Food Illustration: Cozy Cinnamon Roll with Coffee - Drawing and Painting | Eugenia Sudargo | Skillshare

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Food Illustration: Cozy Cinnamon Roll with Coffee - Drawing and Painting

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

19 Lessons (1h 19m)
    • 1. 1. Introduction

      3:34
    • 2. 2. Supplies and Colour

      4:04
    • 3. 3. Let's Sketch

      9:39
    • 4. 4. Lets Paint: Cup (Base Colour)

      1:23
    • 5. 5. Cup Details

      7:05
    • 6. 6. Cup Rim and Additional Details

      2:05
    • 7. 7. Coffee

      2:49
    • 8. 8. Coffee Froth and Bubbles

      2:45
    • 9. 9. Top Roll (Base Colour)

      2:54
    • 10. 10. Top Roll Caramel

      5:14
    • 11. 11. Bottom Caramel (Base)

      6:36
    • 12. 12. Caramel Well and Details

      3:43
    • 13. 13. Bread Roll (B

      3:28
    • 14. 14. Caramel Puddle

      4:55
    • 15. 15. Wood Slice Coaster

      2:12
    • 16. 16. Parchment Paper

      5:52
    • 17. 17. Cast Shadow

      2:16
    • 18. 18. Highlights and Additional Touch ups

      7:34
    • 19. 19. Closing and Class Project

      1:00
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About This Class

Hi everyone! My name is Nia and I love food and painting food. Today I’ve decided to share a cozy and comforting food illustration of this cinnamon Roll drizzled with golden caramel served with a cup of coffee.

Like my usual paintings, I will be providing the outline of the drawing. I’ll actually be providing two for this class. One which is the actual outline I used for this painting, and the 2nd one is where I place the details that I painted in case you needed the extra reference.

I’ll also be showing you how to draw the cinnamon roll in case you want to have a go at drawing your own composition, so you have a couple of choices you can choose from.

For the painting, of course I’ll be going through every layer and every detail from start to finish. I’d say that this one is geared more towards all levels it - does get pretty detailed in certain areas, but it’s not as complex as my usual paintings with a lot of different elements. The colours that I use here are quite limited, and the textures does not have to be precise.

Usually, I tend to speed up paintings a little bit in my previous classes, for this class though, I tried keeping the real speed, but I will still be cutting through part of the painting where my hand is off the frame, since there’s nothing going on that you can see. So hopefully this will be easier for some of you to follow.

Of course, each one of us will have different speeds of painting, so I would still suggest for you to watch through the class or lesson prior to painting along so you know what’s coming up in the lesson. And when you need to, pause in between each step so you have time to finish up each step before moving on to the next. 

So if this sounds like something that you guys are interested in, please join me in this class and I hope you enjoy.

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Meet Your Teacher

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Eugenia Sudargo

Watercolorist and Graphic Designer

Teacher

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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Transcripts

1. 1. Introduction: Thanks, share with you a comforting and cozy food illustration of this cinnamon roll, which is drizzled with golden caramel sauce and served with a cup of coffee. I will be sharing with you my outline that I used for this particular painting as well, just like my other classes. But in fact, for this class, I will share with you two outlines. One being the one that I use to trace this, and the second as the outline with extra detail so you can use that as reference when extra help. I wouldn't recommend for you to trace using the detailed outline because we will be layering on the details very slowly. I9, we'll be moving the paint around. So it might be would really suggest for you to use that as reference instead. But if you would like to draw your own in this particular class, I will also be teaching you how to draw the cinnamon roll. And I have also broken it down into smaller steps. So you can choose whichever route you choose to do for your final composition. You can trace or you can draw your own. Before we start, let me just go over the outline those so you guys filler class. After this introduction, I will show you the supplies and colors I'll be using for the painting so you can have it ready before we start. Then I'll be showing you how to sketch out the cinnamon roll up to the route that you choose to do. Next, I'll be showing you how to trace from the projects and resources section. Then we can start to paint. Like usual. I'll be breaking the painting steps, starting with the details of the cup and the rim. Then we move on to painting the coffee and the nice we'll be tackling the cinnamon rolls starting from the base. Then adding the caramel layer, moving onto the base color off the middle section, adding the caramel well and the details. Then when we want to be eating the bread roll, which is exposed underneath the caramel, and then the Carmel petal. Next we'll paint and the additional supporting elements like the coast. The parchment paper followed with the cast shadows, then finished off with the highlight. And the clothing and class project. Generally I tend to speed up my paintings. However, in this particular class, I tried to keep the painting section mostly in real time. However, I would still be skipping through parts of the painting where my hand is either an active or off the camera since there's nothing going on anyway. So hopefully with this change would be a bit easier for you guys to follow. However, with this said, I still understand that everyone paints are different levels and also different speeds. So I would still recommend for you to watch the class or the lesson prior to painting along, just so that way you can prepare yourself. And when he paints in your own time and move on when you're ready. So there's really no rush and this whole class and just relax and paint along. If this sounds like something that you guys are interested in, I hope you guys will join me in this class and let's begin. 2. 2. Supplies and Colour: In this lesson, I'll go over the supplies that I'll be using for this class. Firstly here, this is my watercolor paper that I end up using. This is 14.5 by 18.5 centimeters, but you can resize it however you'd like. It's taken from this watercolor pad, which is by Canson. It's a millennia ROI, which is a 100 percent cotton watercolor paper, cold pressed, and it's 300 GSM. And the side, you might also want to use scrap paper of the same type of paper you are going to paint on the Sway. You can swatch out the colors or the color mixtures you're going to use. Next here are the outlines which you can download from the projects and resources section. The left side is the outline that I end up using to trace and paint my final painting. And on the right-hand side I've provided an extra outline where I've drawn out the details of my final painting. So this can serve as reference if you need that extra help. Next, here are the two brushes that I'll be using for this painting. Firstly, the spin brush as my synthetic brush by George join, which is a size six. And it comes to a nice fine point just like any other synthetic brush. You don't have to use the exact same brand and other brands work just fine. This just happened to be picked, which is why I ended up buying this one. And on the right-hand side as my green brush, which is my liner or a rigger brush. I unfortunately couldn't find my size 0 brush when I was painting this. So I just opt for the liner brush, which is a size two, and it worked out fine to add on the details. Next thing, of course, you'll need an empty jar where you can put your clean water. You will also need tissue. You always need this when you're painting with watercolors because this is the thing which will help you control your brush load. Next, you will, of course, need a watercolor palette. And these are the colors that I'll be using, which I'll go over at the end of this lesson. But as for the pellet, you can use anything you have as long as it's waterproof. So here I'm using my plastic palette, but you can also use things like porcelain plates. The only suggestion I would make is to use a light color palette, so it's easier to see the color that you're mixing. Next are the Drawing supplies. You'll need a pencil and an eraser. You might also need a ruler and some sort of paper cutter or scissors if you decide to resize your final painting. And here I have my sketchbook. You can use a sketchbook or scrap paper to draw and study the subject matter. If that's something you want to do before attempting to paint it. I'll be using my trusty tracing tablet like usual to trace my outline to my watercolor paper. You can also use any other method that you're used to if you don't have this available. Next is a hairdryer. This is optional, but it is super helpful and it makes your painting much quicker because you can just dry off surfaces if you need to layer on very quickly. Next, here are the colors that I'll be using. Firstly, on the left here, I have Hansa yellow medium by Daniel Smith. Grey off gray by Holbein. Buff Titanium by Daniel Smith. Yellow ocher by Ramesh MOW. Number by Holbein, burnt sienna by Holbein, sepia by Holbein. Quinn purple blue by phone growth. Gross matter by Holbein and graphite gray by Daniel Smith. I'll also be using bleed proof white by Dr. Ph. Martin's or you can use any white gouache that you have, a realist and the supplies that I'll be using, as well as the colors at the end here. And you can just take a screenshot if you want to get everything ready. 3. 3. Let's Sketch: Let's begin by sketching out the cinnamon roll first. I'm just going to show you how to draw it out in case you want to draw out your own composition. The shape of the cinnamon rolls, basically just like a cylinder and it depends how tall or how flat you want the cylinder to be. And because this is just an exercise, I'm just going to draw small versions. And if you would like to practice or do this exercise with me before drawing your own composition? Tried to just sketch out small shapes instead of larger ones because we're just trying to get the overall shape of the cinnamon roll. Another thing to take into consideration as the angle of your point of view. The ones that I've drawn out earlier has flatter ovals, which means we're seeing it more from the side. So if I'm trying to see it from a top view or a more of an angled view. The oval will become a bit rounder and the more round the overlays and means you are looking at it from a higher point of view. If that's the case, this side would also be shorter because you're seeing more of the top, which means there's going to be foreshortening for the sides of the cinnamon roll. I'm just going to do a normal angle that's slightly tilted. I'm not going to do the extreme angle, so it's somewhere around this middle one. Taking that angle into consideration. Now, I'm going to create a larger version of that same angle. So we can go in a bit more depth, just sketch out the form of the cinnamon roll. One thing is that I want the cylinder to be a bit rounder so the edges are a bit curved instead of a completely straight. So the cinnamon roll looks softer instead of it looking stuff. And as for the top surface of the cinnamon roll is not flat because the bread would usually rise when baking. So it would have a bulge like this. And this would just depend on how much the bread has arisen. Taking that form into consideration. Now, this is how we should place the spiral. The center of the spiral should be slightly higher than the center point. So you can depict the bulge. And let me just draw a version where it looks flat so you can tell the difference. Here. I started the spiral right at the center, and as you can tell, it's really flat. Whereas the second one, the dissenter a bit closer to the back of the oval, looks like it's phrased in the middle. If the sensor were to be a bit taller, meaning that it has risen a bit more in the oven. The back of the oval or the spiral would not be visible. So this is an example of that. So you can take this into consideration when you create your composition. Now let's take this up that further where we can figure out the face of the surfaces so we can divide them and put it together as a spiral. There are three things to keep in mind when drawing this out. The first being the top of the spiral or the surface, the side and the wells where the Kermode they'll collect and also where the filling or the cinnamon will be. This is indicated by the darker areas that I'm drawing out right now. Those are going to be the wells are where the cinnamon filling is. And what I'm drawing now or connecting is the top surface of the roll where it keeps on connecting. And after the top of the role, I extended downwards to draw on the sides and the well again, and this will just keep on going depending on how many layers you'd like to create for your spiral. This is just a very rough drawing of it. But later, once you have this down, we're going to start creating the soft texture of the bread and also the caramel which is going to be drizzled over it. So let's have a look at the three sections again. Here's the top part where the x is, the black area is where the well is going to be. And here's the side. So now that you have the basic idea of the form, we can take this further and add on the texture of the cinnamon roll. So it looks more like food and some soft bread instead of some architectural structure. Now that we're ready to add on the textures, I'm going to draw it with quite a light hand where the lines are a bit uneven and sometimes the lines are also disconnected. This will help loosen up the drawing, which would suggest the softer texture, which has less stiff edges for your cinnamon roll. I'm drawing this out in a small portion still because I want to just show you how to create the lines and how I put it together. I tend to always draw smaller versions of the subject that I'm studying a few times to understand the lines and structure before attempting to draw a larger one. Because this way you get a quick overview of the structure and the shape. And once you're comfortable with drawing smaller versions, it should be a bit easier as you scale up the drawing. The set of the role, as I mentioned before, I'd like to make it curved so the bread looks softer as it's trying to hold up its own weight. And this way the bread would also have folds around the side. So I tried to add a bit of texture on the large flat surface. As for the caramel, I'd like to imagine a layer of it that is tripping right from the top to the bottom of the cinnamon roll. And I'm going to make an uneven, so it looks like a natural drip. And right at the bottom I want to make puddles where the caramel collected. And for that I'm also going to add highlights. So the caramel looks nice and shiny. To depict them that the whole top section of the cinnamon roll is covered by the caramel. I'm also going to add additional shine or highlights around the edges. And that's something that you can play around, you know, painting. You have the choice of drawing it out first before you paint. So you can leave out those areas or you can just paint it freehand. Next, I'm going to draw out the cup of coffee. I'm drawing this separately for now, but you can also combine it in your composition later depending on how you'd like to place the subjects together. Just like the cinnamon roll, I started with the oval at the top. And this will just give me a better perspective of my viewpoint. The cup of coffee is further away at the back. So the oval, slightly smaller or a flatter compared to the cinnamon roll. And asked for the handle, I'm just going to place it on the right-hand side of nine is going to be covered by the cinnamon roll. I'm also going to add coaster, which I'm going to paint as a wooden slice coaster, but this is something again that you can customize. I'm just going to place it right under the covers. Chart the coffee. I'm just going to define upwards. So it's going to be and also where the highlights going to be. I'm also going to add the parchment paper underneath the cinnamon roll. And for this, I tried to think of areas where I can create the four points of the cut-out paper. And once they're established, I tried to combine them all together, especially the folded areas. While doing this, I also tried to create very jaggedy and angled outlines. That way you can add on the crumple texture to the parchment paper. So this is something that you can continue to study further. You can also draw a large version here and try to trace it onto your watercolor paper. Once you're happy with your own composition. You can also download this outline that I've provided in the projects and resources section. I've created two outlines. And these are around the same size of my actual artwork. So you can print it out the size, or you can also make it a bit larger or smaller depending on how big you want your painting to be. I've provided two outlines. One being the outline that I've actually used and then I painted the details freehand. And the other outline is the outline that I've added details to. So this can serve as a bit of reference if you're trying to figure out where to put the highlights and textures and things like that on your painting. I would suggest to use it as reference instead of tracing street onto your watercolor paper with the details because I will be working in layers and sometimes these textures are not visible the first time I paint them because that's something that I build up later on. And with that said, let's move on to the next lesson. 4. 4. Lets Paint: Cup (Base Colour): So let's start to paint. I'm going to begin by using one color only. This is buff titanium. And I'm going to use this in a very thin consistency, which I'm going to have ready on my palette for easy access. I'm only going to paint the base color here, so I make sure to use a lot of water. This way. I can keep layering on more colors without making it look too dark. So I'm going to build the colors very slowly later on. For now, I'm just going to spread the buff titanium very lightly on the outer side of the cop. I'm again, adding a lot of water into this, so it's not. And I'm also going to paint one side of the handle that is closer to us. For this, I am using a slightly thicker consistency, but it's still fairly light. I'm still going to build this up, but this part is going to be darker than the rest of the cup. So I don't mind if I put a bit more pigment here. I'm also going to paint the inside of the cup while avoiding the rim of the whole cup. For the inside, I tried to do a light gradient where the left is darker than the right-hand side. So I use more pigment or a medium consistency on the left and add more water and less pigment as I reach the right-hand side. 5. 5. Cup Details: After the base color is completely dry, I'm going to mix buff titanium with craft brewery, and therefore a matter for muted pink color. And I'm going to use this color mixture to paint on the details and the reflections on this cup. I'm using a medium consistency and I'm going to start by painting the edges on the right-hand side of this cut. I'm only painting a fin area here because I want this to be very light. So after I've done that, I clean my brush and then dampen it so I can pull the pigment further creating an even lighter color. After looking at it, I felt like the color looks a bit too pink, so I tried to neutralize it by adding a little bit of Cree of grade and then spreading whatever is left on my brush to paint around the rim. Again, just like before, after after, not the line, I followed this up with a clean damp brush to pull the color further downwards as I'm pulling the pin downwards, I'm also keeping in mind the shapes that I want to create for their reflections. This can be anything abstract. I personally just like to follow the curvature of the cup. After pulling down the paint with a damp brush, the bottom portion should be a bit wet and I want this part to be a bit darker. So I use the same color mix shot on my palette to add a bit more pigment from the bottom and just letting the paint spread naturally upwards. And also going to use the same color for the bottom left off the cup and also the left side of the room. For the inside of the cup. I'm going to layer on the same gradient as I did before. So I'm starting with a medium consistency on the left. And as I reach 1 third, I clean my brush, then pulled the rest further to the right hand side to create a soft gradient. The next color mixture I'm going to create as a muted purple. And for this I use couldn't purple blue with graphite gray because I used a lot of water to spread the paint. This bottom portion should still be a bit damp. So I'm just using the tip of my brush to tap in the pigment and then spreading it with a clean brush so it reaches upwards. I'm also going to do the same with the reflection in the middle. As the patient reaches upwards, you can also move it around to make sure the paint lands on specific areas here minor to be pleased. Sometimes if I want a softer purple color that which is a bit more pink, I like to also mix in a little bit of the previous mixture with the muted purple. So like right here I'm using a very thin consistency to add on a bit more details. On the left here, I wanted to darken that section further, so I use the same color and just add it on. And because the surface is still wet, it's just going to blend in with the rest of the area that I just painted. For the inside of this cup, I'm using the muted purple the exact same way as how I painted the previous layers. This might seem redundant for some of you, but building the color slowly for me helps with the values that I place. When trying to depict a light colored objects is always safer to use the lightest consistency possible. And then slowly building it up so you can mix up different tones. And you will also have less risk of painting on something too dark because it's easier to build colors then to take it off with water colors for the side of the handle, I started with the muted purple color and then I added the pink at the top, connecting them together. With this, you may realize that I'm using medium consistency, which is a bit darker than the rest of the cup. This is because I want the side off the handle to be the darkest part of the cup. So I'm being a bit more brief with my colors. I also ended up adding a bit more muted purple at the top of the side of the handle. And I soften it downwards. For the bottom large face of the handle, I use the pink mixture with added buff titanium to again create an abstract reflection. You'll notice here that the edge is very sharp for the handle, which would suggest a hard edge. So I'm just going to soften this using whatever color was left on my brush very lightly. Or you can just use a clean, damp brush to reactivate the paint around the edges. Afternoon, I felt like the middle reflection looks a bit flat, so I'm going to layer on more detail using the muted purple color. Again. I'm using a very thin consistency that's barely even visible. And I'm going to use this to paint the top near the rim and layer on a couple more curved lines. You can always go back to the details you've painted and soft in any of the edges using a clean, damp brush. This totally depends on where your reflections are placed and also how you'd like them to love. Going back to the incentive. And again, I'm using a mix of all the colors here, except for gray are free to layer on a darker value from the left to right. And hopefully you guys can see that from all these leaders, you are able to still see the previous colors underneath, even though it's very subtle. But I personally find that it enriches the color of that area. The way I like to build on values is by working back and forth on different areas. This way I keep layering on more paint to make sure that all the colors are well balanced all throughout. So after adding all the details and extra colors on other areas, I can see that the handle is now looking to light. So I'm going to layer on colors on that area to make sure that the shadows are a bit darker. And still using the same color mixtures were for her, but as you can see, the colors a bit more gray and darker because there's more graphite GRI in the mix. So remember to also play around with the ratio of colors to make sure that you get the right dominant hue that you prefer. Still using the same color mixture. I'm adding more lines for the reflection detail. It's okay to layer on different angled lines. This or just suggest more depths and their reflection, which could really be anything. Lastly, I'm going to go back to painting the handle and the top part of the handle is still completely white. So I'm going to do a very light glaze using Buff Titanium. Just tint the white very slightly, but make sure that the surface is completely dry so you don't lose any of the detail that you've painted earlier. 6. 6. Cup Rim and Additional Details: Searching, so my liner brush now I'm still using the same color mixture. I'm just going to line the top of the rim, this right at the edge. And after I've done this, I'm going to soft and all the edges with a clean, damp brush. Just like before, as I mentioned, with softer edges and look like the edge of the rim as rounder instead of it being sharp. I'm separating the areas into two. So I'm painting this 1 first and then I'm going to do the same for the rim at the back. As the color of the whole cop tries. I felt like the right hand side is looking a bit too light. So I ended up going back in with a mixture of the purple with graphite gray. And I'm using a medium consistency here, just lining the sides and then using a clean damp brush to spread the paint out. I'm also going to just clean out some of the edges that I found is a bit lacking. And like the coffee on the left here, it's supposed to be a bit more curved. So I just use the same purple using the tip of my brush to fill it in. I'm also going to go back to the side of the handle and just please it with the same purple color. And then with a clean, damp brush, I'm just going to soften and round the edge. After that, I'm just going to use whatever was left on my brush or whatever Pete's I picked up with my brush and use that to paint the bottom off the handle as well. 7. 7. Coffee: In this lesson, we're going to be painting the coffee. I'm going to first start by using the purple that's left on my palette. I'm just going to use a very, very thin consistency. Basing a little bit down and then diluting it further with water. And placing this one spot where the highlight of the coffee is going to be. And then I'm going to follow this up with burnt sienna. And I'm just going to paint this on top of the whole area of the coffee, including the highlighted areas. So you have to make sure that that first layer is completely dry. The left wavy line off the coffee is where the foam is going to be. And for that area, I'm just going to glaze it over with yellow ocher and a thin consistency when glazing over that area, I want to make sure that the base color is fairly dry so the color will spread out. For the black part of the coffee. I'm just going to use CPO, which I'm going to glaze over again. This is a medium consistency and you should ideally paint this on dry surface. Mine was unfortunately still a little bit damp, so the Pete was spreading a little bit, but I don't mind it as long as it doesn't spread too much. So I can still separate the highlighted area. But just to make sure if you want to play it safe, you can always use a hairdryer to make sure that the surface is completely dry. After adding this layer. Now, I'm adding more paint and water into the surface. So I'm just going to make sure everything's completely dry first. And after that, I'm going to build up on the layers by using a Mac offset API and roast matter, there arose meter will just help bring out a bit more saturation to the color by adding a reddish shade to the sedia so the color look less dog. And using the same color with my liner brush this time I'm just going to line the side to make a little bit of separation around the side of the highlight, as well as a foam area. I'm also going to make a few thin lines here, so it looks like reflections. For the middle of the highlight, I'm going to use a very thin consistency of the exact same color. And I want to soften this using a clean, damp brush so it looks like Something reflected off that highlighted area. Then just further bottom of that foam area, I'm going to add a little bit of burnt sienna. So that light area off the phone connects with the highlight that we just painted with a reflection. In the next lesson, we are going to be painting the bubbles, so I want to make sure everything's completely dry. 8. 8. Coffee Froth and Bubbles: Okay, so in this lesson we're going to pick the bubbles. As I mentioned in the previous lesson, you do want all the surface two, really dry by now. And I'm starting with burnt sienna to paint the first layer of bubbles. So I'm just using the tip of my brush here. I'm still using my larger brush, but you can switch to your smaller brush, so it's a bit easier to control. I'd like to also mention a little bit about brush sizes. Large brush holds, more water and more paint. You can have trapped in between your bristles. So if you accidentally loaded your brush with too much paint, it can travel out of your bristles. Are the two fast creating a puddle of paint or water. This is why a small brush is easier to control. And that's something that you can figure out along the way as you gain more experience if you're new with watercolors. Point being, if you feel like you don't have enough control using a larger brush to paint these smaller areas. And feel free to switch to a smaller brush. Brushes are there to serve you, not the other way around. And it's really important for you to be comfortable with the supplies that you have ASCP, I'm switching to my smaller liner brush now because I'm going to be painting an even tinier area, I'm using a mix offers matter with sepia as they did for the black coffee. And I'm going to place curved lines under the round bubbles that I've painted earlier to depict the form by adding shadows to those bubbles. For some of the smaller dots, I tried to just dot the dark brown underneath the dots, but I made sure to paint the curve on the larger bubbles and the rest will just follow through and your eyes will adjust the shapes knowing that they're supposed to be bubbles from looking at the larger ones. By the way, it's not necessary to use a liner brush here. You can just use a small brush that you have. But I unfortunately couldn't find my size 0 brush when I was painting there, so I decided to use the liner brush instead. Now let's paint the highlights, which is going to bring all the bubbles together. I'm using my bleed proof white here and I make sure to use a thick consistency of it, still using my liner brush and I'm just going adds on top. 9. 9. Top Roll (Base Colour): In this lesson, I'm going to be painting the top part of the role and I'm just going to start with the base color. Since we are going to use a different color, tone or color variation. I'm just going to clean my palette first just to make sure that the previous colors won't contaminate the colors that we're going to use now, which are fairly bright. This is actually very simple. I'm only going to use two colors. Were just Hansa, yellow medium, and also rose matter. I'm going to create two color mixtures using these two colors by just playing with the ratio. So one color mixture has predominantly more ROS matter and the other one that I'm making here has more hansa yellow in the mix. In this lesson, I'm just going to refer to the color mixtures as yellow, brown and brown. So firstly, I'm going to start with the yellow brown and place this at the top. Fees. After all, when I'm placing down the color, I'm not worried about how neat they're placed. In fact, I'd like to do the opposite. So the colors look like they're more naturally placed while the yellow-brown is still wet. I'm going to follow this up with a brown mix on the side of the role facing closer to us. But I'm also alternating between the two colors, so they stay a bit uneven, though the top version has a bit more yellow brown compared to the brown. I started with the top couple of roles since they're connected. But then I tried to do one rule at a time, just slowly working in sections so you have better control of how wet or dry you'd like the surface to be in order for the colors to mix accordingly. Here as I'm painting, you probably noticed that I'm also avoiding the wells and it's not necessary because that's going to be painted on with the darker color anyway. So you can technically layer over it and just use the same colors to paint over it if you don't want to leave any negative space. But I personally find that it's much easier to visualize the sessions without painting that part for the moment. So you do have that option of just painting everything over or leaving it. Like what I'm doing here. I am going to leave out some white negative space of the paper as I'm painting the wells or the caramel inside the wealth afterwards. But the thing is, that's not necessary either because you can always go back in with whitewash or I also use bleed proof white add on those tiny highlights. So I'm just going to continue painting this. And after that, I want to make sure that everything is completely dry before I move on to the next lesson. 10. 10. Top Roll Caramel: Here I'm going to begin by painting the care of most stuck on the role which are most likely closer to the wells because that's where the caramel mostly collected. For that, I'm going to use a mixture of burnt umber and roast matter. Burnt umber will be slightly darker brown compared to the brown dot with mixed earlier. And the roast matters should help warm up the tone of the brown, which I feel would make the caramel more tasty. As you can see, I'm just placing them quite randomly around the sides and also the top face of the role where it's closest to the well, making sure that it's uneven so it looks natural. The darker colors should indicate areas where the caramel is thicker, but for a slightly lighter care about color which I like to also mix in. I used to mesure of Hansa yellow with the roast matter and less burnt umber in the mix. Sometimes we might not know which parts to paint. So I personally like to just align the area with my brush first to separate them and just color it in using either the light caramel mix or the darker caramel mix depending on how bird you'd like the caramel to be. I like to also leave out a little bit of negative space. This way the base color through certain parts off the role. And for some of those areas, I like to also suggest folds and the bread near the well where the caramel collects. And those folds will just help your cinnamon roll look nice and soft. If some of the edges look a bit too sharp for your liking and you'd like to blend it in with the base color off the bread. You can also go back with a clean damp brush, which is what I'm doing here to soften those edges. I think the caramel drips near the well look quite good here. So I'm going to paint the wells now. For that, I'm going to use a thicker consistency of the same mixture which just from ROS matter and burnt umber. But I used way more burnt umber in the mix to make a darker brown color. I'm just going to paint the walls and fill in the space, but I thought here, but I'm also going to leave out white narrative spaces, very small white negative spaces just indicate a little bit off highlights and reflections. If you've painted the walls using the base color from the previous lesson, don't worry about leaving out the negative space because you can always go back in with your whitewash or bleed proof white to add that in later on. Sometimes I like to have a softer blend that connect the darker Mao from the well and also some for Guillermo which are sticking. And for that just like before, you can always use a clean, damp brush to soften those edges. Here you can see me painting very carefully around the edges to accentuate those faults and imperfections on the bread to make them look a bit Marcelo. Once I'm done with those three walls, I'm going to use a golden brown color from a mix off throw spatter West Hansa yellow, which is similar to the base color mix, but this time it's surround a 5050 ratio, of course better and how's the yellow? And then I'm going to treat this the same way as how I painted the caramel drips with the darker brown before. And this is just going to indicate a lighter caramel coding and certain areas. And we'll add that extra texture to the cinnamon roll. So yeah, I'm just going to add that into the previous roles as well. But just be careful to use a medium to lighter consistency when you're doing this because you still want the texture from the base colors to show through. 11. 11. Bottom Caramel (Base): Moving on to the bottom or the outer part of the role. I am intentionally separating this because the area that we're painting now is quite complex compared to the central roles because we have to be careful with the longer a caramel drips, which would require a bit more brush control. And because we've painted the top section, you guys should be more acquainted with the colors and the technique which we can even count that as practice to paint this section. So it shouldn't be a problem because we're going to treat it quite similarly. As you can see, I started with the same two mixtures, Hansa yellow and ROS matter. One being a bit more yellow and the other one being a bit more brown red from more ROS matter. But this time instead of separating those two sections, I'm starting out by using my yellow brown to paint the base color for the drip while leaving out negative spaces for the highlights which I've placed randomly at the corner of the role. This might seem a bit complicated as you are trying to control the water and the brush and also leaving out these negative spaces at the same time. So if that's something that you feel a little bit uncomfortable with, you can also use pencil to outline those sections. First, you can just draw out this random shapes at the corner and avoid those areas. Or you can also do what I'm doing here by outlining certain sections. First, using my brush with the same color until I finished with the drip and then continue on with another section while drawing out the outline first off the highlighted area, and then painting whatever is outside of it. This clip isn't sped up because I wanted to show you how slow I'm painting it and there's no rush when you're doing this and just paint a section at a time without jumping around too much. This way you can avoid certain edges train up first and you can continue to paint evenly all across. Now with the golden brown with ROS matter and the mex. I'm going to treat this like how I painted the darker care and loss section straight away near the well. So you can see after I picked up the color, I'm checking out my brush load to make sure that it comes to a fine point, which means I can create finer details. So I can start sending out those random wiggling lines near the weld first. And I'm just going to fill it in while also remembering those folds and imperfections and the bread to make it look soft. I'm going to start by randomizing the darker areas even weren't like at the bottom after drip where the caramel collects. And I'm also going to accentuate the white highlights by intake around them using this color so they're spark contrast to make the highlight pop-out. This darker color can technically be pleased wherever you want them to be, to create uneven textures all throughout. I basically like to imagine this transparent golden brown caramel, which covers a big role with an even golden brown color on the bread. So anything goes, you can paint the darker colors to depict more after Karameh collecting and in a certain area. Or you can also try to depict what is underneath the care of. At the same time though, I do want to emphasize the longer drips. So when I layer on the golden brown color in that area, I like to follow the movement downwards while leaving long negative spaces, which again follows the sheep after Trec. It's starting to like the textures that I've made here, but I feel like I need to add a bit more depth by adding a darker value. So I'm going to add a darker caramel color from Hansa, yellow, rose matter, and burnt umber as we use for the previous theories on the rolls. I'm going to add this randomly again in areas close to the well, near the highlights and smaller parts of the thinner caramel drips. And at the same time, I can also see that the previous red layer is lacking in the darker values as well. So I'm going to add on this color to the previous bread layer as well, just to make sure that everything is balanced all throughout. As you can see here, I'm painting thin areas to emphasize some off the edges of the caramel drips. And to get to those areas, don't forget to switch to a smaller brush for more control. If you ever feel the need to. Some parts of the surface is still wet and I like that some parts has a softer blend, while others might have sharper edges. But if the surface or your paper is already completely dry by now, as you're adding the darker value, remember that you can always use a clean, damp brush to soften the blend. 12. 12. Caramel Well and Details: In this lesson, I'm going to paint the final well using the same mix of burnt umber with ROS matter in a very thick consistency. I'm again going to leave out small negative spaces here and there to add as sparkly highlights. And then after that, I'm going to paint the end of the bread roll at the back, as well as add additional details to balance out the values of what we've painted so far. I'm going to use the golden brown mix straight away as the base color for the on-off the role. This is because the lightest part off that area would also be darker anyway. So I'm starting with midtone of a higher ratio, a frost matter compared to the hansa yellow. And then I'm going to first make sure that the base color is completely dry before adding on the caramel textures. Next, I'm going to add the caramel near the inner part of the role using a medium consistency of ROS matter with burnt umber. And I'm going to apply it the same way as they did the other sections by making abstract way Uli lines and coloring it in near the inner portion of the role. Here with a clean damp brush. I'm just softening some of the edges, but also leaving out a little bit of negative space. So I don't lose the base color. Next I'm going to add burnt umber by itself at the edge of the inner portion. This part would be darker because that's where the cinnamon spread as usually placed. So I'm just going to darken it further using quite a thick consistency. And meanwhile, I'm also going to clean out some of the just off the other roles as well. Lastly, in this lesson I'm going to redefine and emphasize the caramel drip or using a mixture of Hansa, yellow rose matter and burnt umber. I'm going to line some fear just to make them darker because in the next lesson, I am going to be painting part of the role or the bread which won't be covered by caramel. And bread is pretty much more or less the same color. So I want to make sure that the edges of the drips are slightly higher in value to emphasize the GUI, Karen, No. I tried placing more of the darker colors near the ends off the drips because I want to make sure those details will show through even after I've painted the bread. You can make this up or follow exactly where I've placed the darker colors. Or you can also refer to the reference image that I've provided in the projects and resources section. I personally use the reference quite loosely, but you can definitely get a better visualization of where you can add the darker colors using the reference photos. 13. 13. Bread Roll (B: The speed the bread roll, I'm introducing a new color which is yellow ocher to differentiate the tonality of the bounce that I've used and very subtly. So I'm going to just begin by painting a section of the bread using just the yellow ocher. I do want to create textures for this part of the painting. And since I want the color of the bread to be lighter than the caramel, I want to make sure that I don't accidentally add onto much paint. So I'm starting with a medium to thin consistency of this yellow ocher, which is quite a transparent yellow ocher in nature to begin with. On the left side, I want that part to be lighter and I'm just going to take off some color using my tissue this way you can also start to see a little bit of texture farming. I've drawn out a bit of imperfection of the bread at the bottom here, and I want to paint it using a slightly darker value. So I mix in yellow, ocher to the Hansa yellow and rose matter to first paint the uneven line. And then I'm going to follow it up with a clean brush to drag the color further. And whatever color I picked up with my brush as access, I just tried to place them on random parts of the bread to create an uneven surface. Now I'm going to paint the rest after base color using yellow ocher. I felt like being silly here, so I tried to paint all three sections at the same time. But of course you can pick one section at a time to make it a bit easier to control. Here I added more yellow ocher. It's the golden brown mix, and I just start them around to create a textured surface, which I'm still going to Layer and build upon it as I go. I felt like the color was a dark enough n value. So I decided to use a caramel mixture of an umber Hansa yellow rose matter added to the yellow ocher. And then I'm going to dot it around even more, add the same area while the surface is still a bit damp. So those dots would bloom and add-on to the texture. You can see another folder or imperfection on the right-hand side of the bread. And for that, I just used the same mixture that a need and treat it similarly to how I've painted the bread fold at the left-hand side. And one on the right hand side to be darker because that's where the heaviest shadow from the cup of coffee. So I use a mix of burnt umber with froze matter to just dot it around the right-hand side of the bread. And I'm going to use the same color mixture to line the fault and then softening the edges to emphasize the form of the bread. When you're painting this, you can also improvise an add on more textures compared to what I painted here. And you can also add more folds to the bread. So you can just experiment with your painting to customize it further. 14. 14. Caramel Puddle: In this lesson, I'm going to paint the caramel pedals collected under the cinnamon roll. I'm going to begin by mixing more after two parallel colors from burnt umber with throat matter for the dark brown. And I'm also going to mix Hansa yellow with a lot of firsts matter to create the golden brown. There are only three simple steps to paint the current puddles. Firstly, I'm going to start by using a thick consistency of the golden brown mix to paint and the puddle while avoiding certain areas of the highlight which you can make up along the way or use the detailed outline as reference. For this, the areas to paint are quite small, especially when you're trying to leave out the small highlights along the way. So feel free to switch to a smaller brush to paint this section, at least for those tiny edges anyway. Once I'm done, I'm going to take the darker more color and paint the area near Red role while leaving the golden brown color around the edges and also avoiding the highlighted areas. You'd also preferably you want the base color of the golden brown to be completely dry first before doing this, because we're painting on such a tiny area. And if the base color is still slightly damp, the dark brown mix will just travel right to the edge straight away. So we're going to blend them the controlled way with a clean damp brush after I'm done placing the dark brown next. I want to also mention that I'm leaving quite a large area of the golden brown because when we soft in the blend later on, the dark brown will travel across because we are going to reactivate it. So we're just going to compensate for that by leaving a bit more space to smudge or a blend those two areas. I use a very tiny part of my brush and just dampen it with water. So you can see that it's a very light load on my brush because my brush SSL, very pointy. It's just a bit damp and I'm going to use that dampness to reactivate the paint and soften those edges. I'm starting at the large area first because I want to see how fast the paint will react and spread. And once I have a good estimation of that and I move lines at the smaller areas. Then was whatever was left on my brush. I use the access to paint the bottom of the dress, again, emphasizing the edges to make sure that it stands out on the bread. Then when I run out of paint, I just use a mix of both the colors so the details won't be too dark. 15. 15. Wood Slice Coaster: In this lesson, I'm going to pee in the coaster for this, I'm going to create a would slice coaster, but you can also painted other colors you'd like. And beginning by mixing buff titanium with burnt umber. And I'm using a thin, medium consistency to paint the whole holster as the base color. I've just painted them evenly. I wanted the top section to be a bit lighter so I clean and dry my brush so I can absorb the excess paint at the top section. Next, I'm going to add the shadow on the coaster from the car. And for that I added the Quinn purple blue and to the previous mixture. And I'm just going to paint a section of that in a thin consistency. Since I've been painting with very watered-down paint, my paper is quite wet, so I'm just going to dry it off before I add on anymore liters. Next, I'm going to paint the bark off the word slice. And for that I'm going to use a medium consistency of a mixture between Serbia and the Quinn purple. I'm using small brush strokes when I'm painting this because I want to leave out tiny spaces horizontally to follow the wooden slice. And using the same color, I'm going to add the shadows underneath the cup directly and then softer note with a clean damp brush. So it's darker near the top and it fades when it goes outwards. I'm going to layer on a thick consistency of sepia for the bark again. And just like before, I'm using the tip of my brush to paint using tiny brush strokes and leave out small horizontal negative spaces. Then after this, I'm going to go back to the previous purple mixture from Buff, Titanium, burnt umber, and purple. And I'm just going to paint on a little bit of wood grain on top of the poster. And then F parts of the lions were a bit too sharp. I'm just going to soften it with a clean, damp brush and take whatever is too dark off with tissue. 16. 16. Parchment Paper: For the parchment, a brand gray to use a mix of buff, titanium and yellow ocher and a thin, medium consistency. I'm going to begin by painting the base color for the folded areas first. And I'm going to separate that to make sure that those areas doesn't look flat if I paint them all in one go. I'm also going to paint the rest using the same polar mixture I'm starting to paint from the right-hand side because I want that area to be darker. And as I paint the left side, I tried to use a bit more water for that area. But if my paint turn out a bit too dark, I can also take it off with a tissue. Hopefully from here you can see why I chose to paint those folded areas and the inside of the paper separately because watercolors tend to create a barrier when the paint dries. And this will just help make things look less flat even when you are painting using the same color. Next, I'm going to create the shadows or the crumple texture of the parchment paper. And for that, I'm going to use a mixture of buff, titanium, and purple as the base color. And I'm also going to add burnt umber to add that little bit of darkness. For this, you can make it up as you go. For me, I personally tried to follow the angles or the lines on the paper that I've drawn out. And either paint lines or any open geometric shapes in that area? Like anything I'm unsure about. I always try to use a thin consistency just to make sure I liked the placing and the shapes that I'm painting. So try to map it out first before adding a darker layer. For this large area in front of the cinnamon roll, I was trying to figure out different shapes since it's such a large flat area. And I was trying to portray the crumple texture. But by the end of it, I felt like it was a bit too crowded, like I added too much. So I decided to just scrap it and blend everything together with water and take off the excess paint with tissue. And after that I just tried to redo it. And moreover, simplified way, I have to see that the first texture looking at it again, I don't think that it was bad and I still think that it makes sense. But I also felt like it was just too much farther composition. But this all just comes down to taste. So feel free to adjust the texture however you'd like. You just the shadows that I've been to so far on the top is facing towards us, which means there's some sort of going on. I wanted this area to also be darker compared to the rest of the parchment paper from the cinnamon roll, blocking the light. For some of the crumple texture I tried to layer on a slightly darker version of the color. It's still the same mix share, but I use a slightly thicker consistency just to Lear on more texture on top. And this I feel just gives a bit more depth to the textures. So as you can see, I left front of the cinnamon roll, quite simplified compared to the crumple texture that I made earlier. But again, this is just up to you how much texture you want to create within those areas. And lastly, I also decided to add a bit more shadow underneath the Carmel puddle, just to separate the shape of the puddle with the parchment paper. And after that, I'm just going to soften it so it looks more like a subtle outline. 17. 17. Cast Shadow: Here I'm going to be painting the cast shadow for that. I'm going to use purple again as the base color. And then I also mix this up with converts, warm up the purple, unmute slightly. I'm going to use a thin consistency first again to just map out the placement of the cast shadow. I'm going to add a very thin consistency of just the purple around the edges off the cache shadow just to give it a little bit of a cooler temperature ground the outside compared to the warmer tone underneath the parchment paper. Well, the surface of the cash-in of those pizza is still a bit damp. I'm going to add a darker version of the color. So I use a thick consistency of the mixture between purple and burnt umber. And I'm just dotting this around near the parchment paper, so it's a bit darker right underneath the parchment paper and it's a bit lighter outside. If the paint isn't spreading as much as I want, I just go back in with a clean, damp brush or a dry brush, even if it's still slightly damp. And I'm just going to soften those edges. Is another way for you to approach painting the cast shadow, which I'm going to do for the smaller shadows, the coast here and also the cup. And this is to use a thick consistency straight away off the warm purple mix. And then I'm just going to softer net using a clean damp brush. So the outside as much lighter in comparison to where we should place the consistency paint. 18. 18. Highlights and Additional Touch ups: Welcome to the final painting lesson of this class where we add on the additional highlights and final adjustments. This greatly depends on where you are painting as at. So where you place the highlights or adjustments might vary with what I'm presenting here. So here I'm just glazing over more yellow ocher, nothing Consistency to add a little bit more texture and increase saturation. And I'm just going to do this all over the red area only happen my brush making sure that I'm still creating more texture as I go. With a thin consistency of burnt umber, I'm just going to accentuate those faults and imperfections on the bread again. And I'm just going to add one more line also on the right-hand side because I felt like it would be nice to break up that area a little bit. I'm using a very thin consistency because I want the faults to be nice and subtle. Here I decided to add a bit more yellow ocher. And as you can see, I'm just tapping with the tip of my brush to create those uneven textures. Okay, So now we're ready to add on the highlights. I'm going to use my bleed proof white, or you can also use whitewash. Leak-proof White is generally very opaque, but for now I want to use it as a light white glaze of highlights. So I'm going to use a very watered-down version. You can also use sync white, which is quite transparent whitewash. But I just want to keep their suppliers to a minimum. So I'm just going to use the same bleed proof white just with a lot of water. And placing them on the right-hand side because I want the highlights to be a bit more subtle on this area, Arthur caramel. And I'm just using my liner brush to create those tiny areas where extra highlights. Keep in mind that this is just my version after painting. But if you feel like you have enough highlights from the negative space that you've left off, you can just leave your painting assets. Next, I'm going to add a consistent see bleed proof white as the bright highlights. After painting. I'm going to place the bright highlights on the caramel at the top of the cinnamon roll. I want this painting to really suggest the shiny and Googliness off the camera. I'll topping. This is also the time to add on highlights, FEF mess the negative spaces and the previous lessons. As it's possible to get that very white opaque highlights as if you've left out the negative space, leaving the people liked. I'm using my liner brush for this because I only need to add on tiny little areas and find bots and things like that. But if you left out the negative space and the previous lessons and you'd like to create a larger highlights. You can also use your regular brush for that. I personally love adding white highlights because I feel like it adds dot hop to your painting and it also adds on that extra ETL. However, it's very easy to overwork your paintings just by adding too much white. So just be mindful of this when you are adding on those white areas. With this said though both whitewash and bleed proof white are very forgiving as he can always paint over the white areas again, using whatever color was underneath when you feel like a certain area is a bit too overcrowded with the white. So there's a lot of room for error and you have full control over erasing or taking back the mistake that was made. So I'm just going to finish everything off here by undoing some of the white in certain areas and also cleaning up tiny corners or edges to polish the painting. I'm also going to add a darker value on the shadow from a mix of sepia and purple. I'm using a thick consistency here and then I'm going to softer net with a clean damp brush. Lastly, I'm going to add highlights to the coffee cup to give a split pair and shinier look to their reflections. I'm going to add some to the handle as well as the rim of the cup. And that's it. Once you're done with your painting, you can just find it out. 19. 19. Closing and Class Project: I enjoyed watching it as much as I enjoyed painting the cinnamon roll. For the class project, I would love for you to paint too long. And once you're done, please put it in the project section so you can share it with other students. And I can also take look at your beautiful paintings, which is always such a pleasure for me to look at. I love seeing all the different styles that you guys put into your paintings. And after that, it would be super helpful if you guys would leave a review that way I can keep on improving my classes. If you guys enjoyed the painting that I did and would like to see more art by me. You can follow me on my Instagram at IG underscore neon Yani. Or you can also follow me on my YouTube channel and Janani, where I post weekly art related videos, mostly on shorter watercolor tutorials. If you guys are still here, I'd like to thank you for staying till the end of this class. I hope you guys enjoyed painting and I'll see you in the next class. Bye.