Fun and Easy Watercolors: All Kinds of Chocolate | Mariya Popandopulo | Skillshare

Fun and Easy Watercolors: All Kinds of Chocolate

Mariya Popandopulo, Photographer & Illustrator

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11 Lessons (56m)
    • 1. Introduction

    • 2. Materials

    • 3. Color of chocolate

    • 4. Profitrole

    • 5. Donut

    • 6. Brownie

    • 7. Cookie

    • 8. Tiramisu

    • 9. Cake

    • 10. Easy highlights

    • 11. Class project


About This Class


Let’s draw some chocolate!

In this class we will be drawing different kinds of chocolate and practicing both wet on wet and glazing techniques. 

We will draw a few profiteroles, a donut, a brownie, chocolate cookie, tiramisu and a cake! This will be mouthwatering and fun :)

So jump in the class and lets draw something yummy!


This class goes exceptionally well with my  previous watercolor classes:

Drawing coffee - which is on wet on wet technique

Cookies and pastry class - which is on glazing technique


Pinterest boards for your inspiration:

Lots and lots of profiteroles 

Yummy brownies

Glossy chocolate and cakes


Aaaaan finally, as per usual

For those of you who are not on premium membership, here is a link for a free enrollment in this

class =) There are 20 free places currently.

And for those who want to upgrade to premium membership, get 1 month of Skillshare Premium

for free!  Here is my link to use that offer =)

Have a great day! =)


1. Introduction: Do you like chocolate? What is a favorite one? Chocolate surely comes in old kinds and shapes, and there are various ways to draw chocolate with watercolors. Hi, my name is Maria, and Emma knows trader and photographer from Almaty, Kazakhstan, and in this class we will be drawing well chocolate. We will use both glazing and weather with techniques as well as some cool ways to add texture to your drawings. Like the top of terms with dessert. Here is a selection of chocolate goodness. We will learn to join this class. We will start with perfect trolley with one and two layers of what color, who will then learn to create volume with Matt Chocolate on the donor, we will draw a yummy brownie as well as a chunky chocolate cookie with hazelnuts, terror missile and the cake with some close chocolate. So jump in the class and less dress and took it 2. Materials: supplies. Here is a list of supplies I use for all of this class. Paper Paper has to have enough sickness and has to be a watercolor paper for this class. I'm using concern. Excel Mix Matter album is 300 grams perimeter, which I think works good for weather with techniques. I will show you in this class brushes for weather. Let meaning when a lot of water is required. I will be using around school brush. Squirrel brushes are great at holding a lot of water. It's doable with stable water brush, but it's just a bit easier with square one. I have mine in size five. For what? I need more precision over my calorie. I use water brush minus mental. Instead, you can also use around sable brush for the same purposes precision in color application. Again. You will see it for all of the class. Finally, I also used these two sable brushes for text oring. These ones have quite uneven bristles, and on this one I actually cut the point of it so that I can make textures like this. Once again, you'll see it in the class pencil the razor liner. You can draw with a liner straightaway, depending on your preference and skill, I normally do rough outlines with pencil and that I will do in the class I use Faber Castell Pete, artist Men in Dark Subotica in size s. You can also use black liner and any other brand. Just make sure it's waterproof. Here. The first and second lines are water broke, and the 3rd 1 is not. And, as you can see when you apply color over it it this solves and mixes with water colors, and we definitely do not want that. What are colors And you have an I will comment on the choice of chocolate colors in the following section. Other colors. White acrylic paint. I use it for some part of Sugar Brownie and why Joe Open will be used for glass effect. The cheaters wait at the very end of the bus, so both are optional, really, but it's nice to have either of those in your watercolor arsenal to play around with masking fluid. Finally, I will also use masking trick or drawing um, for it. Make sure to have a separate brush as this so it tends to stick to the bristles, and it's hard to completely remove it afterwards, so don't use your best brush on this. Also, make sure to wash the dedicated masking fluid brush straight after you used it. Other things. You also need mixing politics, what a container and some paper towels. 3. Color of chocolate: colors of chocolate. So first of all, let's determined the color of chocolate obviously straightaway, we think brown. But for the drawing to look no interesting, it's better to use mixes. I will use burnt number as my base color and mix it with other colors, but you can use other college as well as your boys color. So let's start with just pure colors of brown's. I have a 10. This has burned ember, and as I said, it will be my main color for all the class. I will use it in combination with other colors to get two more interesting rich color results. Burnt numbers quite warm color. Another warm brown color I have is a red okra. It's more orangey but can add beautiful variations into the chocolate mix. Then there is Mars Braun. This is from some pictures purple. It is slightly more dull and earthy, but we'll also look good in the mixtures. Also, once against ed collaborations, you can use burnt sienna. This one is much more orange, but it's great at color and warmth into the mix. Finally, I have said, it said, is very dark when used on its own. But great for intensifying the color. As I said before, using just one color may result in brother pouring illustration. Also, this colors about apart from sepia looks more like a warm milk chocolate. But what if you need a dark one? Well, adding violet will do the trick. I used birth number as my base color and then add violet. And as you can see now, the mixed has this cool tones that look much war like Dr Quick to reduce the coolest off the mix. Obviously, just add move on number forever Dark parts. I will use a combination of burnt umber. Violet is before an sepia. Okay, Obviously this mix has lots of border, so it's further diluted. What's that? Most of it is. Get darker. It's close to the first mix I made, but it adds some color variations and that overall makes an illustration more interesting. Finally, you can add other colors. Just mix an experiment to see what's use you move. One of the interesting combinations is heading some roads like Eliza in crimson. This will again make moreover milk chocolate. As you can see that in Violet made the mix cooler heading, read like a lizard in crimson made it warmer. I will come and throughout the class, the colors I use well painting. One would think I will use both wet and wet and glaze and techniques in this class. Weather went or dry and wet is when you add water color to the already. What paper blazing is when you add color on the already dried layer off color. I will show you all the steps and make, however, if you want to have more practice with two of those really important watercolor techniques , I highly suggested to take class on coffee drawing, where are concentrated, whether we're technique and the cookies and pastry class, which is on building your grace and skills. So without further delay, let's start drawing Shelly. 4. Profitrole: We will start with a couple of perfect trolleys when you draw something, unless it's the thing you almost solely imagined in your head. It's always a good idea to have a reference. I'm a real life for a picture one. Personally, I use a reference as a guide, but typically do not try to replicate every detail for this to perfect trolleys. I don't have any reference image, but I observed quite a lot of those on Pinterest and made a board with different ones. I'm starting with a pencil sketch outlining chocolate until making it fluid like and flowing, and this will be the body at the cream in the bottom part. I will refine it more with a liner in the 2nd 1 This one has more chocolate. Okay, cream again, he and bottom part. Now let's trace it with a liner. Notice that lines on the chocolate are quite smooth and fluid. While here the line is more rough and sketchy sometimes and make the line disappear like you. Okay, deads done. Lose to the 2nd 1 cream in the bottom part. Now I just have to raise the pencil. I have just a raise a pencil. And as I talked to my previous classes of the volume off, the drawing is a metal loss because the additional pencil lines were adding more depth. But that's OK because we will build volume with color. This 1st 1 will be the easiest one, as I will use just one layer of what a color. And we will assume that this is a math chocolate by much chocolate. I mean this kind of chocolate where there are no very definitive bride highlights. This is probably the easiest chocolate to draw, so that's why I was starting with it. Still, we need to decide which parts will be lighter and which will be darker. So let's say this part will be higher and hence lighter and this one as well. So these areas have to be much less colored. And let's see here and here and maybe a bit here. So when I'm gonna collar it with wet on wet technique, I will have to make sure to leave these areas or less covered. Okay, so the first thing when working on weather with its a good idea to have a pre made mixes of color at your disposal if you aren't quite comfortable using colors straight from the pants . What I mean is where the wet works when you add color to the wet surface. For that, you have to act rather quickly, and having pre made mixes of colors helps you with that. In case you need to have more intensity, you can add colors straight from the pan, but add water to the pan so that the water color can easily be collected with your brush again so that you won't lose time during wet on wet technique, I will use a squirrel brush as it holds much more water. I'm starting with covering the whole chocolate area with water. The problem with the squirrel brush is that it is so soft it's a bit hard to control. If you need more precision, notice that I cover the whole chocolate area, even the parts that will be harder it I'm going over again to make sure the areas fluid and now I can use are that is sable brush. Oh, what a rush to start adding color. Let's say light comes from this direction from right up corner, so this part is supposed to be darker and that's where I will start at color. Right now, I'm using a mix of burnt umber, incipient. See how the car spreads around the world surface. I try to go around the highlights both, but the car still flows. They're making soft transition, which is exactly what we need to imitate the map chocolate. I continue to add colored at the edges because I'm using just one layer here. I need to make sure that when it's dry, the collar will be sufficiently intense. I had some Ritz. I was there in crimson to add some color variation, some minor adjustments and adding more color. While the whole area still would once try anymore, collar will result in glazing and more different edges. We will deal with that. In another example, I gather some excess water with dried brush and at more intense less what a diluted mix into the drawing. No, I just need to let it dry. In the meantime, I will color the 2nd 1 Once again, I start as before, covering the whole area with water used squirrel brush going carefully around the edges and not same as before, say light, comes from this direction I will start with some burnt sienna getting burnt number and then by the mix of burnt umber and sepia for darker low part. You can see that some of the edges will not all covered with water. So I just go carefully correcting that. Don't be afraid colors, because otherwise the drawing will look a bit boring. Okay, I don't really like this pull off color here, so I moved towards the center. These water drops will take a lot of time to dry. So I'm trying to distribute them around, see how color flows within the whole area. But since I was careful enough to go around the highlights even though they're not extremely prominent, they're visible still a bit more dark in the middle. And on this too. As you can see, I continue to add color on both drawings because both surfaces are still wet. I drive my brush and lifted some off the car in the highlight area here. And let's wait for it two drunk. In the meantime, I will work on the body. I will use yellow okra and for darkening. I will use a bit of burnt sienna. I'm not gonna do well with here starting to apply color straightaway being careful enough no to mix it with still with chocolate layer. Notice that right now the color I add is even in rather flat. This is my base color, and I will add volume in variation with blazing once this layer is dry. And let's do the other one as well. Because I applied color to a dry paper, the late dressed very fast so I can add some fixture and volume with a second layer. I'm making the yellow ochre color more intense, meaning less water, more pigment and start to add various shaped strokes around a live some parts intact. Here. I know that this one is flat and this is the side, so I need to make sure the age here is visible Anything more here, where crime will be same here. I don't want a lot of water on my brush for this so that the second layer will be more color intense again, going around the edge with light, uneven strokes. Just don't go with overly straight strokes or cover the whole area again. It's not based or drawing, so if you want more practice with that Make sure to check out the class on cookies and pastry. Okay? Adding one more layer on the first drawing notice every time I had less and less strokes so that both of the layers beneath will be visible here and there. All right, so the chocolate part is still what? So while I wait, I will deal with the cream. The cream itself is white. So to show it, I will let some shadows off very light gray color so that we will know that the cream surface is uneven and no, totally flat. I'm using cadmium, orange and ultra marine to get to my great color. If you don't have those, I will put a suggestion off different color mixes that he can use to get a great color in the about section. I'm just gonna add some uneven strokes here in there. Once again, they can be perfectly shaped, so just try moving the brush differently. Some beneath here just a hint is all we need. Okay. Actually, want to add a bit more colors here at the bottom to make it sort of Hey V it so that the drawing will look more grounded and heading Wilburn Sienna and I went a bit more here, Bill chocolate and same kit with grazing. It is important to stop at some point, so not to ruin the drawing. So I will stop here and I will add some shadows. Since the light comes from here, the shadow will be on the left. And I don't have a lot of space here, so I won't draw a very long shadow. I will use same mix I used for the cream lied. Great looks. The color leaked. No worries. Dry the brush and just collect the unwanted color. Okay, better. You can stop here, but let's see how different it will look. If you make the second chocolate layer, sand is drawing to do so. I covered the whole area yet again. With water. For this to work, you have to have watercolor paper that is heavy enough to take multiple water applications . No, I'm gonna add more color mix of burnt umber and sepia adding those around the area but avoiding direct application in the highlighted parts. More darks here and here. Once again, we have this watercolor jobs which this time I won't together. This time I actually want these parts to look darker and heavier, and it's sort of logical. You know, chocolate. It's poured from above, and this parts sort of supposed to behave it, So I'm just gonna let me like this. Also notice how the quarter off the paper affects the final result right here. The texture has this vertical straight lines quality, so you can see how color goes and flows in those lines, which is especially visible on the higher edit parts. If it bothers you too much, use the paper that has more random texture or even hope press paper, which is super smooth. However, that kind of paper is harder to work with if you use wet on wet as it gets dry very fast, all right, I want to live some of the color from highlights here to make them a bit. Most move and the color is dry and the drawings already, as you can see, the 2nd 1 has much more intense chocolate color, as there were too late applications, and in my pain it does little better. But if you're short on time and just want to try weather wet and drawing some chocolate, one layer will be good practice. Both illustrations have soft sort of deemed highlights, which was what I wanted to show. No, let's draw had done it. 5. Donut: all right, let's draw something a bit more difficult. I will refer to this image as a guy. Let's observe the image here and, like with perfect role is we can just put highlights anywhere we please to create that around shape all over. We have to make it intentional. This part the middle part of the chocolate is higher hands. It will be lighter while the edges inner and outer will be darker. Start with some chocolate sliding over the doughnut and they don't itself here. It's a bit more difficult to show the volume because he can't really dark in this part, as is the highest point. So it has to be lighter. Well, this part has to be done so approximately these areas should be dark. And these here, here and this one should be like So this is how the highlights will go. You will understand it better in the drawing process, but just keep that in mind for time being, Let's do the outline, starting with chocolate. Now the donut itself with this middle part off the donor. Yeah, I think it looks good enough. I have raised the pencil in made color mixes for chocolate, the burnt number and violet and darker one burnt umber, violet and sepia, which I will use for lower parts. I will start as before, covering the whole chocolate area with water, making sure not to color the center as that's where the Donald will be. We will start with interest. I go around the highlights area, adding more color at the bottom part and refining the edge. I will go over here as well, but with lighter color. No, the shadow in the middle Here we have to be more careful as the color may flow onto the highlights area. See what's happening here. I'm gathering it with my dry brush. Can't continue building color at the edges while the surface is still what? Using darker mixed Now more in the middle And again, some went into the highlight area, which I correct. While everything is still foot. I didn't want this highlighted parts to remain white, so I started at, like color mix over them. They will still look like highlights as they will be less colored. I will gather some excess water here in add more intense color at the edges. Right. So here I probably shouldn't have such a dark rim as this area is higher. So it's supposed to be like so I'm just gonna collect some of this color with my brush. I keep adding dark color at the lower part. Okay, so here you can see that the edge off my stroke is quite sharp. That's because the surface is almost trying. I don't want any visible Glee's in effect here. So what I will do is use more water to pull color into the center, making the edge soft. I think the edge here is a bit too much, so same as before. I used some water to solve it and make it softer sharp. It, in this case, will look like the chuckle is more square for than round. That's why I'm so often in the edges with water and pulling the color, correcting some of access water here. And actually I quite like it, So let's let it dry. In the meantime, I will use my water brush, which has more precision to color the Donnet. I haven't covered the whole area with water, but I'm using a lot of watered full color around and draw the base layer just try different ways of applying color, sometimes weather wet or well dry. I'm not necessary. And the picture with just glaze and technique may look absolutely beautiful for me is just easier to add a base layer and then and falling with crazy. I started leasing before the surface could dry. It's OK. Just take a paper towel, dry the brush and collect the color if you think it's too much now, here the surface is dry in new strokes. Adds some texture. I didn't another layer to the donor, living some parts untouched. I'm using very light. We're looking strokes. I want to add more color at the bottom here, maybe some burnt sienna, which helps create this very well baked look. It's a bit in the middle here, some under the chocolate. Sometimes it's just hard to stop. All right, I think this looks great. Let's finish the chocolate this time. I'm not gonna use weather, but I will start applying colors trade away from the edges, But then I will with my brush and make this edges softer and pull the color in the middle because you can see when I apply. Color is grazing, meaning on dry surface. The edges off every stroke look very definitive. And that's not what I wanted to share, as I want the chocolate to be more Matt. So I use water to make those edges softer and more seamless. I keep pulling the color into the center, and now I want to make this part doctor to make those light areas stand out more. Let's color the middle off the doughnut here, adding a second layer to create more dimension. Right? It looks a bit too colorful, so I collect some of it with dry brush. I want to add a doctor parts here as well. I took a bit of burn number and some blue to make it darker, cooler shadow. It looks a bit too dark. So once again, I tried to lift some of the color with a dry brush, heading more closer to the edge. All right, so it turned out darker than I wanted. But I decided to stop trying to fix it and leave it as it ISS and were then 6. Brownie: Now let's draw some brownie. I will use this emitters reference the brawny on the right. So first of all, let's observe the image. As you can see, Brownie chocolate has two textures. The top one is dry, most mammals and is a lighter in color. The insides are more moist, hence a darker and more uneven cheap wise. I start with a rough outline off the shape, a square stop and quiet, uneven site. It's a brawny, so it's chunky and it's a bit messy on the sides you find in the shape of war. Gonna add this little broken parts like it was caught and they were moved here for the defining the shape. Okay, so this one is quite good. Now let's use the liner. I use my simple liner again, and I just start roughly outlined. It just I tried to wake quite angular, not rounded lines to imitate the reference image. Just some random shapes. They actually wouldn't be really visible on the final drawing due to dark colors, but just to get a better feel off the actual shape. For now, right? So I have erased the pencil. I decided to mosque this bits on the side as they're supposed to be off lighter color. Same a stop and I want to color them last. So seven, before I start with a blind water over the whole area off the brownie sides and top. As you can see, my water is likely tended, but it's of brown tint, so it will work OK, as I will apply more color after if for any other drawing you need to leave absolutely white parts while working with weather. What? Make sure to change the water and wash your brush before you start. But again here, it's not the case, so I didn't do that. So now I'm gonna use some buoyancy and Montel, As you can see, I again forgot to switch to my water brush. But I will do it at the next stage where I will need to go around the edges, hence needing more precision with strokes, and I will also use some buoyancy and at the bottom as well. Right now, I'm not bothered with coloring chest atop because I will add Dr glazing on the sites and hence create the difference at the later stages. And as you can see at the bottom. It is more kind of burnt sienna color, So I will intensify later. I'm gonna add more burnt number in the middle, but make sure not going close to the top as the surface is still with and the colors will flow upwards. I need to stop to remain relatively light. Also, let's decide on the light direction for the purpose off my drawing. Abilass Human light comes from right, so this part of the brownie will be better. It well, this one will be darker, gathering some access portables here And like the donut drawing, I don't really want the heavy watercolor drops around the brownie. So I'm just collecting this unwanted toe water with a dry brush. Yeah. Now let's wait for it to dry, Okay, so it's quite dry. This part should be darker, this one lighter. I need to create a lot of contrast between size and the talk to create that for him. I will use my water brush and mix of burnt number in some violent and start to go around this in perfect edge here. I'm also adding a bit of city at the top to make it even darker and going further with the edge. Now add some random strokes on the sides, leaving some parts untouched. I keep adding dark sports here, and they're believing bottom lighter and the edge off the ring darker, less of the other side because it's glazing and the texture of the brown is uneven. I don't have to be worried for my watercolor to say fluid. I'm not working where we went here. So edges and noticeable strokes are actually a good thing in this case, going around the edge again, using birth number in Serbia Sippy is quite dark color, so using it all over the drawing may not be a good idea as the details will be lost but using its apparently here in there, that's a beautiful contrast. I had car in various strokes, adding more orangey burnt sienna. But at the very bottom, I want to add a bit more darker color to sort of settle the drawing and make the base look a bit heavier. Notice how I use my brush. I use different angles, different precious drops to achieve more uneven, chunky look. I don't go in straight lines. Just keep adding color a little by little all right, minor adjustments. As you can see, we already have quite a lot of contract between top and size. However, both sides look very similar in terms of light. So in the next step, I will darken this side more to address the light. Adding texture is a fun process. And sometimes, as you can see here, it's just hard to stop. Okay, Lets wait for it to dry. In the meantime, I will start working on top. I won't do much here, but I will add some wider flat strokes to make the surface look more uneven. I used burnt sienna again, defining edge a bit more. Okay, so this looks good to me. And remember, the light comes from this side, so we can assume that this left no part can be slightly darker. I will use a mix of burnt umber and burnt sienna toe Had a few darker strokes on the left part here. Okay. And I will stop here. So not to overdo it. No, this one is almost dry, and I want to make this side darker. I'm using mobile number with the mix of separate tip adding struck's and maybe a little bit more in this corner. I decided to add more darker color here as well. Okay, so it doesnt look completely dark, but just slightly darker at the right side part. All right. The drawing is dry and I can remove the masking fluid and car these pieces. However, here I made a slight mistake. I should have made them lighter because right now they just look like parts off the side. I gather some of the color with a dry brush, but it doesn't really help. Still, it doesn't look better either. So lesson from this not everything will go according to the plan. Try to save things if you can. But if you can't just go with what you have and don't push yourself for perfection. So this is what I have here in. Now let's wait for to try. Finally, I will define more shape with the liner. Actually talk more about this trick in there, a rail drawing part off the cookies class so you can also practice it there should you need more practice here is pretty much the same thing. So when the painting is dry, I will go over the edge here and defined the shape with the liner, especially this little broken parts here. I'm going carefully around the whole edge here and at all. Collins around the small pieces here make this one darker. I can also do it with a very thin brush and watercolor, but for now, it's easier for me to use a liner working a little bit on the side here and a bit here on the top. Keep adding some lines here and there, and let's just step now. Let's add some shadow from the brawny. Finally, I want to add some powder sugar until I will use acrylic paint in titanium white and add some whites on top part. For this, I use an old brush with very irregular bristles. You can see how messy it looks now. I will try it before, because in the beginning you might have more color than you need. So try it first to see how the color is applied in. Yet that looks OK. My brush is dry and there is only acrylic paint on it, meaning no water. And I hope I brushed perpendicular to the paper to get those small sugar like marks. Try not to go on the site as usually the sugar won't be there, and we're done 7. Cookie: Now let's draw a cookie something like this one. As you can see, the chocolate texture is a different yet again, however similar to Baroni. It's very uneven, so let's try to draw. As before. I don't follow the picture detail by detail. Rather, I first observed the object and then draw it always from a memory, adding or removing details. As I go, I start with a simple circle, a refining of it, making edges more rough. Don't try to make it perfectly round. I also decided to add some hazelnuts to add some interest. Just a few remember that they're not always have perfect shape, so make them in various sizes and forms. Okay, so, no, I will use a liner to make the liner, making the it quiet, rough and uneven. I'm not going with smooth and straight lines like this. I'm going quite angular and uneven. No, the hazelnuts. For now, I think I'm done, so I will remove the pencil and who mosque the hazelnuts. Hazelnuts will be much lighter in color, so I'm just masking them carefully. Let's stuck with women. I cover the whole area with water first and then start to add some color. Now I know that light comes from here, so I will add more dark color here at the bottom. I start to build the volume by adding more color at the parts further away from the light I met in burnt umber and some sepia. I also add some burnt sienna, more orange, a color in the middle and for some extra variation, some allies Aaron wrecked. However, I then mix it with drowns. I collect some of the excess water would dry brush, and I continue to add more color in less water all over the cookie. But making sure the lower left part remains darker. To get the Chocula look, I need to use glazing technique with visible edges off the color application. Okay, so the painting is dry and we can start with the texture. I will use some burnt number and mix of burnt umber and sepia. I will add some random color strokes. I leave some parts off the base layer untouched. They keep changing the angle off the brush, as well as using more of flat belly off the brush. To get two more interesting strokes, I go more intensely around the edges. Okay, this part looks too weird. So I pulled some color around que betting more color are here right now. It doesn't quite good. I'm adding more car on the left side of the hazelnuts, sort of mimicking the shadow from them. And that's wait for to drive. All right, So is dry. And they have just removed the masking foot. I will use a very light mix of yellow joker to color the hazelnuts. I want this first layer to be lied and playing as it will add more intense color as a glazing. I also correct some white parts on the hazelnuts sites. And now let's do the leasing. For that, I will use more burnt sienna to create that baked look. Okay. Same here at a more color on the left side and working on the rest. I'm not covering the whole area of hazelnuts. Just some parts. If you feel that you put too much color, you can always try to collect it with a clean, dry brush. Okay, so it's done. Just a few touch ups. And what you will be ready heading crumbles is a great idea to single piece drawings. You can draw them with a liner. Will thing brush and dark color like sippy? Finally, I want to define the rough and chunky shape over even more, and for that you can either use a very thin brush, a liner or even a brush. Been like this. Usually I do it either with a liner or brush man, but this time I decided to use a thin brush. I go around edges in some parts and draw this sort of broken lines to show deep shadows in the middle. Make sure to make them very uneven and random. If you don't know where to draw them, you can always refer to the image off the rial object. Also, it's a good idea following the doctor marks, you made your in the glazing stage just going around them, doing a bit more at the edge. And here is well, it may be a bit more here for this to work. The color you apply, the last has to be much darker than any of your previous colors. I use safer color, which is very dark. Okay, so I think it looks great. Now this dress um awesome. Jeremy Suit 8. Tiramisu: Jeremy, So I will refer to this image here once again. The final drawing will not be the exact copy, but rather an impression. I will start with a square form and stop here. Our focus will be on the texture on the dock. Lightly draw the body, refining it a bit and moving to the liner. I use the liner very lightly here and same as before. My lines are uneven. An in perfect. So let's spit it up. I have just arrested pencil and we can start coloring. I will start with wedding with. I will cover all areas, even those that are supposed to me. Almost white. And I started air color from the bottom, some burnt number and burnt sienna. So this part is supposed to be Why? So I'm going very carefully around it in letting some off the color spill and flow onto the white part, but not a lot. Now let's do the same on the next layer. I decided to add more water as it just got to be dry, same as before, adding color in letting some spill onto the white part. Here it went way too far, some trying to collect it with my brush. I tried to collect more. Here is well okay, defining the shape more here with Dr Burnt number. No, I will tackle this area here. While I was working on the body, the top could dry, so add more water and I will use some burnt sienna and add a bit off base color here at the top, especially at the edges. I'm leaving the middle uncovered because I want some of this white to shine fruit once that protection. But I want edges to be darker, and I need to do it while it's still with so that this dark age won't look unnatural. Well, it's what it flows into the middle, making transition more seamless. The reason I needed is that I will build texture and main color with a dry brush, and with that technique it's quite hard to be really precise, meaning it's hard to apply texture on the edges. So I kept adding more color, randomly adding little boats close to the inch. Also, I will add a few sports here is well, all right. It's all dry, and I will start defining these areas a bit more. I will use a mix of burnt number and some violet to have cooler chocolate car. Remember how it did? Bony processes trailed a similar. I'm eating random dots and strokes living parts off the first layer untouched. I keep adding more color now the 2nd 1 same processes before I just keep adding strokes and marks. I think I let a bit more color here from Sienna if you here is well, getting burnt Sienna throughout the trauma, so just that it won't be solely isolated at the top. No, let's deal with for this part. I will be using brushes that I don't use for my paintings as their Brazil's are quite rock . I actually caught the tip here so that I can make better marks. The first thing, however, that I will do is to try them both out and see which one I prefer for my texture. For this to work, the brush has to be quite dry, so I put my dry brush in the pan with color. But the bad has somewhere inside so that I can actually collect the color or the brush. No, I just pressed my brush perpendicular to the paper and start making marks. Here's another angle. How I press the brush and baker. Okay, this one looks too much. So I press the brush harder to remove some of the paint and now it doesn't look enough. As you can see, if you have too much water on the brush, you will get heavy droplets rather than chocolate powder texture. So you have to try and see how much water versus color will work best. So that's this brush and I will also try another one. Maybe it will work better gathering color and trying it. Okay, so I like this brush more. However, it does have this distinctive line shape what you can do east to rotate the brush every time you make a mark, and it will result in a more random looking texture. See, don't worry if some areas will look similar because we will put another layer off different color later. Let's did I start adding the texture and I think I have to much water, so I remove some of it. I tip irritating the brush and hold my brush perpendicular to the paper. I continue any more texture, my paper cut moving. So I added a little clip to hold it in place. The benefit off this flood brush is that you can actually go quite close to the edges. All right, so next one, I will add darker color for a number, make sure the first layer is trying. This time I'm using wrong brush. I keep rotating the breast to get more random texture. I keep building color and texture, but you can see that some off the base layer is still visible, which helps create volume. And I mentioned. I also add a few here on the sites, and I want to add even darker color with one more layer. This time, I will add some sippy into my burnt umber mix. For that I need for this land to dry. In the meantime, I want to build up some more definition on the bottom here, just using some bird number. Notice that with each where I cover a less and less surface so that all previous layers would be visible a bit more here, defining the edge with very light on even strokes, like adding sippy in some parts to define these shapes even further. It's not necessary, but I like applying layers, and in this particular case it works for the good. For the final drawing. What was getting dry? I will add a light shadow on the site. Finally, I will be adding almost pure seven, which is very dark toe, even more texture on the top. The application process is the same. Yep, and I think we're done and just for fun. We can also add some picture around the cake then. 9. Cake: now off to the probably hardest type of chocolate, the glossy one with well defined high rise in dark colors. I don't have any specific reference for this one, but before we proceed, let's observe a couple of pictures off glossy chocolate. Two things would have to keep in mind when dealing with this type of chocolate. First, it highlights are really definitive and very bright. They look almost white, like on the image on the left here. Second, the surface is highly reflective, like on the image. On the right, you can see a reflection of chocolate decoration and talk. It's very dark, and it has very well defined shape. Sowetan With is not the main approach here. For definitive visible edges. We use grazing. I start with a simple pencil sketch and cherry here in some chocolate flowing downwards. And then there's gonna be some simple body and chocolate place at the bottom. Let's outlined the sketch quickly. All right, so here we have to address the shape. Remember Woodrow doughnut and it was all round. Well, this is not the case here. This area is flat and this is the site, so it's not all round. I will keep this pencil line for future reference. Now let's add some highlights. I will have some at the rink here to show the sort of sharp edge better, and we'll at high rise on the chocolate drops as we have seen on the image. I will also add a little high right here beneath the berry, as if this cherry pressed the chocolate on which is placed upon. And now it has this little wrinkle around that will catch some light. Okay, so this looks good. Let's move forward. I have just most the cherry, and we'll start working on the first layer of color. This will be our highlights color. It is a very, very light mix of burnt number and violet. It's quite cool shade. It's more violent than burn number, and I will cover the whole area with it. Even the highlights. Right now it looks old as it seems that we used too much color. But first of all, it will become paler once it's dry, and secondly, it will look almost white when we add darker colors. Next to you can still see the pencil sketch of highlights inside, which I will need for the next step, removing some of the excess color. Okay, it's dry, and I will add a layer of meat owns. This time I will cover pretty much everything again. Except for the highlights, my color mix is much more intense. I'm using my would've brush as it has much more precision, and I will definitely need it for working around those highlights. I'm trying to make sure that the color stays fluid and I can pull it around as I work at this stage. I don't want any definitive ages apart from those where I will leave highlights. For this to work is very important to have pre made mix of color so that you can add color without delay. I left one part here, um, best, but I actually quite like it going carefully around the highlights. You can last, the High writes with a mask in flute, but I prefer to do it on the go as it gives you more control over the shape as you drop right. For now, I think it's fine. Let's wait for it to dry. The next thing that I'm gonna do and it will be the final glazing here is that I will add even darker color here on the site in a reflection from the cherry to show that the top surface is glossy and reflective. Going carefully around highlights and holding color, they stand. Another visible edge we have is the one on the rim between top and side. I will leave this part on touch, just additional volume, and I will leave some part here as well. All right now the shadow reflection from the sherry making sure I leave those highlights. And now what I will do is I'm gonna clean my brush at some water and dissolved the edge off the shadow Living. It's quite sharp. Closed the cherry and less pronounced, the further the shadow is from the cherry. I gather some of the color here in the middle as I think it's too dark. All right. I actually quite like it. So let's finish it up for this part. I will use number, number and a bit of violet. I will make texture with just one goal and in dark, recipient at the bottom, mixing it with birth number and just making color quite uneven. Over adding strokes for the body. I will have a bit of fun with wedding with technique covering the whole area with clean water going carefully around the chocolate. No, I just add some dots of reds and things all around and let them mix with water. For beautiful political effect. I had more at the size to make the shape look more wrong. Other than that, don't over think it and just enjoy the process of weather with technique. Coloring this bit here and let's finish the drawing with the cherry I removed. The masking food can't start at color. I'm living some parts untouched to show the highlands. I think I had too much color here on the left, so I collect some of it as you can see what a brush is not a very good for color collection , So I take a squirrel brush, which takes much more water. Finally, I want to add darker violet here, close to the site to make these darker and like there is a reflection off chocolate on that site. It happened here in the middle, and I think with them here is the result. So here are a few things to remember. Use highlights in moderation with Hollis. The less is typically more as adding, too many will look cluttered. Also for more impact used small highlands as opposed to a large. Their bright areas on the image. On the left, the highlight areas just look too large and there are just too many of them. To address the glow Snus add an object on top off the closest surface so that you can add very definitive shadow reflection from on the left. Here, the shadow from blueberries is not pronounced at all. Because I used wedding with it. Looks okay, but it doesn't really look classy. Finally, don't forget to address edge if you have one like here on the left. This whole area looks weird because both top and sides are almost the same color. Unlike here on the right, there is quite a visible difference between them. Okay, so in the final section, I will show you a cheaters, wheat and highlights to a drawing 10. Easy highlights: All right. So here I have already painted on it. And as before, it's chocolate is met. I want to make it glossy. So what I will do is I will use wide open first, decide where the light comes from, I say from top right corner. So I had a very small drug looking like highlights here, like this. And here. And maybe once you don't make them really large. Okay, Maybe just one with you, So, yeah, you can add more, but if you go overboard, it may start to look weird with hearts. Typically, less is more so Just start with very few, see how it looks and, if needed, add more. 11. Class project: Congratulations on completing this class. We tried quite a lot of different chocolate forms and textures, so now it's your turn to try it out. Just choose any example that you like and either copy the class steps or tried yourself with a different chocolate dessert. I have made quite a few Pinterest boards for your inspiration. There is a border profit trolleys, brownies and chocolate cake where I gathered the various glossy chocolate images. Don't be afraid. Start with something simple like the 1st 1 Lee profitable example. I would love, love, love to see a project and feel free to ask any questions you might have on the discussion board or reach me out on the Facebook. I really hope you enjoyed this class. And if you did, please leave. It comes up. Is you posted Awesome drawings on Instagram. Please use that America skill share so I can like them. Thank you for watching this class and I will see you in the next one