Digital Painting: Ramen Noodles | Emily So | Skillshare

Digital Painting: Ramen Noodles

Emily So, 2D Artist

Digital Painting: Ramen Noodles

Emily So, 2D Artist

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12 Lessons (3h 33m)
    • 1. Intro

      0:29
    • 2. Tools and Settings

      2:59
    • 3. Outlines

      24:32
    • 4. Basic Colors

      15:07
    • 5. Noodles

      46:54
    • 6. Egg

      14:07
    • 7. Bok Choy

      17:09
    • 8. Chashu

      16:01
    • 9. Scallions

      25:31
    • 10. Fish Cakes

      17:30
    • 11. Bean Sprouts

      13:39
    • 12. Bowl, Chopsticks and Touch-ups

      19:01
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About This Class

In this tutorial, I demonstrate how to paint a bowl of ramen noodle soup with a handful of toppings. I go into detail with rendering the textures of each food item. 

This demo is optimized for digital painting, but you can probably learn a few things from it if you usually work in traditional media. 


Meet Your Teacher

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Emily So

2D Artist

Teacher

I've been teaching since 2014, and specialize in digital illustration, drawing and 2D animation. I primarily work with Krita, but sometimes work in Adobe Photoshop and Animate. As a professional artist, I've mostly provided graphics for video games and illustrations for purposes such as promotional art and storyboards.

I hope you enjoy my work. Thank you for visiting! 


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Transcripts

1. Intro: however, one I'm Emily. And in this tutorial, I'm gonna show you how to paint some ramen noodles. 2. Tools and Settings: for this tutorial, I'm demonstrating with digital media. I'm using critter, which you can download for free. You could use photo shop, minute bang fire, alpaca clips to your pain, even procreate. And for hardware, I'm using a sin teak 13 HD, but you can use anything like a lock of into a straw. Whatever you got to created digital painting for the brushes in this tutorial, I would say you can kind of go crazy with your different brushes. Mainly, I like to use a brush that is heard edged and reacts to my pressure that changes the opacity and the size. But since with food only really need to get is the basic shape, the color and the texture right, you could even draw kind of wonky, and it's not gonna look that bad. It's still probably gonna look appetizing. So if you use different brushes like this pencil a brush, it'll just look stylistic or even watercolor like this. As long as you get the rough impression off the food, it should be fine. It all depends on how much you want style eyes it. It'll probably look cuter if you draw a little wonky er and more stylistic for image dimensions. I chose 3000 by 2200 pixels. Mostly, I picked a wider landscape orientation image so that it can fill my screen a little bit more. But if I were you, I would do more square image, maybe 2000 2000 or 3000 by 3000. I don't want it to be so Pixley if I zoom in, especially on food. I like to be able to see details on that, but it doesn't have even have to be that big if you want to stick it on Instagram and people are probably not gonna zoom way in on it. But it's nice to be able to dessert tools and settings that I recommend for this tutorial. 3. Outlines: for the background color. I think I'm gonna use cool color just cause I think mostly contents are gonna be warm colors. I like to stay less saturated and I tend to stay away from this cup this corner of the triangle here. But yeah, you could probably pick whatever color you want, honestly. But I tend to stay around the cool colors, so especially unsaturated so it doesn't hurt my eyes, but anywhere. I couldn't trying to name my layers to stay organized background color. I'm gonna go over outlines and I like to draw with not just black, but some kind of tint to the outline color just to give a little bit more pop as to what color? I'm just gonna pick brown brown fish. I'm gonna start with the bowl. Now, when you do this bowl, you can did with, like, some perfect circle like used the lips tool or something. Probably lower the thickness of this. Probably it lowers with the size and critter. Or you could drop by hand when drawing for the satori all again. You don't have to worry so much about perfection with this because if you do it if you do you draw everything, monkey? Then it's probably just gonna come out really cute anyway. But when you drop bull, you should start out with an oval or an ellipse. Teoh, give the feel that you're sitting down at the table. Okay, You're about to eat this bowl of ramen. When you connect the sides of the bowl, try not to do. Try not to do this. Try to connect it on the exact outer sides of the lips. And then, if you want it to be a bit more smudge school or realistic than make sure that from left side to right side, I can draw a straight line straight horizontal line and connects thes pinched ends of this ellipse. And that's roughly symmetrical. But again, if it's really wonky, don't worry about it. You could also. It might even be even better if you go the walkie round. Draw everything like really, really wonky, which I don't think I like in this tutorial. I'm probably not going to do that. It seems like something I'd like to try just cause when you draw your lines intentionally, really, in perfect, it looks kind of like a kid's drawing and It just looks so cute on the bottom here also, trying to keep it symmetrical. So I'm gonna expand this site because it looks like it wasn't quite a so long as the other side probably see what happens if I expanded a little bit more and rounded off a bit more. Is there something a little bit off about this? You know, I did say that it's okay to make your drawing a little bit off, but in my case, I'm trying not to just gonna tip it towards the camera a little bit more. So we have more room for the contents because I'm gonna put but a lot of toppings in here and leader I'm probably gonna do with the outlines. So if you want to clean up your lines more, you can if you want to keep them. But in my case, I'm also known. Probably not gonna keep fine felt lines. Then I'm going to drawing the chopsticks that's pulling out some Roman because I think that actually appeal really makes it feel like you're in there interacting with the food. It's gonna roughly put this in here. Not worried too much about looking perfect hopeful. Whatever. That would mean. Write down a list of toppings here because this is a sketch not gonna know exactly where I'm gonna put everything. But I know what I'm gonna put in here. Definitely gonna have noodles. And I want the ones that come like in the packaging. And only after going to a restaurant that served high end Rahman noodles did I discover that maybe they're not supposed to be a curly like this. Like from the packages. Put a guest. Since I grew up with that, it's the kind of texture that I prefer, other than the ones that are rental kinky like this. But I have drawn noodles before or painted noodles before, and I I don't think I even did outlines, really. But it should kind of help, at least with the impression in your case, if you're not accustomed to just painting in a silhouette and then painting in all the highlights the way I would like. I don't actually like doing too many outlines when it comes to food, but I'll just have a bunch here, Kenton. Later, I might even go off roof like no, not the outlines anymore or just open like empty space from anti open space. All just painted in without the kind of the guidance of the outlines. So here's some noodles there, curly. Some of them are kind of parallel to each other. You can kind of pile them on open more perpendicular, have you erase some to make way for other ones on top that I'm gonna draw a bunch of notables coming off of this trump six. Actually, I'm gonna really come off of it with some more height. No, thanks. I actually like to heighten these pair of chopsticks so that they're not so so much in the way, though it's not blocking the bulls so much. I'm not gonna be that attached to these noodles. I'm gonna race that, like, not attached to these noodles that I drew. You can easily be drawn again and again. Her might not even follow these outlines that closely. I'm gonna try this again. Have this coming off of the noodles in the pool. Mostly I'm just trying to create an interesting So But as long as you make the textures roughly what common noodles were supposed to be like, it should be fine. And in this case, I would say, Even if you make it like to orderly like like this, I would say that that could be a style. But in my case, I'm trying to make it look kind of chaotic over here by making sure that it's not like this . But if you do it like that officially, fine, it's mainly again the rough impression, with outlines, color and texture. Assuming that your main goal is to at least making image that looks advertising, I'm probably gonna fill in whatever gaps there are between the toppings with more noodles and then also with soup. I'm gonna don't wine where the soup line is over here. I'm not gonna make too high because I want to be able to see where the bowl meets with the Sioux. First, I'm gonna do the A. It's a good idea to keep the egg also kind of elliptical, not like a head on, not like a head on view, but late down. So it looks like it's sitting in this bowl with the rest of the contents. Probably have to think about scale a bit because thes chuff six looked kind of big. It's possible that this egg looks kind of small or this egg. Rather, this pig looks kind of small. Well, just dropped a little bit bigger. Make sure the circle of this hell is so elliptical. I think I was scale it up a little bit more and honestly for the scale. It's probably not gonna interrupt too much with the illusion that you're looking at food. Still have the impression of an egg. Next, I'm gonna do some. But Choi, I arranged that bok choy right over here. You probably put it somewhere else if you think that would be a better place to put it. I'm just gonna sicker right here. Putting believes like that again. I don't care too much for the outlines. As long as it keeps a separate. You reserve partitions from space for the different objects should be fine. We should put a little bit of the German there, but put one piece in there because I have a bunch of other toppings that I really want to put in here next. I want some scallion. Actually, I think it would be better to put the scallion on top of some meat, so I'm gonna put in some cha shu. Honestly, I don't even know if I really had Japanese cha shu. I grew up eating a lot of Chinese Changshu, which is quite different since I became vegetarian. Probably not gonna touch by their kinds. I'm gonna do too many of them. But perhaps I can create the illusion that there's a bunch of them. Maybe they're stacked like that. Maybe it's Joan in soup like that. Just a rough, rough impression. Then I'm gonna do the scallions, Skilling's air. Just a whole bunch of little cylinders. Probably be a good idea for me to zoom in a bit this time scoops to make it look like they were just sprinkled on their probably draw these cylinders facing in all different directions and again, well, you draw cylinders. Try not to do this for something quick. Do your ovals or ellipses and connect theaters like that. Maybe some of them can be much more short sliced into tiny pieces for this one. I just gave it even more texture, which probably gonna define it by painting again. I try not to cover this entire piece of meat over here. Put some in the noodles. I'm gonna try not to be too redundant in their orientation while they're, like, next to each other. Next, I'm gonna do bean sprouts. I almost forgot to put these in here. Just like I need something with that kind of texture in here. I'm going to just arrange them right over here. Can have I assume this is but being part or the whole whatever. Honestly, I don't even no, the's parts are cold. Just eat this stuff and cook them. A few of them should be fine. But who eats this little for the illustration? Purposes. I don't wanna have to cover all noodles times this part will pro over. Uh um, gonna try to cross over the years a little bit more. Give it will be more variation on arrangement. Next, I'm gonna do fish cakes when I start with another for elliptical shaped like this, you could do it, make it kind of this big, and then give it a little dimension. I haven't looked like its cross cut like that. Then these bridges here around the edge of this fish cake later. I'm gonna just later, I'm gonna paint in the design color to make it look like it's consistent across its the surface that just drawing these ridges like that off in the direction that your true the thickness of this fish key but also might disappear into the soup later. Old people, if you want toe to the outline of the design can so we know what it is. Do the other kind of fish cane. I don't even know what the's a really called draw. This one. Anything actually use might be supposed to be bigger still wanna make room for the other toppings and the noodles? I'm gonna draw the thickness of that here. This top semi circular shape pink part here, Super pretty true. Then we're gonna paint and sort of ripples glints on the outer edges to make it look like the food is partially submerged. Well, I'm sure there's a bunch of other talking so you can think of, but these were the ones that I'm gonna put in here for today. 4. Basic Colors: I'm gonna block in the colors now by first making a new layer and for now, gonna just to one layer, maybe later it the better idea to have another layer for me to the glints of the soup or keep being some toppings looking like they're on top of other other stuff. I just called cover for now, but does it have it very pretty? Much always. Start with a dark ish, less saturated color. I think I'm gonna start with kind of a brownish base. When I picked the base color that I start with, I'm thinking about what's perhaps the most predominant color, like all averaged out together. Just gonna put in the rough base color of pretty much everything. 1st 1 of these color for for everything and then go into the individual colors, preach different topping or object. Probably gonna change of these noodles to make it look more like we're pulling it out of the bowl. It was kind of treating it like hair. I was sketching, you know, right. I'll fix the outline later. First, I'm going to start with the noodles. Pick us lately, Brenner color. We'll probably end up at the brightest some white, yellow orange or maybe a little bit pinkish. Just add in a rough impression. Then later I'll go back in with some darks and give us some more color. And the slightly shaded areas, like some richer reds, are red orange colors. I might actually have to do the suit throughout the Satori instead of having it have its phone part because it kind of pulls everything together. Words. It's part of all the food in this image. Just gonna put on a rough impression. I'm not gonna get straight into detail with that just yet. Then I'm gonna put in some base color for the A. Well, some gonna stick to yellows. But later I'll probably want to use some cool colors to bring out the white and really separated from the yellow about the regular. Just leave this one at that for now, Color in the underside of that's what next going to bok choy. Start with the dark part of it. Okay, usually like to work from dark to light. Just out of sheer habit, you can work from light to dark if you want. Take a little bit more towards the line colors chicken. The brighter part. This spot, Actually, you will need to find that we're just putting in the rough colors. The contracts. Next I'm gonna do. Josh, you This is not gonna be too too much different from based color. You just need to be brighter that I'm gonna do the scallions with things that are green me personally, I like to start more towards the blue, then work kind of my way towards the the long yellow colors. Just not gonna worry too much about these. If you want two, if you really want to, you could make a new layer for every single topping. But since I have that horrible have it trying on the wrong layer. Whenever you switch Teoh drunk some other object. I'm just gonna keep it on one way and I'll make a new lawyer if I really, really have to. I'll just put in the peace color for the use. Not gonna get straight into detail with many of these. Next I'm gonna do with bean sprouts, they're probably gonna be or colored. So I want to look at your color again. If you wanna make things look a little bit more white especially if they're surrounded by warm colors you can highlight with cooler colors like Scion Are Blue may be green, but I would stay more towards a science or bluish colors highlights stuff like the bean sprouts to make them feel whiter. And the Quaids Thanks. I'm gonna do fish cakes. They can kind of stay roughly the same color as the bean sprouts. Maybe a little bit, a little bit more yellowish or meat, even pinkish. Do you go with foreign ges? These color? Try to keep a greater on the top surface, and we'll dimmer on the side surfaces to give it some three dimensionality. I'm gonna try to do some of the soup. There's a lot of different soup bases out there, but I think I try to keep mine kind of clear. Give it a touch of orange. It also might depend on what color bowl you have, perhaps for simplicity's sake might make the bowl white or reddish. You want to go over the color bowl just doing a really rough half The Renfield Brighter have be dimmer science. Oops, try to highlight with full. No, this is definitely missing. One kind of color. That's the pink of the fish cake, so I should just put that in there. It's also just a good way to have a little preview. What your image is gonna come out like. It's a little dull right now, but that's mostly because of my illustration style. I like to stern out, de saturated and really dull and then work my way to more Richard colors. You put a little bit more into a bowl here, you highlight the livable. I wouldn't do it all solid. I would highlight it in some parts of the leave. Other parts a bit dimmer to keep. The highlight effect comes for chopsticks. I'm gonna make the dark just a contrast with the rest of the image going to keep this dark down here for now. Again, I'm not gonna get into detail with that. I don't want the broth or the base to be too dark, because in all my experience, having ramen noodle soup, probably the worst six base that I had was soy sauce kind. So I says, just does not belong as a suitcase, in my opinion. Think it's actually been a while since I just had good full of ramen noodle soup. And since I'm vegetarian, probably the best suit base involves, like she's talking mushrooms and see just for context. I'm gonna create a layer between background and the color. Call it backdrop all of that layer. I'm going to create some whiting, not even sure what kind of background I want you get. But it be good to just have a bit of shadow for no, probably just decide later, when I went into the background, I think this is a pretty good start to the base colors for this illustration. 5. Noodles: just the outline here of the noodles, if you like pulling it out from the pole. Also need to make sure thickness here is consistent again. I'm probably gonna get rid of my outlines as I get a lot more of food rendered out. Have the base of this on tribunals that are being pulled out. Maybe a bit thicker, you know, just color here. Just clean it up now coloring the noodles. I want to start with darker colors because, you know, I like to work from Dr Lee, but a little bit richer. Start with slightly red Orange co owner and then work my way towards the yellows, actually gonna lower the capacity here and mostly used the outlines as a rough guideline. You can use here lines a little bit more closely, if you like. Even if you color outside the lines again, it's for the same reason that if you make everything kind of wonky is probably just gonna look cute because it will have that feel that, like a kid, do it and that just thanks your illustration with cuter, I tend to go a little bit too dark on these, but try to keep it a little bit more saturated against my usual habit, but also welcome tablets still adjust the colors and maybe even the dimension a bit, so that they look quite different than what everyone else sees. And actually, since I kind of have most of the impression here, I don't really need the outlines too much, but I guess I'll keep them kind of They're still. So this is what I mean by going without outlines and then just starting to have everything sort of float around. But I have some kind of solid shapes to work off of and again throughout this, I should also do some of the soup base, which I'm gonna put. Try to put in most of the empty space between all the toppings and the noodles. This I'm going to keep it brownish or rich, kind of dark orange color leader Break. Think I'll be OK putting a bunch of suit go over the noodles because later I'm gonna pop out the noodles with highlights for much of these noodles, they're gonna disappear into the suit for others, they're just gonna look like they're they abruptly end one on top of the other. Try to have a bit more of this bowl behind contents ID like to stern with dark silhouettes of room drawing. Add in an initial highlight tone and then brighter highlights. Try to see what happens if I start brightening it up with greater orange color, but I want to work my way towards you, mainly. Want to leave over a bunch of the the base color that initially put in. So I'm not gonna get too caught up and trying to make everything look so refined, because if if I zoom in and I try to make sure that I don't see too much of my brush work anymore, it should look just fine. Ones in doubt and again, most of the time, people aren't really gonna zoom in, but when they dio, it's I think it should be fine when they see a bunch of brushwork. It's kind of a way to look melody that you paint to this and it's not a photograph, but people will. I see it and understand what they're looking at. For the most part, you just get the wrong impression. So this is what it's looking like now, from far away, you're getting a little bit redundant, so I'm just going to could across some of this so that then I'm going to use this brighter color to articulate that's noodle. Try to have this disappeared into the super pitted. The soup should kind of softened the edges. The's noodles just visually, and they kind of feed into the color of the suit. They could do a combination of having, um, fade to the soup. Oranges have them look like toe will be tucked underneath. Some toppings were or more noodles. Try putting in some yellows. Probably stick a little bit more towards the orange for the greatest color these noodles. - I'm gonna make it brighter. Just make it pop out even more. You don't even have to get this detailed. Just a rough impression should be fine. Maybe even skip a few steps that I just did. But this is home during the noodles. My probably he got most of the time. This tutorial just cause we to want mostly noodles to show up. Not for each topping. There's only so much of it. Try to keep the brighter tones higher and then leave. I mean, the lower parts of the noodles which more dim get consistent with relating cushioning this before yellow. Most partner just allowing for these greater tones to fade out smoothly into the other parts that are articulated on the noodles. Just put in some some of the parts of the chopsticks. You can go about these noodles in different ways. It looks like a lot of noodles can look what more white. They can even look a little green. Think I just prefer it toe look a little bit more orange, but might end up looking like something else, like spaghetti with tomato sauce or something like that. I forget I need to make these pearly or wavy. It's a good idea to actually, you're gonna do the noodles coming out like that and probably do that first so that you can drawing arrested this well, doing the front up here first. It's not. That's not a bad idea, either. I'm actually gonna Curly is a little bit more for Make Some More. We'd be You certainly have a certain style I'm going with. I'm going for photo realism not going for style. Looks that opportunity. You kind of get the impression and Tinto I tend to leave over a lot shaded, brushy areas. They could be so bad if you feel that much of it there. It's kind of a matter of how much time you're willing to take Teoh Refine, which I don't think you really have to. He's again. My main goal is to just make something that looks appetizing. I recognize what you're looking at. Try really hard to avoid being redundant with my patterns of news. Then again, if you do end up with a bunch of noodles that are parallel to each other, I mean, you could say that that's a kind of look that you're going for, but if you're not like, really consistent with that, it might look like an accident, but it could work. It really depends on how you do with it. Put in some more space color and here and might be a little bit off on the sickness of these noodles, but just up to I want them on the thicker side, probably just thinking a bunch of them. Not to the point where I'm making you Don't noodles. Tell me if you could easily turn this into don't noodles instead, as long as it's less wavy and freighter and sicker. Gonna have a bunch of su please back here and over here, I think we're gonna make they look really shallow. Appear okay, little deeper back here. And you could also do the soup first and then put in the noodles. Better legal submerged. Do an impression. Have some noodles over here. Really Make it look. Goal Good. More incidental. Natural looking. If it's coming off a strong where it doesn't quite look submerged, you could probably just take that based color and scruple over it like this, actually, to create a bit more accurate texture with the soup. I think I'm gonna highlight with yellow ablation, orange color and just need harder glints. Or maybe here at this point where the noodle starts to get submerged, you can highlight like this and also on the edges of the soup, you can make thes bubbles or these I don't even know what they are. I just know that when I see them, it means the water or the liquid is greasy. But adding some Glenn's like this. But don't go all the way around the the suit against the bull. Little wise, he'll probably just lose that effect. Just a few of these, and very a little bit in sickness and allow them to just the kind of the kind of don't really fade out. Actually, the kind of just abruptly end because they're glints so that no, already, Glenn, sir, just such an easy way to add texture and make your materials along border scripts just like when you simply add one glint to an eyeball. All of a sudden, it's a very glossy texture. Again to have some noodles. They look like they're getting more submerged back here. Yeah, I could use a brighter highlight time back here, but I like to start darker, but this much brighter than whatever value it's on top of which it suffice and create the effect I'm gonna try to remove or rather cover up the bass tone, which looks a lot more blue in comparison. But it's knowing what I use. It's it's brown. Yeah, it's is definitely still ground, but compared to this red orange tone feels a lot cooler, but it is just more grayed out. Why don't I just go over all of these parts? Just brown red brown color. Okay. Yeah, I'm gonna make stress trying to make it all exactly perfect, but roughly painted in. So you know what? Your look. I'm trying to make the ends of these noodles feed into soup, or they're still probably talk to underneath something else. Well, quite being consistent with thickness. But take a good pick too hard on that Spent too much time. Sure, it's all completely consistent. I'm definitely heavily, heavily relying on my pressure, the amount of pressure with time, a plane, or to make it more or less opaque as well as as you could see in cred. I hold down the control button while the brush is active, and then I click or tough for colors. It's a process that I do a lot without thinking too much about it, whether to softened like like this, for example, maybe I want to soften it so that it's not so hard at the end, just highlighted. Pop it out more than haven't fade into soup down here or just disappear behind another noodle. Whatever. Try to keep articulating other noodles quick, you're missing over here, but because you get seen, it looks really rough from this closer. But when you Zemel probably looks just fine. He won. The suit looks a little bit off, but I think we can just fill it in a bit more with this brown tone. Replace all the space with more nipples. - Now , I'm just gonna worry about the tunnels area and not put it absolutely everywhere just yet. Put in a little bit more of this way. Put that ad and slightly orange. Maybe orange yellow toned down here. Like for the reflective lighting of the warm color of the noodles Back up to to the weight of the bowl. Try to articulate this bowl little. There's some space between the noodles I'm gonna pull back to. Well, suitcase can look you a little bit more saturated again. I get to thanks more noodles and yeah, I'm barely even using the not even really using the ones anymore. I find that funny because it's you just kind of paint the noodles. How real, like doesn't really matter as long as looks natural enough, just have to follow certain rules. Like for them to be tucked underneath other things and allow them to fade in and out. This habit of making everything look really muddy, really hard habit to break. But some of my paintings I'm actually happy with also because I'm able to control the amount of muddiness versus the versus the level of saturation or richness and colors. But for now, everything's still pretty dim because I'm just making out thes these forms. The from the base tones just out of the basic. The stones that I put in for the suitcase just trying to place on my noodles What I want to hear. You don't even have to. We could make this dense amount of noodles if you don't want to be me. You have less noodles in your bowl or they're all down in the suit. But it honestly, I really enjoy this process cause I personally like to watches. My image becomes more appetizing. I don't know about you. It looks like I'm really starting to fill this in. I want to pick some areas that are a little bit more brighter because the highlights are a little bit all over the place or they're only if you in a few places. I was just trying to put in basic form before I highlight them. Decide how yellow are how wait to get. I guess it They're more yellow, Look more like a based. Maybe if they're more green than they look like. I kind of used some of those flavor packets. Sure, what kind of colors I wanna go with. But I guess we'll see when I highlight or add another tone to the noodle base. You know, when I cover the entire area of because I want, I want the darker parts too allow for dimension. Maybe on some of these you could put on some glints, but it's probably most useful around closer to the soup, more like just put it around the thickness of the noodle instead of on top of it. Feels it. Most of the time of the noodles were so brave, you can't really can really toe if there there are glints on the noodles to get rid off most of this rough brushing space, you put some more noodle appeared on the chopstick. I mean, - technically , you could just leave it like this, depending on how much brighter you wanted to be. We're perhaps even how much more saturated he wanted to be. But I'm gonna try to give it a little bit more saturation, just a little bit tougher for me because they tend to leave everything just so buddy. Just really shy about very saturated colors. You too, Richard. Your color. I don't know. I think I'll try. Teoh, just make it brighter, The center dimmer, going towards the outside so that it looks like the noodles are more submerged on the outer edges. - Guess I'm also pretty shy about making things so great, but I wouldn't bring everything because I'm raising my risk, making things really washed out. But you could also make everything really soft. If you keep everything great and have just the right amount of contrast, - you still need to the noodles, looking more like a bunch of them, are submerged to soup. Then I think I need to make the soup a little bit more. A little bit more colorful, stupid, a little bit more color. Centra Stark in it. A little bit more in the spaces between the noodles. Teoh, Bit more depth. So I think I want to cast a little bit of a shadow around the noodles that are coming up here. You could pop out a little bit more, probably wash this area a little bit to wonder. So I'm going to stark in in the areas around the noodles again. Looks a little bit like it's submerged. Might tryingto bring it up a little bit just to I talked him out a little bit more. Get the more dimension again, but just make sure that you don't bring it up so much that it looks like it's about the surface of the suit. So to keep it looking like it's below the surface, probably just keep it really colored. And like the color of a suit, make sure it doesn't. It doesn't get so great and also a bunch of glints, but not too much. So maybe I roll work winds. I mean, this bit of noodles or a bit of noodle is just touching the surface and getting just submerged like that. Maybe this one as well, and also I want to again definition to glints on the soup I love her mostly is going to be totally separated to add a little bit more realism with the served making contact with the bowl, because color wise, it'll transition about. Maybe you just need to brighten up the full more and then you have the on the liquid meets up with the bulls material. It's not gonna be a hard edge. It's actually supposed to be softer edged. I might have to go over my old ones for a second, but I just you articulate them. So this is one of the rare, rare occasions where I actually use a soft edged brush. But other than the glint which the glints should be inside, I believe on the inside of the edges of the suit where it meets the the whole, but not that far in. So I'm going to I'm probably gonna move those around. Actually, I should just keep them where they are. Just move this back and they redefined Keep just gonna keep it's hard Appear put soft on the edge We're suit meets bowl that I'm gonna go in, redefine the glints again. You don't have to fade out on the ends. They can fade out in sickness, but not necessarily opacity. You do need to be bright enough clearly relatively high contrast with whatever. They're sitting on top. Well, that I've eat everything here that much more saturated. This looks so great out and kind of gross. At this point, I think I'm just getting really nitpicky about myself. Maybe later I'll touch things up more in terms of saturation or level of detail, but more or less mentioned most of the important steps to try decree noodles that are this style and detail. 6. Egg: I'm gonna render out the egg. I think actually wanted to be a little bit more orange. I also wanted to be one of those soy sauce eggs, and I wanted to be a bit more runny. So then make it a little bit more brown orange us down here. Probably in this case, it would be better to stay a little less saturated, but we'll keep this and like a bass tone, at least probably at some other tones of the orange and brown. Had the practice in a little bit hard heard on the edge. I don't think I even really need these outlines anymore. Then, uh, slight richness to this color with more more dissociated orange. Good, definitely. Since it's not that waiter that braid, it's still gonna look like I'm sorry. Sauce, egg and a little bit of the edges on the inside. Should I also have a bit of soy sauce? The marination gonna fill in the inner surface heared first like this then actually, this might be a good tone to use for the outer edges where you see the marination coming in on a use more more tourists in yellow bring it up keep it a little bit more flat. Not too much variation in tow. - Actually . Gonna add a little bit more of this orange for fish tone to try trying to get that effect, but it actually should be softer on the edges. It's really soft. I'm not gonna have it soft on the inside picture of against the yoke. It's harder edged, actually will probably want to do a softer edge on the outside, but with a smaller brush. It kind of makes it harder because a transition it doesn't go a further distance. But when you have a bigger brush and you brush it in, the transition is much more soft, over a longer distance or gradually. But if you haven't smaller, then the transition happens faster and over a short distance. That's why would probably be to do that with this part. That is too strong. Okay, probably just have to figure this out. Still probably want to bring the for final parts. That look the complete up to a point, you know, really seemed so fights. The amount doesn't look too bad. I want this to be too dark. I'm gonna try to render after a big joke, I think, actually want are really much more orange base. Make it a lot more money, something like this and give a little bit of depth and then some texture. Did you give it some debt? Have it be Jennifer. Touristy edges A bit of a deeper orange. A darker orange. Here, have tow line. The entire part. You have some jobs here. The inner part. You could have the brighter maybe line it with so more yellowish tones slightly out here on the edges. Here, put someone here just to give it more variation in texture. But I need to try really hard not to badia everything out. Make everything so faded. Try to keep rich in color by putting news orange Maybe not all the real place. Maybe you could put it lightly all over the place, but concentrated in some parts. Then then I will put in the glens for first. I think I need to refine these edges. Make sure it looks a bit more finished. And Glenn, sir, the funnest part to me because it takes almost no work and creates such a huge effect. Mm. So little hard for me. Oh, decide Exactly where to put it. I haven't drawn that many of these, but it seems really simple. I think he could choose, like, a yellow tone or really bright orange tone. But as long as it's really bright, putting it in just a few places should be enough. Really. It really does not need to be put in that many places. Did he put it around too much? You're gonna lose the effect and a look. Kind of weird. There should be. Okay, Feeling putting in more just cause. Like, I always have to put in a lot of work. As I just said, I don't need to. You could put it older or if you want, but do you wear you put in too much. My look Excessive. Thank you. Yeah. All right. Just try to get rid of these on find hedges. As for contact with the rest contents, I should put in some more of the soup and partially submerged the a a little bit. Or maybe put in some more noodles. Is that you haven't had enough of P eating. These noodles mean the time went by so fast for me. I didn't realize how much time I took. I was just so caught up in the process. But personally, I had a lot of fun. I hope you did, too, with house, but they're everywhere, but some soup over here. But then again, I should have an overall feel of where the line of soup is gonna say it's ends over here. You can try to get the inside of the bowl here. I'm trying not to disturb too much of the other stuff, but don't get too attached. You can always to draw the stuff in again. They're fairly simple. It's all about just began. Rough shape, color and texture. This edge can be really hard because we're seeing the rim of the whole instead of the suit kind of transitioning, being in contact with the ball. Get too crazy with all the soup base tress Yet because we're just supposed to be mostly focused on the egg, then actually wanted darker over here. A should be casting shadow. Yes, well put. Some really glints here. I used to make it look like it's I want to submerge these noodles a bit more. Put the suit tone over everything. Maybe maybe I'll just sit on top of the noodles in hard the edges of the egg. More if you want. But for now, I think for me, I'm going to keep a little bit on the softer side. Say that's mostly it for the egg. 7. Bok Choy: I'm gonna render at the bok choy. Think we're gonna make it a little bit more on the greener side? Well, of course it's it's more green, but sometimes they're a little bit more weight. Maybe we'll make the white parts really white and, uh, green parts really green with some blues and someone yellows First, I tried to just refine fresh work over here. Follow through with the shape of stem. Whatever the Carters cones more an expert of eating it rather than labelling these things or the names of the individual parts in between. Between these, some more of those green color start green back here to transition into the leaves Refi part. I just need these long strokes to go into leafy area Has it leaves because it's like the veins going to the leaves, but the road, like wilted. So we'll just have to make them look like they're kind of folded. So I'm going to page in some of these ghosts. I'm just gonna call in veins from the Seven Leaf. I don't think I'm gonna do too many of them. Eventually, kind of disappear into a leaf and then trying to articulate we've a bit. Just need to highlight high enough off the edges and tryto Oh, I don't even know what I'm really doing. Honestly, I just kind of outlined this part over here kind of like the edge and then make sure it was wrinkly. The I'm just gonna fill in this area while leaving a bunch of the areas of it dark. It's looking more like the edges of lettuce. Instead, it probably just be better You treated this like, really, really messed up wrinkles of clothing. Honestly, like actually articulating the edges, the leaves is probably not the greatest idea, but instead maybe you just making in orderly but chaotic mess of flick fabric folds, sort of. I'm gonna try this again. So maybe more like you just pop out some of these parts, make sure that it's not like to repetitive pattern, but I'm just going to course, make it more orderly towards the stem and then get this, like, this kind of texture. I've done this before, just explaining it. A little challenging. Then I'm gonna go in with, like, a richer green, actually, maybe to articulate the parts that are popping out a bit more. Well, it just looks like a wilted leaving a mess right now, but the impression of it again, this mostly what you need. But now I'm thinking there's probably too many wrinkles at this point, so probably good we articulated. Probably the better way of doing this is to not make them wilted. Actually, it's probably what I did before then. In that case, let's try this again. I'm just going to then make it much less wilted by defining the leaf as if it's a little bit more whole. Instead of all totally folded means that actually doesn't need. There's many ways is ages to find it's a little better. I'd like some yellow over here, put it a bunch more. Also, don't here at the base allow for it to transition into the greener toes. So then I'm just gonna leave. It have been more orderly because it's really hard to explain exactly how, because unless I'm actually directly copying a picture, which I'm kind of copying them but partially painting it from my head, it is just really tough to explain exactly how How did render oh, something that's just so messy, leaving some of these rains a little Brinkley like over again. It's kind of like doing patterns over fabric do this dark. It's a turquoise or aqua color. So again, I like to make green things with a bunch of up colors, some blues and some lime greens. Oh, a company. Greens, almost anything. You probably do that for scallions as well. I'm gonna try to highly believe a bit, probably gonna have this really too saturated with great this kind of look like it's folded . And some more things dark in this, too. Pop it out a bit more. Maybe there should be more layers of stone here, maybe a bit more of these leaves to keep that dark down there. I'm gonna highlight more appeared like these leaves, too. Kill a more refined several that's looking very green, adding a lot more color image. Try to vary the length of these fans going into leaves to make it look more natural. Then, because bok choy is partly probably been steamed or fried with oil or water, probably have to put some limits on it again. You don't need to many partially submerged. This is well, putting once a little bit around and then for the glints. Probably use maybe a yellow, but I would use a cooler color sigh in or Lockwood tone for the highlight. And make sure it's nice and bright. You could put some plants onto the leaves. Just a few of them. I mean, what happen if I put some suitcase right in here? Look a little bit like it submerged as well. Yes, that works. Okay, Some lions of this shows that it's personally submerged. I'm back here as well. Back to Taco are scion highlights. Put some appear. So here. So notice how It just needs to be quite significantly brighter than the tone sitting on top of to be ineffective highlight, but that I'm gonna try really hard not to get carried away because quints are whole lot of fun. But again, for the millionth time, too many just gonna bring the effect. Yeah, I can. You make a really huge highlight and see what happens. Seems to be working. If you can allow for the edges to be harder, I'm not gonna have to be transitioning smoothly. You too, The rest of this into the rest of tones that makes it pop out a lot more. I'll Just do it all the way to the edge and try to get rid of the wonderful unrefined edge over here by lighting it with some more suit. Have to work on the other parts lining the edge of actually, I say this should kind of suffice. More toppings to go. 8. Chashu: I'm gonna render out the cha shu. I don't think I have to do too much with this one. It's just some really basic textures and trying Teoh, maybe get the slightly burnt, like barbecued outside part, but I think would make it more appealing. I'm actually good over these scallions because later they're so easy to put back in on. I think that they would be good to put back in in a separate lier because it's sitting on top of this chart shows that I'm probably going to put a bunch of detail. I feel like ruining it with the scallions and have to Onley need Teoh erase the scallions instead of redefining the Joshua underneath. Um, so I think the the inside part would be probably darker. And it's just a matter of kind of breaking it up in the and giving a sense of direction with We're the way the meat I might break apart if you were kind of just if you were to break it up. So, actually, as usual, I'm gonna work from doctor late, then leave over a bunch of the dark areas as kind of like creases are cracks and then Actually, I need another distinct surface by darkening the side over here. That's probably to read or orange whatever so that it looks three dimensional. There is a thickness to the slices of meat. Maybe I'll put in some reflective highlights down here to keep it from looking too plain, a little bit more color here. But don't make it a stark as the side surface. I think I'm gonna add the more fatty layer. Should actually you stay a little bit more on the pinker signed. Look, Quintana later you wanted to stack like another, Another kind of slice of one of these. Oh, make sure it looks like it's sitting on your knees. So I need to dark in more underneath, right over here. And like rings raise this surface appear so that I can took this slice underneath. I need to do you tell the texture on this by choosing greater toe here and then split this up properly so that you can kind of see the texture kind of be broken up. Sort of cracks and crevices in the meat might took in some bits of dark, but then I don't want to look to your dry, but that could probably just easily be fixed with with some Glynn's to make it the waste. But you can try to avoid making patterns to redundant, so I need toe. Make sure I don't have, like another chunk over here. Exactly the same size is these two. Back here used to be good, different size over here borrows from the spread color from the egg. We put it into the fatty layer here, tryto make it distinct from like the more media layer down here. It's a little tricky. I don't think I want to get so much into detail that you could see exactly how the meat is all pattern dough, just a rough impression. And then I guess, of all the pictures that I've seen of the cha shu, the best looking ones to me, probably once that are a little bit more seared or burnt on the outside. A lot of them are not, but I would bet the ones that are a little bit more seared, burnt on the outer cutter side probably taste here, definitely had a lot more Chinese like actual cha shu like I assume that the Japanese cha shu has its roots from the Chinese and there quite different. And by that I mean I had the ones from New York City Chinatown growing up from, like, the authentic restaurants. And there's always those knockoffs in, like suburban Chinese restaurants that serve Lee really disappointing Chinese food that after you have it from China town in your city, then there's nothing else that would beat it. Almost, of course, I assume you actually go to China, which I haven't really technically, and even when I did, it was at the airport and I was already vegetarian. So probably never gonna have authentic, authentic Chinese food ever. But I can say that probably the best fake meat I've ever had is made in China or Taiwan, actually, the best vegetarian dim sum, please also happens to be in New York City's Chinatown anywhere. I kept the edges a little bit more rich and dark and allowed for it, too, conform to this texture coming in and lighten up, kind of gradually, softly. Did you come down this layer? You bring this up, too. You know what this looks a lot more like. I think it's called New York. I have only have so much exposure to my Cantonese family that I I think I forgot most of it . But not sure if there's the difference between the Japanese Joshua and the Chinese. Bruce, I think pork belly that thinking of but looks more like that rather than the actual Japanese kind. But well, I guess I'm just teaching how to paint some meat. Whatever it ISS I need to create a distinctness and this surface down here because this used to be totally three d down here. You put some orange tones and I had a bit more color to this. Completes looking kind of sad and great. Make it feel a little bit more print. We're flavored something. Something like that in Britain, up some noodles and have this also have some contact with soup down here. Be partially submerged as well. Making sure that these are looking really high. Contrast. I'm trying really hard not to overdo it. Oh, yeah. To keep it from looking dry to do that probably need Well, I think I could use the same tone as the quince on the soup. Choose this period and maybe down here I think that works. Actually, I think my I want to be a little brighter. Yeah. Have to decide if that's good enough. But I feel like I might have done something a little too redundant. Just made to orderly of a row of glints. Maybe you need to put this somewhere else. Don't try that again. Maybe somewhere else. That's right here. Okay. It's looking kind of moist. I don't need to. Many of the used to make it work. Maybe. So I'm appeared. I think I should look OK, articulate the Super Bowl more. I'm sure these edges look find enough. Yeah. It's like most photographs have these at least a little bit brighter. But to me, I just for my taste, I feels if the darker ones look more advertising to me Look, someone like me. And I guess I guess I can leave it at that for the Chunxiu 9. Scallions: I'm gonna go over the scallions and again because they're these small objects that are sitting on top of other objects that need to be well defined behind them. I'm gonna making you earlier for them. And if I need to redefined their silhouettes, then I don't wanna have to, like, redefine the meat or with bold or the whatever is beneath or behind them. He was gonna go over over these infests, but actually probably be a good idea to just erase them all together or rather, paint right over them on the lower layer. But I'm just gonna do this. Just paint over the ones that are you exist, do somewhere. So let's over here you better more thinly sliced like that, somewhat troubled over my word. Maybe you'd be better to have more on the noodles. This you don't have to put it over other toppings, but well, just make it fuel. Just sprinkled it wherever that's up to you, where you put these don't think I want all of them to be perfectly cylindrical and then try to make them look like they're they're arranged again, like you just threw them on there and not like they're all they shouldn't all be facing the same direction. They shouldn't be chalked up so uniformly. Maybe some of the like a broken part like this. The main colors that I would work with already worked with a bit of how crude shade of aqua . So now I'm gonna go with a green like a rich kind of green somewhere over here on the color wheel, you'll start a little tartare. There's always a work from Dr Late. Put some definition to to the cylindrical shape to go over some of these edges and try to define that texture of scallion. The thickness also go over the inside you're seeing inside. I think it's supposed to be a bit brighter. So then I would pick a slightly more yellowish kind of shade. Well, im so zoomed in that you could see the pixels, but these to be tiny. I need this to be more saturated. For a lot of these, you're gonna be compliant combined green and a bunch of lying yellow Not be good too. Put some shadow underneath ease. So, like, over here, if you put it, put it like this This, uh, that green based on that used solo at some scallion. So it's looking really rich. Now I need to washing out with Bredar one yellow colors. You think some of these highlights could feel a lot more like piece of scallion screen here . Contrast. Believe the other side. Start whatever it's sitting on top of it, I want to show no bought to conform to. I was reading shape. Yeah, here's another one. Maybe I can just all of these try to go a little bit faster. Just get the gist of the texture of this strike. The picture used to be on the outside and the inside. It's supposed to be operator on the inside that maybe some of these pieces can also be much brighter. So it looks like we used all the way I've been job the stock of the Scallion. There's a little bit more Richard Green over here, but have the inside B so straight like this. You put them the inside all certain you speak dimmer on the outside, looking right now. Well, certainly adding more color writing to this and a different kind of texture. At the very least, that's what it's doing and knowing what the flavors are like in this dish, and that also adds to the appeal. I think they should a little bit more Richard being colors up in here to clean. I think I want everything to get too hard. Just trying to get into everything just delicate enough trying to make this people just floozy enough. No, to I was looking almost like picks alert. Kim, I like this this page no more. I keep reminding myself I don't need to go that deep into me. Tell you pretty much get it from far away. I should just I should really just leave it alone. This will be you standing on side by defining this edge first, then these kind of straight whatever they're called stripes. Four bridges helped define the orientation of each piece. I think it could be a little bit more subtle about thes and bunch them up together more still, just getting the impression. Thank you. Have to remember to shave them in underneath. This woman can be stating up that I need to make sure that I placed this edge so it still looks three dimensional and I can see where each edge is like the top edge in the bottom edge. And then the actual thickness of this piece there I do stripes up and down like that. But being able to draw revisions would help you out with something like this should be braider green on the inside. Here I keep wanting to get into detail, but also not wanting for this to take an eternity to do when I get caught up in the details and get fascinated at how they actually look like and then try to Lauren Goode, assuming this far looks like a piece of celery now. All right, well, I need to make these ridges. Was to find you make the thickness is not a stick, so I kind of China raise. We're in the top edges. No, it looks kind of more scallion link. Okay, well, I'm getting a little fixated. I need to move on. I want to make sure you don't making the same piece over and over trying to make sure that this shape is different. Friend, The inside you can the outside be brighter. Make sure this edge and that edge overhears parallel. It still looks going. Kind of. It's rented by other piece of sin Kind of look like it. No, Probably passed. Face this one. This way. Well done position like this. You can Just trying to me. He's very orientation. Policemen have happened of leading over the silhouette to kind of serve as an outline. I actually am mining it. You can always erase it away if you want. I often don't more A few more pieces. This one position like that. This one is going off this way. So these stripes origins were going off in the same direction. - Did you stared them long enough? Even at photographs of scallion close up. Some of them will actually look like celery. Anyway, I should really Shea losing below the knees. This one going to start after you know, writers, get away. The object this casting a shadow. Same here. Good. Full town dot This surface here This is an upper facing surface. This is a side facing surface on some of the You should also have some glimpse of soup. Certainly some of them can be submerged, but someone could easily flute. I told her suit you could see a person Those charges something color of a super take this clinch a glimpse goes a little bit underneath part where the liquid meets with the thing that it's submerging kind of works. I wouldn't do this for every single one of these. You start to look redundant. Have a few more to do over here. Okay. I don't think anybody really needed to get this detailed. You could see some of these. I did a lot more. Sketchier goes to show. Once you zoom out, you already have an impression of what it is. I think it should be fine. Shame exactly how it's sitting up there. Just gonna leave inexplicable scaling physics. You could put the super powerful higher and food Think I should do somewhere Braider pieces don't a lot of tone our monochromatic really break. - Make sure deal properly. Please be here like they kind of blend in. Actually, probably the problem is I use a much bigger burst size for everything else. Even the meat over here and I zoomed in so far that they slightly look out of place. But it's still kind of fits. I'm not gonna go back into every other thing and then try to render on everything with much time. You brush But that's the probably the main reason why if it looks out of place, that's why. But still various the color, the color palette of this image. And also again knowing how all these different foods taste and how the textures are. It's more to, Oh, the advertising, like appeal putting shade on this one. Probably just call it for the scallions. All right, I'm gonna move on to the next topping. 10. Fish Cakes: I'm going over the fish cakes. I keep thinking that every time I do a topping that's gonna take me like five minutes or really sure for a short amount of time and then just get caught up in all the details before I know what it's like five hours already. All right, I need to make sure that I to find the surfaces that you're able to see and also make sure that you're on your lower layer of scallions layer, not the end of the world. If you end of working on this count, hands layer for everything else but need to be able to see the surface, and this side surfaces well. And I think I would like for this to be a bit brighter. Be more yellowish, I think so. Highlighted, too. Here's some more contrast with some cool Colter's, then, with the pinkish parts, were put in some pinks and slight purples. Just to make sure that those colored areas dynamic Teoh, bring out the popping colors, you should go on to the end pink. Oh, those surface also needs to be pink. So this down here, sweetheart, that I need to separate top surface from side surface by going over more towards the red. But still, I think still strange below the red over here on this color wheel, making this surface distinct from the side. This keeping the surface start flight this over here. Soldiers Queen, clean up these edges here. Make this look good. More seamless. I bring this up. This world even at the thickness. Paint persons, whiter parts little on more color down here. Maybe some orange fish color down here, reflecting the wrong and color, but still keeping it dark down there. Feeling like this edges a little too. Shirt fuels Feels more like a turnip or radish. So I can want soften this edge My hope to I could feel more fish, Kiki. It could also be the color of the night shows. Gonna just bumped it more towards the red Trying to make this this more pink. Try using this. I in our blue over here. Come bring it up. But I probably should have brought it here a little bit softer. It should be pretty subtle. So one around out this change. All right? I think I'm gonna move on to the other piece of cake here community the same thing. Except I'm sure I make a distinct surface up here, this kind of shape. Then too thickness of this slice of fish. Keep Try to keep this surface pretty solid. And I could use a brush that that's more like more like this. But I really like the process of gradually working to make things more solid and also having that's subtle, like softness in some of these areas. Kind of as a bit of a style, too, to keep it just at least a little bit painterly, actually, of course you could. You could see a lot of the pain t work, but just leaving over a bit of softness. That's more of a matter of artistic choice for me. Now, the thickness off this piece I want to be able to see mostly down here. I'm gonna try to find that and make sure that this separate surface is a different value for darker just like this over here starker than the top surface to make sure this doesn't get too thick, we also need to defined the soup around. It's fish cake, sir. Toes darker tones here. We shouldn't be able to see besides surfaces over here. Really? There are some of these that can be some of these parts of the science here for a second to be a little brighter. Gonna choose this side. So then on these, we can really emphasize put emphasis on the weakness of the surface. I was praying again. I'm running into the same problem where it feels like just like a piece of wood. What if I try? Oh, yeah. I said I was gonna purplish color here as a highly, but also I want to keep it soft, one of ending, looking to too stiff or hard so that actually I need to soften these edges by making sure it's not too high. Contrast. Only another reason why I don't want to use a hard edge fresh. This expression I'm using gives me the option. Just pressed out part of her harder edges and presto, softer for soft urges. It's looking a bit better Still, there's something about this. It still makes it look like wood. You need to put in some clues are things are even purplish blue. Highly, I need to make sure that this design is pinkish and also kind of fading out to rice with fish cake around. To do that, I need to softly mixing the colors constantly, using the color picker tool. - It's clearly needs to rest super noodles again by feeling like again. Besides, surfaces a little too high. Contrast. Try to soften it, more breaking. Maybe add some cool coders down here and see what happens. Like some great out blues just brighten up the whole thing, even. Oh, I can, given the context, necessarily say it looks like piece of word. Maybe it's about the holes, like when the fish gets all pulped up. It's not perfectly Preston caked, caked together, since I put in some holes that might do it. No, I think that helps to make sure assholes don't work. We're too poorly to again. Look, it's a gentle here's trying. I'm just getting carried away with details, trying to highlight out of parts of these holes. I think that's sort of helped what are under planning to Maine again. I need to figure out if I want to put noodles down here. Looks like I've decided to put more noodles here, maybe more submerged. I just put some glands over here also be partially submerged. - It's more shading here, but I need to be consistent with the inner surface of With Full. - Well , I think I'll just call it for the fish cake now then we're going with beings routes. 11. Bean Sprouts: last topping I'm gonna go over is being sprints. Process is fairly similar to the noodles. Just gonna do some silhouettes with some thickness. I as usual, work from door to late. I just have to make it thick and then because they pile on top of each other and they're gonna cast some shadow some we're gonna catch more light than others. The ones on top will catch more lately. Just have to define these refined You look so rough anymore. 50. I guess this is the whole earth I don't even know. I assume that's among being part but the sprouted those parts need to be much more yellow. Here's another sprouted mom being It's getting too carried away. Everything absolutely rendered. I tried to do the highlights, Brendan, about this much remembering toe leave the ones below again. You some cool colors, too. Con trust and highlight the ends of these Actually look a little bit orangish or brownish. I'm not gonna, of course uniformly Philip saying with greater tone. Just have it smoothly. Transition to back into the base shown appear kind of break furthers it's part should be yellow pick you tone Certainly with the yellow for no. Both these need Teoh have some yellow tones And what will help bring out the yellow? Actually, adding a bit of orange actually just happens to be their pick it out from the noodles. I still get over here. It used to be a bit darker. Makes you pop out of it. I'm gonna try to connect this part to white, part the other beans crowds to keep these images pretty hard, but not too hard. And I love the rest of these edges. Relatively soft section matchup, softness and hardness. I mean otherwise, like, because most of these edges that I did or like, so soft and then these look kind of jarring because I zoomed in so much and then nature, the edges like, really hard. Suppose like, probably personally, I don't really like blurry, um filters or with funding tools. Just leave it as is. I'm gonna make sure that this down here means pretty dark because this being spread over here is sitting on top of these over here, popped out when nothing else was on top of him. And actually something you should look kind of like there be submerged morio here this will . And again, you know, next to nothing about these things grow or why they look the way they do. Just kind of draw what I see on a warm again to bring out the but that serve as the darker areas of the being or the proceed beans are recedes. I don't know if that really sounded really stupid just now. I just don't make those connections off. Hmm. Seriously, I actually doubt that. I'm probably gonna have to google that right after this. Our beings actually scenes. Well, it is there being sprouts, and they come from long beans and, yes, put some more down here to make it look like there is more. I just stuck it All these are in the soup. That can be your wave. Just, um, shortening your work. Look, just took everything underneath the surface of the suit, But again, I'm probably going to to Some are glints from contact with liquid so emerging there's something about being spirits that make them look almost like they're glowing, probably because their country translucent. I think what helps with that is like maybe he even when you shade over them. Me. That's exactly what's happening. Let's say you take the shaded area. You kind of brighten it up a little bit. But maybe was a little bit more color might help with the effect. It's like, so subtle. You know, Pence. Hard to describe exactly. This is just another one of those things were I'm noticing something about the materials or the textures I'm trying to portray in the painting, and I just get a little carried away and then I I can under up spending hours on this thing . Um, but I don't really know what I'm doing, and I just kind of figured out, Take a lot of wild guesses and hopes that I get Get that texture like, you know, translucency of of beans. Broads ponder things like Are being seeds? I don't know. I just draw the scene and eat them. I think I'm full stomach twist. Just have to fill in The areas that look in complete could highlight this again. The orange shaded in contrast, that just zooming out there's only a few of them, but again, a crowd of the noodles What I actually mostly noodles through this point, I say, giving you the just of how to render up beings. Brown's Oh yeah, it's gonna do Glimpse souk. No, Looks like too much make good, but worse. It'll probably show how I would do touch ups. But before that probably show you how I find the full the chopsticks. And maybe you've been in the background. Well, that's how paying bean sprouts. 12. Bowl, Chopsticks and Touch-ups: Now I'm gonna touch upon the bowl and chopsticks just to make them look like they're not all shoddy. But again, you could just make it stylistic, and you don't have to make a perfect. My preference for this tutorial is to make them look a little bit more clean. But because you could see I'm not really, really strict on making sure everything's totally, very cleanly rendered trying to even up this base of a bowl. This is on this layer. Yes, it is renowned that we should definitely check for that, I think because I tipped I took this bowl and a certain be a little bit more rounded and also because it's But where in elevation, I feel a bit more rounded out the bottom, Um, a perspective thing, given that there are loops around a cylindrical shape when you stand over, it will appear to be more circular, and when you kind of push it away from you, it'll be more elliptical. So that was confusing. I'll just trying to explain him right here. So if you have a closer to you for this circular flat front shape, they don't look more like this. And eventually If you're standing over, then it's gonna be more circular pretending Draw a perfect circle here. When you push it further away from you, then it's gonna be more like this, but no, with elevation or when it goes up, then it will also do this just as a perspective thing. And that is mainly why trying to make the slower part of the bowl more round that the roundness, uh, of the top surface syllable. I'm also noticing that it's pretty wonky, but I'm just gonna leave it. I mean, I have this other painting people of Ramadan, it'll soup. And even though there was a bunch of long keenness that I left on that pole, there are still people who were asking, too, uh to pay for Prince of it. Actually, and I had no intention of making any money off of the illustration. I just did it for fun, and it kind of goes to show that it really depends on your audience. Uh, how much of an alone see you give to your into illustrations that it's really not necessarily about the perfection. When you do realism, you don't have to make anything photo realistic because if photo realism or hyper realism and your illustrations? Waas Um, but all you have to do in order to it would be the best in your world than the best artist would be really great at photo realism, but that's not necessarily true. A lot of us for a lot of the audience or a lot of audiences out there. It's about how artists get the essence of whatever they're trying to trade, whether they exaggerate certain things. They highlight certain things about whatever they're they're portraying. And that's mainly why I'm saying that again walkie nous and leaving that that there is not really gonna hurt your illustration. But also, it kind of depends on your goal. But as I just said, there are people I wanted to pie by that painting by prints of the painting and didn't seem to bother them. I think I want some designs down here. Uh, gonna make that on another layer. I'm not even sure what I really want to dio. Just gonna be very willing nilly about it. Maybe some flowers. I don't hear some leaves and try to make it look like it's sitting on this surface of the bowl. I tried it Bad color By drawing these flowers while trying to conform to the surface. I want this to conform more to the roundness of the side of the bowl. You shake that, try to flood in the lower part? Yeah. Again. Find myself to get too caught up in whatever perfectionism I think I'm reaching for You could do with some more pedals. Levers. You see what happens. Okay, get adds a little bit more or something to this bowl just to keep it from being too boring . I think I noticed that when I drew the noodles and chopsticks. It looks like with the way that they're not even really being gripped, you're just gonna slip right off. So going to sure we are articulating, I think mainly what I had to do. It was make more of the noodles. Looked like they hanging off the lower chopstick to do that. Yeah, I think I need to erase this. Then fix this right street now raising it away. Your credit user, Keep your weight. Two straight lines. Hold on. Letter V, then click and drag and optionally, or this is optional. You can hold on shift as well. It's a set to ankles of 15 degrees increments of 15 degrees and then let go to make. That's true when you press them harder. Uh, then you strokes will be moral pink. Probably also have to race that part. I want to get too attached to anything because I know I can do better. Do this part fumbling for do solo two medals again cause grip noodles with chopsticks. You don't go over a little thing unless you I took the spaghetti twirly thing, which I've done a bunch of times where I just try to grab the the nose, my chopsticks and throw them around. But this is probably how most people do it. I don't want this to be two uniforms have some of them crossing over each other. I mean the noodles toe loop around. Maybe this carrier should be a bit more intense. - We should lead up there, keep it dark, just highlight up here, keep it dark closer to the chopsticks with the way that I oriented it. It's kind of enough, like these noodles are being grabbed. Actually, I should have the thickness of these noodles, like just popping out over the top six. Teoh. Given a little bit more thickness and texture, you could just use chopsticks upward by blocking. There's surface a little bit. King. Well, now we're going over service. I was facing upwards again. This does not have to be straight edge, but that's yes. That's 12 This looks like very few noodles. There needs to be more on this chopstick. Aren't these chopsticks rather very well. She just catch myself getting carried away again, huh? That's for the background. Thank you. Leave it the way it is. Murray can add some more contrast in it, but since I'm aware that it's really hard for me to pull myself away from my tendency to make everything muddy and faded out to saturated, I'm gonna go into some filtering a little bit of filtering. I'm only gonna do it for this lier layers this Oh, Argentina Slayer. This is bold designs. Just trying to be organized. You might want to flatten this into the color layer. We'll see what happens first. So, yeah, just trying to work a little bit against my tendency to shy away from really rich colors. I'm gonna try and go into filter just it just readjustment. You know the programs. There is very similar filters, but incredible. It's filter just hey, just adjustment for photo shop. It's probably something under image adjustments. Uh, if you know, how does Just saturation. That's mainly It's mainly what I'm after. Let's see if I can actually pay in this over. Yeah, good, actually, like for there to be more saturation here. So now this looks a lot more rich. Possibly more effort, hepatitis you can probably compare to. I would have it more of a tendency for versus parodist. Make it more appealing to how I think, uh, how I think it should be. But yeah, it's I find it pretty tough to paint something and make it end up looking. This saturated cause I'm so shy about colors just because I have it come. And actually I think leaving it de saturated down here for these designs. It's fine because it's a darker area and I mean focuses on food. What happens if I dark in Don't think I need to do that? You were could probably adjust the saturation if you happen to be. I showed the colors as I am, but you might have not have a problem Anyway, I'll say this. We should be okay. Yeah, but I feel like this tutorial has come quite long enough, so But I hope you enjoyed it. I hope you found it helpful. And thank you so much for watching.