopefully it's easier to understand. So firstly, on the inner folds, I want to create a slightly puffy texture, like the surface is somewhat list string from the butter underneath the layers. And I'm going to create these random curved lines to enhance the blistering effect. And I like to start from the splits and words, and then I do the same from the other side as well. I know that this might look like a weird texture, but it has created when the sugar mixed with the butter is criminalizing and sticking the layers together. So these areas will have glossy finish at the end. As for the bottom, I'm going to create a slightly different texture by adding air pockets, by creating random shapes in between those layers, sections, as well as different shaped and sized lines. This is so you can see all of the layers within the puff pastry and it will also create a puffy effect in a different direction. So now I'm going to paint those textures that I've previously drawn. And I'm starting out with more of a yellowish color, just adding light textures and some of those edges while adding the additional random curved lines. So the surface of the Palmer doesn't look flat anymore. Like usually, you can always alternate the ratio of colors to make it a bit more brown, more red or orange or yellow. I especially like to do this near the edges to make it a bit more cooked than the inside. But I'm still working on a light to medium consistency at this point so we can keep building up the details by layering. As I go. Here towards the middle, you see that the colors have shifted more orangey tones. So this means I added a bit more yellow ochre and vermilion and to mix. So that area looks like it's a bit more beat than the middle of those heart-shaped. This step is actually just very repetitive because we are essentially creating the same pattern or the same texture, but just in those separate sections. Sometimes when we keep repeating a certain texture, they all might look the same and it will no longer look natural that waste. So whenever you feel like you need any ideas of how to curve certain lines, you can always refer to the reference photo that I've attached. It's okay if you get bored and John, from step to step, because we're just going to work layer by layer. It doesn't really matter which part you are working on first. So here I'm jumping to the bottom, creating a slightly different texture, which is the more uneven lines that I drew up before. For this part, I also want to make it a bit more baked. So I started adding some sepia into the previous mixture to make it look a bit more brown and more red than the rest of the cookie? For the sides, I would have to say that the texture that I make is a bit more randomized. So I make a lot of squiggly lines. And I tried to make the outer shell look a bit blistered or just an uneven surface as it expands and random areas. I like to create the textures and a darker brown color. So you can see a bit of the bottom layer, whereas in bit more yellow and I really like the contrast between those colors. It's so key of the outer shell look a bit more burnt because those areas tend to have more sugar and it would caramelize and some parts might burn or would just be darker overall. For the sides of the flat surface where it's connected to the outer shell. I like to create very fine lines using the tip of my brush. And I tried to make the texture look very tight and small because I find those areas tend to puff less compared to the midsection of the cookie. So that's how I try to connect the outer shell and the flat surface of the cookie. So from here on, those are just the textures that I'm going to keep repeating for this whole painting. And you can scroll through to the end of this lesson to see what it looks like. But it just take your time and use a reference whenever you need to make those textures different from each other to keep it looking more imperfect and handmade. Towards the outside, again, I'm using more brownish tone or a brown orange tone to make it look a bit more beat. So now you can start to see the progression of color where the outer layer looks a bit more orange and the inside looks more yellow. And I'm still working and a light consistency because we're going to just keep layering goes on. And as we layer on, even if we keep adding thin consistencies or even a medium consistency, the color is going to slowly built up. And once you have all the textures down, you can always go back to glaze on top. So you can adjust how big you want the cookies to look with a lot of control. I'm just going to keep repeating the textures until the end of this lesson. You can paint along or move on to the next lesson when you're ready, I tend to do this very slowly because repetitive shapes or textures can be very relaxing to paint. And this is where you can just have fun without too much worry of creating a perfect form. Okay. 20. PALMIER COOKIE: Redefinition of Textures: In this lesson, I'm going to redefine those textures that have done in the previous lesson. I'm going to add an additional year to the darker shadows. And to do this, I'm going to introduce a new color. We just make this deep red color will help give a warm dark brown color when mixed with Serbia. Whereas if you only add sepia to the yellow or orange tone from before, from those three colors, it will mute the color too much. So this Crimson Lake is the key and keeping the richness and warmth of this palm year. I'm using this darker ground to get into the nooks and crannies of the puff piece tree to define each layer and add more depth to those separations. While doing this though, I still keep the lines as natural and as imperfect as possible. Sometimes I like to follow through a little bit of the dark brown color to the previous layer to support and enhance those random shapes. For some of the sections here you can see that those imperfect layers are somewhat folded slightly and it makes the lines look a bit more wildly. And I find that these are the random shapes that makes and gives the texture of the polymer here. Now I'm going to add manganese bluesy my palette to give some meta tones. And I'm not going to overdo this. If not, the Brown will start looking a bit too muddy or green. And I don't think that looks delicious anymore. And mixing the Manganese Blue with a bit of CPI, as he can't see, I don't use much of it at all. And I tried to cancel the cool temperature slightly also with the CMS and Lake and add vermilion as well as orange to my palette. With this color, I add smaller details like the layers within the folded pastry, especially the Buffy area at the bottom, as well as the thinner lines surrounding the flat surface off the Paulownia. Sometimes I also tried to add a couple of thin lines and between those long sessions, but I tried to not do too much. So I don't risk this looking too overworked because it's something that you can easily do, especially with such detailed pieces like these ones, we might overwork the texture and the shapes will no longer have the definition at once had. I'm also applying some of the muted tone on certain areas of those sections to deepen it further. But tried to not just paint on top of what you've already painted. Instead, take certain parts which imagined as deeper than the rest of the area and paint that deeper part using the muted Brown. And this will help give more details to your painting through those fine layers. Here I went back to the rich red brown color to bring back more worms into the painting after the muted ground. And just adjust your painting to how you see fit. Here. I also made a very rich, dark, warm Brown using Crimson leak and sedia, along with a little bit of the orange I had on my palette in a very thick consistency. And this is to add to the deepest surfaces of the Palmer. Because that dark brown is very deepen value compared to the rest of the cookie. And the paint might look less delicate than the rest. So here before I paint on the real painting, im just going to show you what I'm going to do. I like to often some of the edges, he's in a clean, damp brush and I'm doing this very lightly to create subtle soft edges and mostly soft in the sides of those textures instead of the top and the bottom where I preferred to have more defined lines. So the sides can come to more of a finer and delicate point. When I'm softening this with my clean, damp brush, I made sure that the load is very minimal, that my brush comes to a point. So the water will puddle as that would make the edges even more thick depending on the size of the puddle. And as the paint reactivates is just going to be the size of the puddle. So with this very lightly dampen brush, I reactivate the tips of the textures and pull it to the side. And whenever your brush has too much paint, I always clean and depth the rest off was my tissue to further pool and soft and those edges. And now I'm just going to apply it to the painting. You may also switch to a smaller brush for this, if the textures are but to schools or control. 21. PALMIER COOKIE: Sugar Particles and Finishings: When you feel like you've got most of the textures down on the palm year. You can take off the masking fluid using either your finger or an eraser or those rubber summits which I don't have access to. But I have my finger and it's the cheapest option. Just be careful with some larger areas and might need a bit more care than others. So just take your time whenever you're taking any masking fluid off your painting. So you don't damage any parts of your painting which you've worked so hard on. So before we move on to painting this sugar particles, I'm just going to draw it out here and paint a larger version because those particles are quite small. So hopefully this is a bit easier to see for the color. I'm actually just going to use whatever I have left to my palette. But what I usually go for as something like a very light mutant brown. So here I'm showing you a slightly darker vision, whereas later I think I'm going to go for something that is even a bit lighter so I can Lear on more of the colors. What I'm painting here as some random shapes within the sugar particles to suggest the uneven surface. And those colors should act as reflections of whatever surrounding it, which is why I'm using the same color as the Palmer. Because this is larger. I am painting more shapes, but for the smaller particles leader for your painting, it is okay to just put one or a couple of shapes. This should be light and subtle and should just act as additional texture and not stand out too much against the rest. I'm also going to layer on a slightly darker version of the color. Technically, you can place it within the shapes you've painted also, because reflections are quite unpredictable. So I like to do a bit of that, but I would prioritize painting the darker colors in order to show the form of the sugar. So where are the sugar particles are clustered together? Sometimes I like to separate them by using a darker color for the sugar that is pleased behind other ones. So now I'm going to paint the sugar and i'm using any remnants of pizza that I have on my palette. I'm only going to use a very light consistency for the sugar because I want it to still be lighter than the rest of the cookie. So just add a bit more water to whatever I have left. I'm also using my small brush here, so it's really easy to paint on those very small areas. Another step that I like to do here is also to create the shadows under the sugar. This is to just redefine some of the sugars, which are especially on top of the lighter parts of the cookie. So I don't forget them or misplace them. So I just use a little bit of crimson lake that I've mixed into a bit of my orangey mixture from before. And I used a medium consistency to paint around this sugar particles from one angle. I'm just going to go back and forth with these steps to start to give a bit of form and dimension to those sugar particles. These are random sheaves. They don't have to be painted accurately in a certain way. And I tried to think of it like a random geometric shape in order to give an uneven looked to the surface of the sugar particles. In terms of the color, I like to start by using a lighter consistency and then slowly building it up again. And those random spaces, especially for the sugar clusters which are packed close with each other, I like to separate some of those shapes using a slightly darker consistency of whatever I have on my palette. I'm still building from the same colors from before. And this should separate and give a bit more form to the sugar clusters. Finally, I'm going to be painting some highlights on the surface of the Palmyra. And you can just randomize this with different brushstrokes. I like to do squiggles like before, and I also do little dots and lines. For this, I use a very thick consistency of white wash and I tried to make it as opaque as possible because I want it to still be visible against all of those textures. And I tried to also think about enhancing the textures that I've already meet for some of the outer layers. If you want it to look a bit more crackly. You can also use a dry brush effect. So basically for this, I just like to mix different textures together and create the different surfaces of the pump. So this final step is optional, but you can take it as more of a final adjustments you're painting for me personally, I felt like the insides of my Palmyra looks a bit to peel for my liking. I quite like it this way, but at the same time, I need it to be a bit darker in order for me to add some of the white highlights. So this is up to you. If you like, a more blunder or a lighter look, you can leave it here. But as for me, I adding those highlights to make it look a bit more glossy from the caramelized sugar. So I decided to add the darker brown color and just glaze it on certain areas so I can add a bit off like wash. I think that a lighter interior has its own charm. So it's really up to you how far you want to take it. Some people also like the birds look so you can also add darker colors, even more darker colors than this, if you would like to. 22. CLOSING AND CLASS PROJECT: Congratulations and completing this class, hopefully the steps that I showed you today will be useful for you to apply to your own country paintings. And like all my other classes, the steps and techniques that I've shared are always open to interpretation to your own style or even subject matter. So hopefully this is something that you can apply to your own personal paintings as well. This is just my way of sharing with humane sometime techniques by applying it to the specific cookies. For the class project. I would love for you to be into multiple lessons. But you can also adjust things like colors, composition, and even different key varieties as well. When you're done with your painting, feel free to post it in the project section so you can share it with me as well as other students. And it's really fun to see the different styles that you guys have, even if we're painting the same subject matter. If you enjoy, stays class and you would like to see more smaller art tutorials by me. I do post weekly on my YouTube channel neon Yani. Or if you would like to see more art by me, you can also follow me on my Instagram at IgM miscoordination Yanni. So that's it for today's class. I hope you guys enjoyed it and learned something new if you're still here. Thank you so much for watching till the end and I'll see you at the next one by.