Food Illustration: Jam on Toast Paint with me | Eugenia Sudargo | Skillshare

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Food Illustration: Jam on Toast Paint with me

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

21 Lessons (1h 29m)
    • 1. INTRO

      3:16
    • 2. SUPPLIES

      2:09
    • 3. TRACING

      2:17
    • 4. MASKING

      3:28
    • 5. BASE COLOUR: TOAST

      3:17
    • 6. BASE COLOUR: CRUMB

      5:02
    • 7. BASE COLOUR: CRUST

      4:23
    • 8. TOASTY TEXTURE

      1:32
    • 9. TOASTY TEXTURE: CRUMB STRUCTURE

      3:59
    • 10. TOASTY TEXTURE: TOASTED CRUMB CORNERS

      7:51
    • 11. TOASTY TEXTURE: SHADOWS IN CRUMBS

      2:13
    • 12. CRUST DETAILS

      9:59
    • 13. JAM TEXTURE

      9:36
    • 14. JAM REFLECTION

      7:32
    • 15. CLEANING MASKING FLUID

      1:10
    • 16. LEAVES

      6:18
    • 17. ALMONDS

      4:59
    • 18. LEAVE + ALMOND SHADOWS

      3:52
    • 19. DRY BRUSH ON CRUST

      2:28
    • 20. FINAL ACCENT: DOTS (OPTIONAL)

      1:39
    • 21. CLOSING AND CLASS PROJECT

      1:55
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About This Class

Hi, I’m Eugenia and I will be your teacher for today’s class. I am a watercolour enthusiast who mainly focuses on food illustration. This class is a step-by-step paint through of a food illustration; Blackberry Jam on Toast. Today’s class is a request from a lot of my past students and YouTube followers, after watching a speedpaint of it on my channel a while back, and so I decided to turn this into a full class so the steps are more manageable to follow.

I will be painting at a slow pace while talking to you and informing you in each individual steps in hopes that students are able to paint along. But it is recommended for students to watch the lessons individually before painting along, as it will be easier to digest the information when students know what to expect from certain lessons. Another tip for this class, if students choose to paint along as they watch is to pause in each step, so they are able to watch and have time to paint it themselves in their own time before moving along to the next step.

Here is the class outline of the smaller lessons:

01. INTRODUCTION

An introduction to the class and a list of the class outline as well short clips of lesson previews from start to finish

02. SUPPLIES

A list of the art supplies used to complete the final painting in this class

03.TRACING

You can draw your own toast but, there will also be a downloadable pattern/outline of the illustration, which you can trace out.

04. MASKING

 Prepping of the illustration by masking off small elements

05. I. BASE COLOUR

Painting the base colour of the whole toast

06. II. BASE COLOUR: CRUMBS

Separating the toast between the crumbs and crust

07. III. BASE COLOUR: CRUST

 Prepping the base colour of crust

08. I. TOASTY TEXTURE

Adding a layer of golden brown colour to the sides of the crumbs

09. II. TEXTURE: CRUMB STRUCTURE

Painting the holes of the crumb structure

10. III. TEXTURE: CORNERS

Adding detailed texture to the crumb structure along the side of the toast

11. IV. TEXTURE: SHADOWS IN CRUMB STRUCTURE

Details of shadows within the holes of the crumb texture

12. CRUST DETAILS

Identifying the folds and texture of the crust and enhancing the shapes

13. JAM

Painting the base colours of the jam along with additional textures

14. JAM REFLECTION AND HIGHLIGHTS

Building form of the jam by adding several layers of reflection and highlights followed with shadows to enhance the texture

15. CLEANING MASKING FLUID

Revealing the smaller elements that was previously masked off

16. LEAVES

Painting the leaves from start to finish

17. ALMONDS

Painting the golden brown almonds from start to finish

18. SHADOWS OF LEAVES AND ALMONDS

Enhancing additional elements of the dish by adding shadows

19. DRY BRUSH ON CRUST

Painting the residual flour that’s sometimes left on the crust for additional texture and character

20. ACCENT: DOTS

An optional addition as accent to give dynamic elements to the painting

21. CLOSING AND CLASS PROJECT

Conclusion and introduction to the class project

* I hope everyone will enjoy this class and learn something new after following and painting along! Happy painting to you all! :)) 

** My health condition wasn't the best while I was filming this, and I suffer from eczema on my hands, I apologise in advance if any of you are distracted by my dry skin in this class, please let me know if it does, and I'll try to wear gloves next time. If not, I really really appreciate your understanding <3**

Meet Your Teacher

Teacher Profile Image

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. INTRO: Hey guys, this is Nia and today I'll be showing you my process of painting. This blackberry jam on toast. This is something that I painted awhile back on my YouTube channel. A few of you requested for me to do a full tutorial on this, so I decided to turn this into a Skillshare class where I break down the information so it's a bit easier for you guys to digest. Usually in my classes, I include one outline that you can trace out. But for this particular class, I decided to include two outlines. The first one is much more minimalistic. I just have the basic outline and throughout the whole class, I will show you how I apply my textures, how I break down my way of thinking, and create different dimensions and colors and building up on all of those layers. But if you are new to watercolors and you find this a bit intimidating, I also have another outline, which I actually traced out from the final painting that I painted, and that includes all of the textures on the jam, on the toast and the crust area. Even if you're not new to watercolor and you find this useful, you can also download that as reference. Before we begin, I will go through all the outline of the lessons so you guys know what to expect from this class. First, we will go over this place needed for this class. Then we will go straight to tracing the downloadable outline of the image. Once the image is traced out, we're going to master in areas before painting to make the process much easier. Then we're going to begin to paint by painting the base color of the toast. This will be divided into three lessons where we'll be painting the whole base, then the crumb base, and then the base of the crust. Then we're going to move along and paint the toast texture, the burn areas, and the crumb structure of the toast. This will be divided into four lessons to make the steps more understandable. Then we're going to build the detail on the crust. The lesson is fairly long but for the longer lessons I do try to divide it into smaller steps. After we've finished painting the toast, then we're going to move along to painting the jam. Then we're going to build up the dimension by adding reflections and highlights of the jam. After we are completely done painting the jam, we can move along to cleaning the mask in fluid to reveal the details that we masked away. After that, we will be painting the leafs as well as the almonds and then we're going to define the shapes by adding shadows to those accents. As the final detail of the toast, we're going to add some residual flour that's sometimes left on the crust and then I'm also going to add some dots as final accents, just because I find that this is a very easy way to make your painting a bit more dynamic. Last but not least, I will be closing the class off with the class project. Before we get to paint, I have this one tip that a student recommended to me, which is to watch all of the lessons first before you paint it, so you know what's going to happen within those lessons and it will probably be easier for you to paint along. Another tip is for you to pass along the way in each step, so you have time to paint along and then move on to the next step, one by one. With that said, I hope you guys enjoy this class and happy painting to you all. 2. SUPPLIES: In this lesson, I will go over all the supplies we need for this class. The first thing we will need is watercolor paint. I'm using my whole batch set with some little additions of other brands, but of course you can use your very own set. I will also be using white gouache, but if you have white in your palette, that will most likely be opaque and you might also use that. I also have a clean jar for water. The next thing we will need are brushes, paper towel, or tissue. Here I also have masking fluid by Winsor & Newton. For the brushes, I will be using four different types. The first one I have here is a reeve size 14, which is the largest one. The black one is artemedia size 2, and the smallest one is a size zero brush by Winsor & Newton. The other brush on the far-right is a size 0 used brush, any small brush that you don't really care for to be used to apply the masking fluid. Then we have the mixing palettes. You can use any ceramic or even disposable plastic plate if you don't have a mixing palette available. The only suggestion I have is to have something white as a palette, so you can see the true colors of the watercolor. Then you will need watercolor paper. I'm going to use Canson XL 300 gsm. I've got it down to 16.5 centimeters by 19 centimeters. This is the outline that I will be using. You can download this along with a more detailed outline as reference. I also have a masking tape to secure the paper when we're tracing later. Next we have the stationeries. A ruler for measuring. You can either use a cutting blade or scissors to cut your paper. I will be showing you how I cut my paper, but you'll need these tools either way. To trace, you will need a pencil and eraser. I will also be using a tracing tablet. But you may also trace against your window or any flat surface which has light shining through from the other side. Last but not least, I will also be using a hair dryer if you don't want to wait too long for the paint to dry. 3. TRACING: Let's start this project off by tracing the outline for the toast image.Here I will be using my light tablet as usual, but you can also trace against the window when the light is still [inaudible] messing bright or you can even download a light app for your iPad or tablet, which would turn your tablet into a light tablet, and then you are able to trace through it from the light of the tablet. Before I trace any image, I make sure that the watercolor paper that I have is the right size. This way, the framing of the final image would be more visible and you're able to adjust the position of the final image you want on your watercolor paper. I also stick one side of the watercolor paper into the image to secure the position. But I also have the option of lifting the paper if there are any details that are not too visible through the watercolor paper because it is quite thick. I want to also mention that from the original outline of this image, I have placed the gem and the curvatures around the crust quite randomly and this is something that I will be developing leader in the lesson, and I will be explaining and breaking it down of how I do these things. Because this is pretty much open to interpretation as you can probably tell. I'm also pretty loose with my tracing. But if it's a bit hard for you to visualize what you want, I do have another image for you to download, which has the specific outline of the finished painting that I've created for this class. You can trace that one instead. You also have the option of changing any elements. You might want to change any positioning of the [inaudible] Ottomans or the leafs. This is just a rough based that you may use or you may take reference from. But there's really nothing wrong with any improvisation. Please take the route in which you're most comfortable with. That's basically all the prep that you will need to do for this one. Once you're done tracing, we can move on to the next lesson. 4. MASKING: In this lesson, we are going to be masking off smaller parts of the image, such as the leaves and almonds on the toast. I'm using my Winsor and Newton masking fluid for this. This particular masking fluid dries really quickly so you don't have to wait too long for it to set, which is nice. But this also means that you have to work quickly. Before applying the masking fluid, I usually shake the bottle first because I don't use the masking fluid very often. Sometimes there are separations, so I make sure to shake it to combine all the components together. I'm using a small brush for this as the areas that we're going to be masking is fairly small, and I'm going to use a brush to apply all of the masking fluid. I always have brushes that I don't care for or is close to being disposed off, so I use it for masking fluid because the masking fluid will damage your bristles. So make sure you're not using an expensive brushes for this. I also always clean my brush after this so I can use it again. The brush that I used for this particular one was so old that it actually snapped in two after I masked off this area, so I just ended up disposing off this one, but make sure you clean your brush thoroughly so you can use it again. Anyway, because this masking fluid sets really fast, you should work fairly quickly, but if you're not using this brand, you can work at your own pace depending on how quickly it dries. Because I had to shake the bottle before I applied the masking fluid, there are going to be some air bubbles too. As you can probably see, there's some small holes. I want to make sure I cover the whole area, so when I paint over it, I don't have to worry about the paint seeping through small holes in the masked areas where it didn't really cover it. For the areas where there are holes, I'm going to make sure that the bottom layer is completely dry, and I'm going to mask over it again, or else you might end up disturbing the masked areas that is in the middle of setting, and you would end up taking it off instead. This masking fluid dries a bit yellow. This really depends on the brand that you use, but make sure it's a darker yellow than when you first applied it, and then just feel it very slightly with your finger. It it's set, then you can go ahead and cover the area where the masking fluid didn't cover it completely. Make sure you also cover the pieces of almonds where the jam in spread below the bread. I almost forgot to do that, so make sure you also mask that area, because this step will make it so much easier when you paint later. For the extends all around the bread or the toast, don't worry about masking that area as we're not going to paint around it. But we're going to paint just straight on the almonds and the leaves, so it doesn't have to be masked off. Believe me, this step will make the painting so much more pleasurable as you don't have to think about avoiding so many small areas as you paint the two surface in the coming lessons. Once you're done masking off the areas that needs to be masked, let's move on to the next lesson where we will get to painting. 5. BASE COLOUR: TOAST: In this lesson, we will begin to paint. I'm going to paint the toasts all over with a base coating and I'm going to be mixing yellow ocher with permanent yellow deep. If the yellow ocher you have in your watercolor set has a nice warm tone to wet already. That's fine. But I find that my yellow ocher on my set has more of a neutral tone. I want this toast to be nice and golden. I'm adding the permanent yellow deep to slightly adjust the temperature of the color. Because this is the base layer. I want the consistency to be nice and spreadable. I'm adding a fair amount of water to the mix. I want the midsection of the toast to also be lighter. I'm starting with the outer part of the bread and then taking more water to spread the paint to the mid section. This way I'm leaving the middle section to have an even thinner consistency. The base color of the midsection of the bread will be lighter than the area near the crest, which I want to be even more golden or toasted. If you found that you've accidentally loaded the brush with too much paint and it has two thick of a consistency. That's fine. Just make sure you spread it along the side where you want the darkest tone to be an add more water to section which you painted to dilute the paint while it's still wet. If on the other hand, your paint was too thin while the surface of the bread you paint is still wet, you can actually reload your brush with more paint and let the color spread on the wet area. This will just create a nice transition through the wet on wet technique. I'm painting this separately by the way, because I don't want the paint to run to places. I don't want it to run. That's why I'm isolating to paint one bread at a time. 6. BASE COLOUR: CRUMB: We're going to build on the base color now, and I want the first layer to be fairly dry. It's okay if it's still a bit cold to the touch. It doesn't have to be perfectly bone dry because it doesn't have to be overly accurate at this point. When your masking fluid is on, I would recommend for you to wait for the paint to dry instead of using a hair dryer. Just be patient because some masking fluid will end up sticking too much on paper when it's heated. If you're not too familiar with your masking fluid, you can either experiment with it a bit, with a scrap piece of paper or just wait. There's really no rush as we're going to build it layer by layer. Anyway getting back to painting, I want to actually start separating the crust and the white area of the toast. I'm going to tackle the white area first on the software part of the bread. I want to continue building the contrast of the color to make the sides near the crust more golden brown than the center because it's more toasted. For the colors I'm going to mix in cadmium orange with burnt sienna to get a light golden brown color. I'm still using a fairly thin consistency for this, and I'm applying it around the sides of the bread, leaving the crust because we're going to work on that separately. Once you're done painting the sides, I'm going to go back to it again, after re-wetting my brush with clean water. I'm going to use the exact same technique as we did in the previous layer, which is to spread out the color that you've put down to give it a nice smooth transition between the dark and the light brown at the center. For the bread that I'm painting right now, as you've probably noticed, I am painting around the jam area now, for the first layer, it's fine to color it because it's still a very light color. As we build on the color, you want to start isolating it or else the jam wouldn't look as vibrant and pop out when we paint it on later. We're going back with the third layer now, with the same color, but a bit of a thicker consistency. As you can tell, whatever paint we put down, the color will always be much lighter when it dries. That's why we keep on building the layers up so we get the right vibrancy that we want. If however, you were more heavy handed on the previous couple of layers, and you found that the second layer dried up to the exact same vibrancy that you want, then you can skip adding this layer. On the other hand, if you're painting much lighter than I am, then you can keep adding on the color until you get the vibrancy that you want. As I'm building layer by layer, I'm placing the darker area a bit more accurately now, so closer to the crust with thinner lines instead of the thick application from the previous layers. Then go ahead and do the exact same thing on the other bread. Make sure that when you apply the paint, you apply according to the specific area, you want to be more toasty. As an example for the next bread, I want the top protruding areas of the bread to be more burnt or toasted but, I want the bottom and some of the other sides to have only slight toastiness. I'm going to paint according to what I want, and I'm going to use more of the thicker consistency brown for the top area. As it gets to the sides and the bottom, I'm going to vary the width of the lines. This creates a nice variety which would make the toast look a little bit more realistic, even though this is still just a food illustration. 7. BASE COLOUR: CRUST: We're moving along to painting the crust now, and we are going to just tackle the base color of the crust first. To approach this, you may want to try drawing out some contour lines along the crust of the outline that you have. This will somewhat establish the curves or some of the folds of the bread that will look like it's meant to be there. Angle of the lines play a big role in this. Try to practice with the contours and try to make your folds according to the contour lines in terms of the angle, but as this is just for the base color, I won't get into too much detail yet. Later on, when we're defining the crust even more, I will try to explain on how to go about this with a bit more information. If this part is a bit difficult for you, you might even want to download the other outline of the image that I have in the downloadable section, which will have the folds and the curves included according to my final image and you may reference from that. Just for an example here, I will show you what I do when I'm approaching these types of illustrations, where I'm just painting or drawing from my imagination without any reference on hand. These are the thinking processes that I go through when I'm establishing certain shapes and textures. To build on the color of the crust, I'm going to first use the same mixture that we use for the toasty area of the bread, but this time, I am adding a touch of burnt umber to the mix, so I have a deeper brown that would slightly separate the color of the crust and the white area of the bread. I'm going to roughly place the lines according to the angles of the contour that we previously drew out. Remember, this doesn't have to be perfect. Even I made a few lines that are a bit tilted and not exactly what I want here, but that can be built up on later when we're establishing all of the details of the crust along with the shadows and things like that. I'm just going with the medium consistency and I'm plotting down lines, some long, some short, some tilted, some thick, some thin. Basically, I want to create some variety. Say I have certain folds that come from the top of the bread, some from the bottom, and this will make the folds look much more natural. It might look a bit off in the beginning and it might look like it's not supposed to be like that, but once you've placed the lines down, I'm going to smooth out the paint that we put down with a dump brush and pull and adjust the smoothness of the toast. Then it will look much more realistic, and you'll start seeing some of the texture come through. Once you're done with the first bread, we're going to move on to the next one. I'm going to follow the same process, but along the area where the two breads are touching, as you can see from the other bread, I painted that one in full shadow, and I'm going to do the same for this bread. After I smooth out the folds of the crust, now I'm going to paint the shadow of the area that I talked about before where the bread is slightly touching. I'm going to paint brown fully with the brown mixture because I want that side to be slightly darker. 8. TOASTY TEXTURE: [MUSIC] Moving along to the bread surface again, I want to start building on the textures of the toasted sides, so what I'm going to do is start adding a touch of the texture first. I'm not going straight into detail, but I'm just adding a base. To do this, I added a touch of Sepia into the previous picture that we made beforehand from the orange, burnt umber, and burnt sienna, and I'm going to still use my riggers brush to start doing small strokes, following the curvature of the coordinators of the bread. I want to talk about how I mix the colors for a bit. I like using a flat surface as my palette instead of wells because when I add another color I want to mix, I usually add it to the side and bring it over only the amount that I want to my previously mixed paint to avoid adding too much of a certain color. This is something that is done by feeling. But mixing this way gives me variety and colors too. Say, if I've over-mixed something, I like the fact that certain colors might be a bit different sometimes. But most of the time, if you really want a lot of a certain color, then you would just have to mix more of them. But having the flexibility of adding just a touch at a time is really a plus for me. 9. TOASTY TEXTURE: CRUMB STRUCTURE: We're going to place the base texture around each corner of the toast. We're going to be moving on to the dough structure now, which is the holes that you get on the bread when it's expanded from the yeast. I'd like to create a certain movement to the holes on the bread and that is to create a spiral in the middle. As that's actually how the dough is placed for loaf breads. Keeping the spiral movement in mind. Now we are going to build on the holes. They are not perfect circles, but rather ovals or even like jelly bean shaped sometimes. You want to vary the sizes a bit, by making the holes larger towards the center of the bread, but also mixing in with smaller holes and to also much thinner ones along the corners near the crust. I'm just drawing it out because this way it's a bit more visible than just watching me put down the shapes all at once with paint. For the smaller circles, they're so small that you would be fine to represent them as just a single thin brush stroke when you're painting this later. For this other bread, because the jam will be covering the center of the bread we're going to mostly do smaller and thinner ovals. It's okay to add bigger ones once in a while, but the majority should be the smaller ones. Or at least that's how I've depicted mine. I'm going to take the exact same color mixture. Now I'm changing my brush to a size two or you can use any brush that's a bit smaller than the previous one you used. The brush size differs between brands. As long as it's a bit smaller and easier for you to control, you go ahead and use that and I'm going to paint the holes now. I'm just placing them as flat shapes for now and making sure to keep the spiral movement in mind when painting this. I also placed the larger holes first because I find that the larger holes are the ones that are defining the spiraling movement or the round movement. Then I'm going to paint the smaller rounded lines to represent the thin holes and place them in areas that are not covered yet. As you're reaching the corners of the toast and placing the thinner lines, try to also make the lines or the holes closer together. Since the area nearing the crust would be a bit more dense than the soft and fluffy interior of the center of the bread. Keep repeating this and apply the same technique to the other bread. But please remember to also isolate the area where the jam will be painted. 10. TOASTY TEXTURE: TOASTED CRUMB CORNERS: Moving along to the next step now we are technically painting the holes again, but we're going to use the darker color because I want the corners to be more toasted than the center of the bread and we're going to be placing the curved lines or the holes much closer together as this area of the bread is much more dense. I'm just going to drag the areas which we're going to paint for this step. It'll be more visible for you guys. Basically, I just want to go around the corners of the bread near the crust and where the holes are so dense that they're forming the crust. If you're not too sure where to please yours, you can also try to sketch it out first like I am here. So you have a nice reference free to go to when you are going to paint this later. For this part, I'm going to use the same colors that I mix previously, but I'm going to add a larger ratio of sepia as that's the darkest brown. This way I can increase the contrast of the color and then we're going to further create a smoother transition after this step. I'm going to use short and small brush strokes to make these tiny lines much faster and easier. I'm moving my brush at the sliders, avoiding making any big movements as it will disturb the texture that we're trying to achieve. Even as I'm painting this thin area, I still use the same short strokes because this way I'm creating more texture of a rough edge instead of an unrealistic smooth surface. I'm just going to go through all of the corners and I'll leave this video at the speed for those of you who want to watch slowly and paint along to this. I'm going to add orange into the existing mixture now. Note that I'm just adding certain cues to colors that I already have on my palate. As this will keep the same uniformity within the tone of brown while still adding some changes to the dark or light value. As you can see now, the darker part of the toast is quite distinct and I would like to smooth it out a bit by giving an orangey color as transition between the white part of the bread and the darker brown. The orange color would also bring out some warmth and more of a golden brown color rather than burnt toast color. After I've placed the colors down, I also want to smooth it out a bit with a clean brush just so the edges of the lines or the holes that you're creating becomes less sharp and I'm going to go back to it again with the same color to build the richness that I want. I'm just going to do this step for all of the corners and the size of the bread, each bread doesn't have to look the same. In fact, I prefer them to vary a bit. I'm quite happy with transition now. I'm going to build on the contrast again after the dark brown has faded a bit after its dried off. I'm going to add some more sepia and burnt sienna into the mix that I have and this time I'm going to be a bit more brave with my colors. I'm going to take a thicker consistency because this is also the stage when I'm actually defining the sides and the corners of the toast. I'm going to follow the same brush strokes as I did before, which is still the short and small brush strokes. But this time I am making sure that and trying to get the lines as thin as possible. I'm trying to restrict myself to only paint the darker colors near the crust. To recap on what we did, we basically first colored the mid-tone of the toasty part of the texture. Then we added a lighter part, which is the orange, to become a transition between the toasted area and the white area. Now we're defining the sides and going with the darkest tone of brown along the sides. Because that part of the bread is what usually gets toasted first, don't be scared that the brown you're placing now stands out way more than the crust. Keep in mind that we've only done the base colors for the crust. 11. TOASTY TEXTURE: SHADOWS IN CRUMBS: The next thing I'm going to do now is redefining the larger holes at the center of the bread. To do this, I'm going to take some sepia or the darkest brown that you have. I'm going to work with very thin consistency first, because I don't want this to stand out as much as we will be painting dark color on top of light surface. If I paint too dark straight away, it will end up becoming a destruction. So I'm going to avoid that. So I'm going to be working in thin layers and building it up until I get the right tone that I want. I'm going to color along the bottom or the bottom left of each hole with this color as the shadow that is created within the holes. Try to keep the paint light so it will look like it's still part of the painting. Remember, you can always build on the colors, but it's bit harder to see [inaudible] the colors. When you find the shadows that you just place is a bit too harsh, when the paint starts to dry, we can smooth this out by using a clean damp brush to reactivate the paint slightly and to farther any hard edges of the shadow. Keep working on this for both of the toast. I'd like to actually go back and forth from one toast to the other while I wait for the layer of paint to dry off. Once you're done with this step, we can move on to the next lesson where we'll be painting the details of the crust. 12. CRUST DETAILS: We're going to go back to the contour lines again. If the first example was a bit confusing in the previous lesson, I'll take you into an easier way to visualize and break down the structures. First, let's try to simplify the toe shape. I'm going to create the most basic shape that I can that would also suit the toe shape. I'm going to draw a couple of flat blocks and draw it according to the angle of the toast that you've traced out. From those basic shapes, it will be easier to figure out the direction of the contour lines because there are no curves involved. After you have the contour lines down, then try to add the two bumps at the top of the toast and then connect the crust area to those bumps. Now that you are able to visualize the three-dimensional area of the toast, it would be easier to place down the texture of the bumps and faults on the crust, so as an example here, I'm going to take those contour lines and create bumps and grooves along the crust area by adding curved lines in the other direction compared to the lines that we've done prior. As you can see, just by adding repeated curved lines, we are now creating an interesting texture that will make the crust look a bit more realistic. That was basically a very rough idea of what we're going to be painting in this lesson. We are going to add definition to the crust texture and also a bit more textural details with those curved lines at the end of this lesson. I'm going to first go in with the burnt sienna. Don't go too dark at this point because we will be building up as we add on to each layer. But you want to fairly thicken consistency for this one because we do want to add more definition and then we're going to build up with the darker colors. What I'm doing here is spotting the light textures that we've already painted on the base color, whether it was painted intentionally or accidentally, and we're going to redefine those shapes. I would also recommend for you to add more textures if you want, and also fix the placing of the previous layer if there are any mistakes such as angles of the lines. Then I'm going to mix up a darker color by adding the sepia into our mix that we just used. I'm just going to build up on some of the darker parts where the fault or the grooves along the cross are a bit deeper. I'm also starting to incorporate the lines going vertically around the crust and remembering to add some curved lines to give the impression of bumps in grooves. Now, I want to go back to those lines again and I'm going to smooth it out using my slightly damp brush. I want my brush to be clean though, because I'm just going to be pulling on the colors that we've already placed down. If some of the colors washes out the too much, you want to add on some more of the darker tone. Here I made a couple of mistakes for the line, so I'm just going to fix that. Remember that you can actually reactivate the paint that you have on paper, so if you make a mistake, you can actually go back to it with a clean damp brush again. What you want to do is have this rubbing motion with your brush, and you can start activating it again and then you can actually pull the paint to smooth it out or you can even just paint on top of it and then smooth it out later. I'm going to add a thicker consistency for the deeper parts of the faults. This is just to create some difference of value. It looks a bit more three-dimensional this way rather than keeping the same tone. Just take some of the parts of your bread and then you can redefine some smaller parts. Remember to always smooth something out when the line looks a bit too rough. I want to apply what we've just painted from the previous bread to the one on top now, and basically we don't have to follow the exact same layers or the exact same method, but we want a similar outcomes, so it looks like it's still part of the painting. As an example, if I use a thicker consistency of paint and I've defined certain textures or dimension that I want to create in this one without making that many layers, that means you don't have to add additional colors just because I added additional colors for the bread before. Please do according to what your eyes see best-fit, because that way you'll also gain experience in painting your vision. Even though you are following a lesson, you still have certain parts that you study and you're incorporating your own creativity into it, this would make the illustration you just made special to you as you followed your very own creative vision. I think I'm fairly happy with the depth of the grooves around my crust, so I'm going to move along to the next step which is to add more vertical lines. I'm not going to smooth out this area too much because I personally think this would make the painting look a bit looser but more like an illustration and those lines are going to make certain areas that bumpier or the grooves deeper. If you prefer your bread to have smoother crusts, that's okay. You can interpret this how you like, but I personally like seeing the contrasting lines. I like that the brushstrokes are loose intentionally in certain areas. I think it brings out the charm of water colors a bit more, so feel free to add this texture or avoid it according to your taste. We are going to do the final step now now, this is to do the final adjustments. If you want dark on certain parts or smooth on certain areas or incorporate more texture, this is the time for it. We basically want to have a finished painted cross by the end of this lesson before working on other elements and also adding white parts around the crust to represent their residual flour that's usually left after baking in the coming lessons. I personally wanted some darker areas, so I added more sepia into my mix. I'm just going to take the corners and the deeper grooves or maybe the sides where the two breads are touching and I'm going to add darker color there. Your painting might be at a completely different stage than mine or you might also already finished by now. If you were, then go ahead and skip to the next lesson. But if you're not happy with it, you can keep working on it until you're satisfied with the textures and the depth of your painting. This is what my crust looks like. Once I'm done with the textures, we can now move on to the next lesson where we'll be tackling my favorite part which is the jam. 13. JAM TEXTURE: In this lesson, we will be painting the jam and we're going to work on both the jam on the toast and the smear. We're going to save time by alternating with each part of the jam while waiting for certain layers to dry. To make the jam color, I want to create different tones of purple, and to do that, instead of just using straight up a purple color, I'm going to mix an ultramarine blue and crimson lake, that way if you want to make your purple a bit more red, you can add more crimson lake and if you would like a richer more bluish purple, you can add more ultramarine to your mix. Later we are going to introduce another color into the mix, but as for the first layer, I'm just going to mix in those two colors and paint a very thin, watery layer for now. I'm not caring so much about creating a smooth flat surface, I don't mind the strictness because we will be adding so many more layers into this that you will be able to see it anyway. I'm going to mix in Quinacridone Opera into the purple color to create a bright and vibrant pinkish purple. You can already see the difference when I'm watching the color after adding a touch of it into the mix, you can tell how vibrant this is compared to the first layer we placed out. Quinacridone Opera is a very translucent pink color that is almost neon in nature, I love adding this color into my mix because it will bring so much life into the painting. I've been told that the light phosphorylate isn't too great for this though. So try to limit using this color if you are actually selling original art or displaying your art. If you don't have this color, you can switch it out with the most translucent and bright rose or magenta color you have on hand. I'm only going to add the brighter pinkish purple in some parts of the jam, not all because we need the contrasting colors to make the colors pop. If the whole surface is bright, adding a vibrant pinkish purple won't become special anymore because it will be overused, so we actually need the darker colors to bring out the vibrancy of the pink even more. I am going to add some ultramarine blue into the mix again, and I'm going to paint the rest of the area with the darker purple. I'm also going to leave some highlighted parts, I'm not too worried about covering the whole thing, I'm just loosely painting and dabbing the colors on. When you see that there is too much dark purple and certain areas, you can add more of the pinkish purple in areas you feel need brightening up. After this, I'm going to create a really thick consistency of the purple. I want this to be quite dark so I'm adding a lot of the Crimson lake and also the Ultramarine blue. I'm going to swatch this and show you the difference. That's the consistency that I want, and I'm going to start painting circles. I'm going to add smaller circles and bigger ones. This is to represent the berries on the jam that is squished down. So they're not perfectly circle, but it's much more randomized. When you're doing this step, I recommend for you to do it straight after the previous layer because we do want the surface to be a bit damp, or a bit wet. I don't want it pounding because if it is too watery, the paint will just go everywhere out of control. But this way it will spread out creating this really nice burst of dark purple. We're going to build on that leader, but this makes a really nice space for the fruits. Let's go back again with another layer of dark and thick purple paint on the surface. I'm going to add the darker purple where you see a lot of the darker patches as the darker patches represent the fruits. Technically, if there are a lot of fruits in that one area, the darker that area would be, and that's why we're going to build on that. Try to not cover all of the patches from the previous layer because we do want the variety and texture. We're going to do the jam smear now and for this I'm going to use the pinkish purple, and I'm going to use that as the base color and we're going to add the bluish purple on the coming layers. I intentionally want to make the smear lighter than the jam on toast, because I want to create the illusion that the smear jam is painted on a white surface, but the jam on toast has the toast color as the base against the translucent jam color. So logically, any translucent surface which has a darker background will look darker and vice versa. Towards the end of this smear, I'm going to use a dry brush technique, so make sure that your brush is just slightly dark for that part, and the way I do it, I just do a quick fix to create the dry brush texture. I'm going to mix in some Ultramarine and Crimson lake into the mixture now. I still want a fairly thin consistency and I'm just going to create light specks on top of the previous layer that I just painted. I'm not going to add a new large free chunks for this one because I feel like the contrasting color will take away from the main focal point which is the jam on the toast. So I'm going to keep the smear it nice and simple. Notice that I'm only doing horizontals strokes to follow the movement of the jam. After that, I also smooth out the harsh lines so the colors blend nicely into each other. I forgot to mention, I also added a small blob of jam on the left side, and I also changed the composition a bit, and then I'm going to make the smear on the bottom to be almost slices instead. You don't have to follow this, but this was sort of last-minute decision as I was painting this and I was looking at the composition, but if you would like to keep the smear and not change it to almonds, you can just stick with the initial composition. I'm going to take the same tone of purple now but in a slightly thicker consistency and I'm doing thin strokes as dots. If you find that some parts of the strokes is a bit too strong for the soft background color, you can go ahead and smooth it out with a clean brush to lessen the vibrancy. While we wait for the smear to dry, I'm going to go back to the jam on the toast, because now the color are dulling down a bit after it's dried, and I want to make sure that the food chunks are at the maximum vibrancy of the paint, so I'm going to build on that again and add a thick consistency of the purple in certain areas of the jam, where you see some parts of the jam has blooming effects from the transition between the lighter and the darker color of the lighter wet technique. I'm just going to add a touch of the dark purple color in the middle of that area, this will give a subtle glow to the fruit, and just do this to some but not all, remember that we always want a variety. I really like the glowing effects, but of course in the end its up to you. We're going to go back to the smear again now, and I'm going to take a mixture of the Crimson lake and Ultramarine, and build a thin layer adding some darker specs but nowhere near is dark tone of the jam on toast. Last but not least, I want the jam smeared to have a bit of dimension to it, because jam in general is quite thick. If this surface of the jam looks flat, it wouldn't represent the right texture. If something doesn't have shadows, it will look a bit more flat and therefore look runny. So in the case of this jam, I want to create the thickness, so we're going to add a darker purple near some parts of the edges to show that the texture of the jam is slightly raised, and therefore it has thicker and richer consistency. So I'm going to apply this now, and where you see there are some parts of the jam that isn't covered or it has some negative spaces. I want to also exaggerate that and create the shadows for that part too, so it doesn't look too heavy in terms of composition. 14. JAM REFLECTION: This is probably the most fun part of this painting, at least in my opinion. In this lesson, we will be painting the reflection on the jam. We're not just going to do straight up highlights with whitewash, but we want to build up on the reflection to that sometimes just a touch slider than what the base colors. To do this, I have some dried up white wash paint on my palette. You can also use freshly squeezed, but I don't want to waste what I already have, because this part, you don't really need such an intense opaque white, so I'm just going to activate the white first, if your paint is freshly squeezed, it'll be much more opaque, so make sure you thin it out with water a tad bit. Once you have the white quash, I'm going to mix with the deep purple color that we previously used for the fruit part of the jam, which is a mixture of crimson Lake and ultramarine blue without the pink. We're going to mix that in with a white quash. I'm going to use my size two brush to apply the first layer of this, and what I'm going to do is just like service Quigley motion for the reflection, and this is how I suggest the distorted light that is reflected on an uneven surface. You want to pin this on top of where the dark patches where you have the fruits or the berries are, because it will create a really nice contrast from the dark color. I'm going to make slightly thicker consistency now and I'm going to go back to the reflection with a smaller brush, this as my size zero or my fine liner brush. I'm going to do the same thing, this will just create a new layer on top of what's reflected because nothing looks exactly flat with one color. I'm just going to depict this by using my smaller brush. Now I'm going to add the white highlights, and because I need my white quash to be quite intense and opaque white, I'm going to squeeze some out and apply it with my size zero brush again. For this part, I'm going to paint small specs or tiny dots and squiggles around and on top of the previous reflections that we painted. On top of the berries, I'm going to paint more of dots or rounder squiggles and around the lighter part of the jam or the lighter pinkish purple, I'm going to add longer and thin squiggles because I want the jam to look like it's spread on top of the toast. This will also help create movement to the painting rather than just something static. Finally, we are going to do the final adjustments to the painting. We are going to add some shadows as we did for the jam smear, and for this, I'm going to add some ivory black into the purple mix. I'm using my size to brush to paint along the edges, giving a nice race texture to the jam. Once you're done with the shadows, I'm also going to look around for any spots I feel like needs some work, and in this case, I feel like some parts of the jam until still a bit empty in some areas, so I'm going to add some specs of the darker purple with the mix that I already have. I'm also adding some squiggly lines again to represent movement. I'm also going into areas where I feel is a bit too light. I'm going to add the purple mix which is just ultramarine and becomes league without the black because that would make the color a bit too much, and I'm just going to add some colors to. I'm taking a darker purple now and I'm also going around and to where I painted the berries, and I want to exaggerate the highlights, so I am going to add the darker purple around the highlights and also adding pieces of barriers here and there. At this point you are free to do anything you want with this, if you feel like sub parts need work, you can go ahead and add some or smooth any areas, add certain contrast and even highlights after you added it. Here to increase the look of the jam and the race texture, I'm going to add some white highlights again along the top because I paint to the Shadows along the bottom, and I'm also going to paint some of the highlights on top of the shadows at the bottom, so it looks like there are some reflections on top of the jam. I think I'm fairly happy with the German tos, so I'm going to move along and paint the highlights on the smear. For this one I'm not going to add the reflection but just the highlights because I feel like the color is already quite thin and light, so I just want to increase the lightness of it by adding some more white, and I'm also going to increase the contrast of the shadows by adding some of the purple mixed with Ivory Black. I'm using my size zero brush and painting and increasing the definition on the edges of the jam that we've already painted, but now I'm going to paint in a thinner way so it looks a bit more detailed. Once we're done, we can move on to the next lesson. 15. CLEANING MASKING FLUID: In this lesson, we are going to reveal the mask areas, and to do this, I'm just going to use my finger to rub off the masking fluid. You can actually use rubber cement, which is a tool that's specifically designed to rub off masking fluid. But I feel like using your very own finger is more than sufficient. This way, I can also feel if I'm rubbing certain areas a bit too rough and if I'm close to damaging the paper. Speaking of which try to me less rough on larger areas of the masking fluid because it has the tendency of pulling the top layer of your paper. Be mindful when rubbing of the masking fluid around places where you have saved the leaves or the larger spices of almonds and in the process of erasing, you might also accidentally leave some spots on mask. Try to feel around with your hands even when you're very close to finishing. Just so you can be very thorough with this step.[ MUSIC ]. 16. LEAVES: We're going to be painting the leaves. But before we start, I just want to show you how I go about painting my leafs. Just a little bit closer, we're going to be using a wet on wet technique where the paper is slightly wet and we're going to be adding a different colors to create a nice smooth mix of colors. Here I'm going to be adding water. You can see the limit of this wet on wet technique because we are painting something that is quite small, sometimes we don't realize when we have too much water on our bristles, which could easily lead to puddles and this is something that we're trying to avoid. You can see up to this point, we're fine, but for the last leaf, you can tell that I have way too much water. If we're going to add any more color on top of that, is just going to bleed everywhere and it's not going to have the effect that we want. I have here on my palette permanent green, permanent yellow deep, olive green, and viridian. For the base color of the leaf, we're just going to use the permanent green and deep yellow. The deep yellow is only there to create a bit of warmth. Try to not go overboard. I'm also going to paint this using my size two brush to void the puddles, which are most likely going to happen if you use a larger brush since the bristles hold more liquid. While the paint is still wet, I am going to add a bit of the permanent green into the mix that we already have. I'm going to try to blend it in with the yellowish green. This is going to be really subtle. I'm not going to worry about extreme contrast or anything, but I do want just a touch of interest, so it doesn't look too flat. Keep repeating this for the rest of the leaves and then wait for it to dry or you can use a hairdryer to destroy it off. Then we're going to move on to the details of the leaves. Once you've done the final leaf, we are going to dry this off. You can also just wait if you don't have the hair dryer available. But because I don't have the masking fluid on my paper anymore, I'm just going to use a hairdryer to dry it off. You want this really dry before we add on the details because we are going to be using our fine liner brush and we don't want it to bleed out anywhere into the base color. For the lines and veins of the leaf, I'm just going to add the olive green and viridian green into the mix that we already have. I'm changing my brush, my liner brush or the size zero, and I'm just going to start painting the veins. Be very careful with this. You don't want your lines too thick or else the leaf might look a bit bulky. Just as a tip, you do want to control the amount of water on your bristles when painting fine lines because that's when accidents would happen. You want the hairs on your brush bristles to stick together without any visible liquid. If you have too much paint, you might risk making a puddle on your lines which would end up looking a bit bulky even if you are being really careful and only using the tip of your brush. Just take your time while you're doing this and make sure you control your water. I'm also using a fairly thick consistency because I want the veins to really pop out. Finally, in areas where I find leafs have too similar value to the background, I will just add an outline to separate shapes. 17. ALMONDS: We're going to be moving on to the [inaudible] in this lesson. To begin, I'm going to mix yellow ocher and permanent yellow deep. I'm using a watery consistency to start this off. I want to use the same wet on wet technique that we used for the leaves since there are a lot of almond slices. They're fairly small and close together. I'm going to paint a few of them at a time. Then I'm going to add an additional yellow ocher as the paint is drying or just slightly go to the touch. Keep doing this for the rest of the almonds as the base color. If you find that certain colors isn't blending together because the base probably a bit too dry. You can just go ahead and reactivate the paint so you can blend it a bit nicer with the base color. Don't worry if the almonds are looking a bit flat, we are going to be building up on the shadows and outlines and things like that where the almonds are too close of value to the toast. Just keep working on this. We will keep on layering on top of this [inaudible]. In some areas where the painted almonds are drying off and the yellow ocher is looking a bit dull. You can build up on the color again and give it a nice toastiness to the almonds. The yellow is also a great contrast to the purple gem. But be mindful to not go overboard with this. I'm going to keep some almonds fairly light, but make some of the smaller pieces a bit more golden as the smaller slices are usually easier to brown when you toast them together. For the almonds and toast, I'm going to use more of the yellow ocher as the value of the background on the toast and the almonds are a bit too similar. I want the almonds to look a bit more yellowie whilst the toast has a bit more of a reddish brown color. Once you're done with all of the almond base color, I'm going to switch my brush to the size zero. I'm going to still build up the golden brown color by adding yellow ocher to the edges of the almonds. With the exception of painting the smaller pieces fully with the yellow ocher just to make it a touch more visible. For the larger ones, I'm painting around the sides as if I'm painting an outline. Because a lot of times when you're toasting almonds, the sides get brown faster than the middle. I'm trying to depict that by coloring the edges and some of the corners a bit more burnt than the inside. 18. LEAVE + ALMOND SHADOWS: Let's redefine the arms and the leafs we just painted by adding the shadows. For the shadows, I'm going to use this color called moon glow. I think this color is fairly new, so a lot of people might not have it. I was lucky enough to have my friend send me this and I really love this color foreshadows, it's basically a purplish-gray that's made out of a mixture of different pigments. It has a certain richness that I can't really figure out. But if you don't have this color, you can substitute it with black or green mixed with a bit of purple. It's not going to be exactly the same, but it's fairly close. I'm still going to use my size zero brush for this because we are painting fine details. I'm going to paint the shadows below the almonds and the leaves. The light that I'm imagining is coming from around the top right. For the almonds, I'm just going to paint a line below the almonds slices, while for the leaves, I'm going to imagine myself painting the exact same leaf shape under the leaf that we've already painted. You can still see the separate stems and things like that, but most of the area is covered by the leaf above it. I also want to paint fairly thin because it's always easier to build up than to take off. I want to struggle contrast for the almonds on top of the toast and the jam, because the toast has similar value and the jam behind the almond is purple, so using the moon glow wouldn't be as effective. I'm going to add a bit of sepia and ivory black and into the moon glow so I can create a darker tone and thus separating the shapes a bit more. I don't want my shadows to be distinct, but I just want the shadows to separate the almonds and the toast so it's a bit more visible. However, if you prefer something that stems out a bit more, if you want the almonds to pop more, you can actually use a thicker consistency than what I'm using right now. 19. DRY BRUSH ON CRUST: [MUSIC]. In this lesson, we will be using the dry brush technique to depict the residual flour that's sometimes left on the crust of the bread. When I'm loading my brush, I'd like to wrap the paint around so it goes into the creases of the bristles. You can tell if the paint is still a bit too wet by looking at your bristles. I usually like to spread around my palette to get rid of any excess water until your brush holds it's shape and becomes flat. This means that the brush is really dry. Here I painted a dark square so I can show you the texture that we're looking for. You want the light to be well spread across the surface you are painting. Try not to go over the same area too much. Here's an example where the white is a bit too heavy. If you keep painting at the same spot, this is what's going to happen. I'm using the light gouache that I squeezed out earlier. They're dry by now so I'm just going to reactivate them with water. If you want to use freshly squeezed, that's also fine. Just make sure that your brush is well coded and it holds its shape with the bits, instead of just having the paint on the tip of your brush. I'm only going to cover parts of the crust with this texture. I personally think that the white will wash out the colors of the crust a bit too much if it's overdone but you can do as you please.[MUSIC] Here I'm covering most of the top area of the crust and I'm also going to paint a small amount on the crest villain. When you find your bristles are a bit too dry and it's hard to get the color out, can reload it but after you reloaded the paint is usually stronger. Try to play slowly so you're able to see how much paint you are putting down. [MUSIC] 20. FINAL ACCENT: DOTS (OPTIONAL): Welcome to the final painting lesson of this class. We are so close to finishing this toast painting. For the final touch as usual, I like adding some dots. I find that adding dots is a really easy way to add a bit more dynamic into your painting without too much fuss or effort. This is also a good chance to cover up any unwanted splatters of paint that you just accidentally may drop on paper during the long painting process, or just for added fun. I'm going to take the bright purple mix, which is the Crimson league, ultramarine blue and Quinn opera. After that, I would like to also add the warmer pinkish purple by adding quinacridone opera into the purple mix that we already made to complement the different tones of verbal on the Jam. For some dots which have too much water, I take the axis puddle away by dragging my brush and absorbing excess water into my dry brush. I would recommend for you to not overdo the dots around the toast, because it might take away from the focal point of the painting. This is just supposed to be an accent. Just remember that a little goes a long way. After you finish a painting the dots around the toast, you are completely done with this painting. To wrap this up, go ahead and send your finished work and congratulations on completing this toast painting. 21. CLOSING AND CLASS PROJECT: Congratulations in completing this class. For the class projects, I would love it if you can paint along with me, and if you're up for the challenge you can create your very own toppings and maybe a different type of jam, and then you can post it in the project section so you can show it off to your fellow students and I can also take a look. I love seeing all the different things you guys come up with. If you enjoyed this class, I would really appreciate it If you can leave a like and a feedback. The feedback really helps me out in knowing what you guys look for, what you guys dislike about the class and this way I can keep on improving and give you what the majority of you would like to see from my classes. If you're new here and you enjoyed the contents of my classes, I would like to tell you that I also have a YouTube channel called Nianiani.This is where I post smaller tutorials, their usually around 10-20 minutes long, and the tutorials are mostly loose, floral illustrations or botanical paintings. I also do speed paints on food illustrations. Sometimes I also try art supplies and tell you guys my experience with it and share what I learnt, basically anything to do with watercolor and art. If you would like to see more illustrations by me, you can also follow me on my Instagram account @ig_nianiani. This is where I post most of my food illustrations, all the things that I don't post on my YouTube. If you're keen to see more work by me, you can also follow me on my Instagram account. I hope you guys enjoyed this class as much as I enjoyed making them. Thank you for watching till the very end, and I'll see you at the next class. Bye.