Fun and Easy Watercolors: Drawing cookies and pastry | Mariya Popandopulo | Skillshare

Fun and Easy Watercolors: Drawing cookies and pastry

Mariya Popandopulo, Photographer & Illustrator

Fun and Easy Watercolors: Drawing cookies and pastry

Mariya Popandopulo, Photographer & Illustrator

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17 Lessons (60m)
    • 1. Introduction

    • 2. Sketching in watercolor

    • 3. Materials

    • 4. Watercolor techniques

    • 5. My drawing steps and volume creation

    • 6. Glazing warm up exercise

    • 7. Drawing simple croissant

    • 8. A bit more on volume creation

    • 9. Drawing 3 cookies - lineart

    • 10. Drawing 3 cookies - color

    • 11. Drawing complex croissant - lineart

    • 12. Drawing complex croissant - color

    • 13. Drawing other pastry

    • 14. Drawing Oreo cookie - example 1

    • 15. Drawing another Oreo cookie - example 2

    • 16. Drawing Oreo cookie - using gel pen

    • 17. Class project

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About This Class

Let’s draw delicious pastry and cookies in watercolors!

Watercolors are fun! You can literally draw anything with them, but why not start with something delicious? 

In this class we will be drawing cookies and pastry and learning how to use glazing technique along the way. 

  • I will show you my step by step process of creating beautiful pieces (and hey, there are just 3 major steps!)
  • We will do some easy exercises to get a taste of what glazing is and why it is an awesome technique
  • We then will try something a bit more interesting, painting cookies and pastry 
  • Finally we will deal with dark colors by drawing a few Oreo cookies

So jump in the class and lets draw something yummy!


This class goes exceptionally well with the previous class - Drawing coffee


Here are awesome watercolor classes which talk about paper selection in more detail:

Whimsical Animals with Watercolors: Explore the Ways of Traditional Illustration II by Sova Huova

Draw Your World: Sketch with Pen and Brush Expressively by Jen Dixon

Sketch Your Life: Create Expressive Sketches in Pen and Watercolor by Elisa Choi Ang

Anyone Can Watercolor: The Basics for Creating Magical Pieces by Yasmina Creates


Don’t forget to download the bonus PDF with reference images, drawing steps and colors

used in each illustration for the class you can find it the the class project section on the



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! =)

Meet Your Teacher

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Mariya Popandopulo

Photographer & Illustrator


Hi! My name is Mariya and I am photographer and illustrator based in Almaty, Kazakhstan.

I never could quite decide what do I love more - photography or illustrations, so Im doing both =D

I have illustrations portfolio on Behance

My preferred social media currently is Instagram (no surprise here =D)

I also post comics and doodles under Pinks&Roses name

See full profile

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1. Introduction: Watercolors are fun. You can literally draw anything with them, but why not start with something delicious? Hi. My name is Mariya and I'm an illustrator and photographer from Almaty, Kazakhstan. In this class we will be drawing cookies and pastry, and learning how to use glazing technique along the way. We will do some easy exercises to get a taste of what glazing is and why it is an awesome technique. We will then try something a bit more interesting, painting cookies and pastry. Croissant, anyone? Finally, we will deal with dark colors by drawing a few Oreo cookies, and who doesn't like Oreos? So jump in the class and let's draw something yummy. 2. Sketching in watercolor: Sketching in watercolor. First of all, just a little bit on the style of my drawing. This class will be done in a more of a sketching technique. To make my illustrations, I use a combination of fine liner and watercolors, more on my art supplies in the following section, every illustration then can be broken down into two major parts. First is shape, outlines of the drawing. They can be read in detail a drawing on its own with hedging and shading or just barely there acting as guidelines for your watercolors. Second is color. Obviously, with a very simple sketch like mine here, color will be crucial factor in giving life to the object. In this class, I will be focusing mostly on color and liner will only be our guideline for coloring rather than almost finished drawing. Hence, don't worry if you can't draw good realistic liner. Color will be much more important and if anything else sketching is not about precision, but rather expression. So don't be afraid and just start drawing. 3. Materials: Materials you will need, and the ones I use. Watercolors, I use a mix of Winsor and Newton, both professional and Cotman and St. Petersburg watercolors for this project. You can use any that you have, but keep in mind that same color can differ between brands. So if your colors differ from mine in the class, that is most likely the reason. I made a little comparison of burnt umber from different brands and lines. First one, I have Winsor and Newton Professional line, and then Winsor and Newton Cotman line, which is the student grade watercolor. Third one is St. Petersburg watercolor. And number four is Schmincke. Yes, they're similar. But for example, the first one Winsor and Newton Professional line seems to be a bit more reddish and is my absolute favorite, doesn't mean it will be yours. However, if you have an opportunity to try different brands, it's worth a go, but watercolors, especially professional grid ones like Winsor and Newton Professional line are really expensive. So if you're just starting out, here's what you need to know. Most well-known watercolor brands make professional lines and student lines. And it's totally okay to start with student ones as they're much cheaper. Actually, in addition to my Winsor and Newton Professional set, just bought this little Cotman set student grade for traveling purposes. And so far, I really like the colors there. Next fine liner. Once again, any you have at hand, but make sure it's waterproof so that you can paint over it without your liner being disturbed. And really important, we really don't want this to happen, okay. I use Faber-Castell and I use it in color, dark sepia in size S. You can totally use black fine liner as those are more popular and readily available, I prefer sepia for cookies and pastry, because it's softer and warmer. Another thing to consider with liners is it's size, the thicker the line, the more illustrative your sketch look. Bold lines can take away attention from the watercolor, but this may be a personal preference. So choose the size of the liner in accordance with your sketching style. Paper. Paper is very important in watercolor. Unfortunately, you only learn to appreciate it with time when you have tried a few different ones and feel the difference for yourself. In the beginning, you either take advice from someone more experienced or just go and buy whatever you want. Most likely regretting it afterwards. I won't go through watercolor brands paper selection in this class, but I do highly encourage you to check one of these classes that discuss paper selection in more detail. I will leave links to those classes in the "About" section. For this class, I use Canson XL mix-media paper. I like it, it's rather cheap, and the quality is quite good, just please make sure that the paper you will use is suitable for watercolor. Simple office paper probably won't do the trick here. Brushes. Recently, I started to use water brushes and I love them. I have them in three sizes, small, large and medium, all by Pintel. I mostly used medium. If you don't have that, simple sable round brushes, in sizes four, five, six, will also do the job nicely. Other materials. You'll also need a pencil, eraser, water container, paper towels, mixing palette, masking fluid and or white gel pen. 4. Watercolor techniques: A quick refresher on basic watercolor techniques. Number 1, wet on wet or dry on wet techniques is when you apply watercolor to already wet paper, so that the watercolor will flow within the shape that was previously made wet. I talked a lot about this particular technique and how fun to use it in my previous watercolor class, "Draw a Beautiful Coffee Illustration." So if you haven't seen it, you should totally check it out. Number 2, wet on dry. When you apply watercolor to a dry paper. Finally, we have glazing, when you apply your color over already dried layer of watercolor. This technique, we will be focusing in this class. Now, glazing is an incredibly useful technique in watercolor. You may have already used it. As said before, glazing is a blank watercolor over watercolor, meaning your apply second or third layer of color on top of another already painted and dried layer. Now, this is very useful because watercolor is a transparent medium. In order to intensify the color, you can apply multiple layers, see, one layer, two layer and three layers, all of the same color. But not only that, glazing also helps create volume in your drawings that watercolor and even look that makes drawings come alive. Here is a small example. Obviously, if I just covered the object all over on the second layer, the picture will remain a bit flat. So in order to create volume and life in your drawings, you have to know how to use contrast to your advantage. Volume is created by the contrast of light and dark parts. 5. My drawing steps and volume creation: My drawing steps and volume creation. I approached my watercolor sketches in three steps. First, I draw a line art with a liner, just a basic shape. Then I start to build volume with color. Personally, I approached volume creation in this particular class, in two steps. First one, start with wet-on-wet, covering the whole area with base color. But apply that color unevenly, adding more intensity in the areas that are supposed to be dark, while the surface is still wet. Sometimes I start with just applying water first and then adding color, or just add color with lots of water at the same time. This first layer will take quite a while to dry before you can proceed. So if you're in a hurry, you can use hair dryer to make the process faster. Two, once the first layer is dry, start glazing. While glazing, I did not cover the whole area, applying color only partially. Although this may sound a bit confusing right now, it will be clear once we're done with the examples and exercises in this class. So to recap, each drawing consists of three major steps: liner, base, layer and glazing. With that in mind, let's start drawing. 6. Glazing warm up exercise : Let's start with a little warm up exercise. Just to get a feel of glazing, we will draw mini croissants. Yeah, very small ones. We're not making a finished piece here, so the shapes can be as simple as you like. We just have to start somewhere, so let's start easy. I start by drawing very simple shapes with a liner. I don't use pencil here because it's a warm up exercise. I make five in total and we will be coloring them together. Now let's do the first base layer. From my best two drawings I prefer to start with raw sienna. I try to apply water first on the first croissant, but for the rest I apply the color straightaway. That being said, that color is quite diluted with water. I decided to add a bit more color while the paint is still wet on some. The first base color is dry and I can start glazing. I want to make my second layer darker to get to that form the other field. So I add quite a bit of burnt umber into the sienna mix, and I also add some burnt sienna. I apply this new color on top with light strokes. I don't cover all the area leaving base color shine through. Also notice that my strokes are following the shape of the croissant. If you feel you added too much color, just dry your brush with a paper towel and gather some of the paint while it's still wet and there we have it. As you can see, glazing even in its simplest form really does bring life and volume to the drawing. 7. Drawing simple croissant: Now, let's repeat the process but make it larger. For larger pieces, I actually do use a pencil to draw basic shapes. I start in the middle and add triangular shaped sections on both sides. Of course, it's better to develop your drawing skills and start drawing with liner, without pencil. But for now, I feel it's easier for me to start drawing when I don't have to worry that I will mess up at the initial stage. Pencils sketch can be easily redrawn. The basic shape is done. Let's add liner. Don't press the liner to hard so that the lines will remain light. I also add some lines here in the middle to imitate the texture of the croissant. As you can see from the reference image, it's quite uneven. I erase the pencil sketch and proceed to drawing. At this point, I have to decide where the light comes from, meaning how my object is lit. For this one, let's say light is coming from the right bottom corner. The right part of the object should be lighter. Well, left side will be in shadow and hence darker. This may not be extremely important when you draw it just separate items, but will be definitely needed if you draw a composition with other items. For me, instead of just keeping in mind the light direction, I draw it similar. Light direction really makes drawing much easier, as you will know which parts are supposed to be darker and which should be left lighter. I will be using large water brush and I'm just going to start applying base color roseanna as before. I initially applied very light and diluted mix. While the surface is still wet, I'll add more color to the areas that will be in shadow. I know that this part should be darker, so I want to apply more color here while it's still wet. This is not glazing yet. We are still working with our base color, but add some color variations to add a bit of depth to the drawing. As you can see, because the surface is quite wet, additional color doesn't leave any sharp edges. It just mixes with the existing ones. The painting is dry and we can proceed. As before, I want to apply a darker color, so add burnt sienna into my base color mix. As you can see, this part is darker. This one is lighter because we considered light during first base layer and added color unevenly. I'm going to use flat belly of my brush to add light, broad strokes following the shape of the croissant, leaving quite a few places untouched with just base color. Try to add light strokes and don't go many times over the same place in one go, meaning before the glazed color is dry and don't go overboard with glazing. With watercolors, typically less is more. Doing just one base color and one glazing let you have that airy watercolor look. Adding a lot of intense color might quite ruin the whole thing. I, however, decided to add one more glazing to get to that very well baked look. I added more burnt sienna into my mix and again, apply color with broad light strokes. Notice that apart from this side where I went slightly horizontal with the brush, every other stroke was either upwards or downwards following the structure of the croissant. If I just went this way, that would look totally weird and we're done. Here we have it, our first pastry illustration, very simple, yet quite recognizable. 8. A bit more on volume creation: Volume creation. Before we move to next to the station, which will be these cookies, let's talk a little bit more on the volume creation for this particular case. As I said before, volume in drawing comes from the contrast of light and dark parts. It may not be as important when you draw something from the top, like this cookie here. But when you draw it from an angle, you will have to deal with this edge here. I have this cookie here, the base layer already applied, and we need to create a 3D field. If you look at this particular drawing, this large area will be flat, but here it goes down. Obviously, if you look at the real cookie, it will be too complicated to understand how to make edge here look a like real thing. What you need to do is to fake the volume. This will be done by leaving some highlights, meaning leaving some parts of a base layer untouched. I'm going to use some golden deep color and also some burnt sienna, just to add some intensity. For this drawing, I decided that light comes from the top right corner. I definitely know that this part here will be in shadow. I will start applying my glazing here first. Once again, see how I replicate the shape of the cookie by applying color in half-circle strokes, I go up, keeping in mind, light direction. While doing that, I also add color on top here. I don't go in circles or very straight lines, keeping it rather random. Again, I don't just cover the whole area. I add color in some places, leaving others untouched, but also keeping in mind the light direction. So I add more color here at the bottom left corner. The trick here is to have this part dark yet at the very rim, where the edge starts at the top, leave some highlights, meaning parts that will not be covered with a second layer of color. See, it will stand out for a viewer and it will look like there is an actual volume there. I'm going to continue and add more color here at the bottom, adding burnt sienna and introducing some red and orange tones there. Oh, that's too much. I'm also going to add a bit more here at the top so that the bottom, more orange part, will not look completely alien. I will also try to make this intense color more round, because I know the shape of the edge here is pretty round. There we have it. As you can see, we have built some volume during first glazing, keeping in mind the light, and then we intensified it with darker color. Intensifying the contrast between light and dark parts, and thereby creating volume. 9. Drawing 3 cookies - lineart: Now let's do something a bit more complex, a cookie with chocolate layer. Here, I will be drawing free cookies from three different angles. Drawing multiple items at the same time is probably the fastest way to study and learn to draw a particular subject. I will start with a pencil sketch again. First of all, let's deconstruct this one into simple shapes. Basically, this cookie is a set of free, flat cylinders stacked on top of each other. The middle one, chocolate is a bit smaller. So this is how I will start. I outline free ovals and add the round shapes of the cookie on the edge of the top circle. Now, I start from left to right, drawing light half circle shapes. But somewhere in the middle here, I will have to change the direction of those half circles. So don't just go all the way in the same direction like this, it will look weird. On little, however, because we don't see the other side of the edge, the half circle sheets are roughly the same. Now, I draw the bottom part and chocolate and move on to the second cookie. This is one is much easier because it's a flatly angle. Here, we don't have to bother with the shape of the edge. So I just make it look like a flower with lots of small petals. Notice that I don't start with the detailed shape, but rather draw the most basic shape, a large circle in this case, and then go around it as a guide to make the sketch more detailed, and let's do the third one. This one is similar to the first one in terms of an angle. Now, let's clean it up with a fine liner. I use dark sepia liner in size s. I go round pencil sketch and let's speed it up. Now I can see that the first one looks a bit squashed and maybe won't look as good even with color, but it's totally okay to make mistakes. That's why I'm drawing free here to practice. No one expects you to just sit and draw a perfect something without any practice, nor should you expect from yourself, unless you are ridiculously good at drawing, but that's not the case with me so all of my illustrations are result of lots of trial and error. So I will not discard this first cookie. I will paint it and see if I can make it a bit better with color. So here's a real cookie, and before proceeding, let's observe the real thing. As you can see, there are other details here like little dots and some feathers and the name. I will add those shortly. Also note the light here where I draw comes from the left from the window. So you can see that right part of the cookie is darker. You can also see that color is quite uneven. Let's edit it. This time I decided not to use pencil. I probably should have, but didn't. I don't make it exact like the number of these little dots is different, but it's okay. For a watercolor sketch, we really don't have to be precise. An impression of an item is all we need. Notice how I make those dots. I leave little space inside. This way, they have more dimension. For example, here they have some white space inside. On the second image, the dots are completely filled. The second one definitely has less life to it. It's a little thing, but it does contribute to the overall look of the final illustration. Before going further, I decided to erase the pencil. I'm now adding some edging here where the chocolate should be and further defining the shape of the lower part of the cookie onto next one. So here, since I don't use pencil to draw the near and letters, I don't start from the beginning, letter F. I start in the middle. There are six letters and I first write down letter R, and then try to place two remaining letters on the right and then I go back to the middle and start with letter U, and go to the left. Mind you, my approximation skills ain't that good, which you can see here. But have I started from the start of the name, it would have probably be even worse. So pencil is a good idea next time. So now, I continue with the pattern and see that I don't press my liner too hard to the paper. In fact, I raise it from time to time for the pattern to look lighter. It is a little trick to add details to make them in such a way so that they won't distract from the illustration. Again, adding dots with some whites inside and proceeding to the final cookie. Same stages and I'm really getting better with proportions and patterns and even the letters. So you see, in a matter of just three drawings, I did improve my line art. Finally, let's make a note of the light direction and move on to the fun part, coloring. 10. Drawing 3 cookies - color: Well same as with any of my illustrations, I start with a base layer. In this case, I decided to go wet on wet, meaning, first of all I applied water over the drawing and then added color. Making sure adding more color to the parts that are supposed to be in the shadow, right parts while the drawing is still wet. As my base color again, I use raw sienna I love how warm it is. Now on the third cookie, I decided to try out to add a darker color by mixing burnt umber. Since the surface is still wet, it mixes up with the sienna and doesn't look too much. Rather, it helps me show that that part of the cookie isn't shadow. The base layer is dry and we already see that even though we didn't add any glazing yet, cookies have some volume because the color applied unevenly, darker on the right side, lighter on the left side. Now let's look at the real cookie again and see it's colors. Obviously, during the glazing stage, we will need to apply darker color on the right side, the one that is in shadow. We still also need to apply dots in the middle. We could be extremely precise and try to leave white circles around the dots, but I think that's a bit too much. So I'll just apply color on the surface more randomly. Well, you'll see it in a second. Also notice that this part will obviously be dark and the darkest one will be chocolate. But I will deal with this at a later stage. So let's start glazing. I start applying color mostly from the right, since it's darker. I don't cover everything, leaving some parts untouched. I add quite a lot at the bottom and somewhere here and leave it to dry. On to next one, same as before, I cover majority of the surface but still leave some part untouched. While drawing and while the second layer is still wet, I decided that the right part is not dark enough, so I added burnt umber and let it mix with raw sienna. Also, I added a little shading around the dots, which isn't how it is in real life. In real life cookie, dots are surrounded by lighter areas, but it's okay to improvise a little. I will patch up this a little more, but I need it to be dry. So off to the third cookie. The process is the same, but I want you to observe the strokes. Whereas when making volume for the square cookies from before I used round strokes here, on the top my strokes are light and mostly straight. My logic, which may be wrong, but that's how I see it, is that the top part is mostly flat surface and it will be better coming with straight more definitive strokes rather than round ones. I add quite a lot of color in the bottom as well, and some touch ups on the edges. Once again, follow the shape. The shape of the edges are rounded, so I draw little half circles here, and a few random color strokes, just add a bit more interest. While I'm at it, I do little touch ups for the second cookie since it's dry now. Few dark dots near letters so that they will look a bit more grounded and better placed on the surface. Back to the third cookie, I build more volume at the edge, and adding a bit more shadows on the cookie number 2, and finally, adding dark color where the chocolate should be on the cookie number 3. So here is our cookie and here's the watercolor result. Although it does look good to me, I definitely need to address the chocolate layer. Just hatching in some dark glazing didn't really make it look right, so I decided to go over it with a liner here. It may take a while. For cookie number 3, I decided to go with watercolors. Now we have three finished drawings. They're imperfect, but that's what I love about sketching in watercolor in particular, imperfections actually look alive and cute. Obviously, you're not bound to draw just this particular cookie, this drawing approach will work for other shapes as well. Here are just a few examples, the square cookies you already saw before, and even the digestive cookie. Although here I added lots of dots, mostly on the right to imitate the uneven surface, but the coloring process was exactly the same. 11. Drawing complex croissant - lineart: Drawing complex croissant. Now let's add more complexity in terms of glazing and draw another croissant. We will be drawing this beauty here. You can see that our first one was really simple, but I think it was needed to draw a simple one so that you can get familiar and more comfortable with glazing before approaching something a bit more complicated. Here is a reference image I will be referring to. This time, we will draw a more complex angle. I start by making a simple sketch with pencil. As with previous croissant, I start from the middle section. As you can see, my line is pretty hectic and uneven. That's because this time I want to show better the structure of an object. I roughly funnel the shape of the reference image, not necessarily repeating every detail and line, but just keeping in mind the overall shape. Now let's do the other side. I'll just sketch a little bit, adding more volume at the top, and a bit at the bottom by making shapes more round, but I still keep the lines quite sketchy and uneven. This looks quite good. I like it, but I also want to add some almonds which are not at the reference image, but I think they will make the drawing more interesting. If you need to, you can go across on almonds to see how almonds are usually distributed. Almonds are not really hard to draw, and I add almonds slices, and those look just like little ovals. Also on some of them, I add a bit of a side to make them look more real. Don't try to put them all like separately on the distance from a channel like this. This will look unnatural. If it was a real thing, they would overlap and there would be also some bits and shapes here and there, as not all of them will be perfectly oval. Adding some on top, and a few more pieces, and maybe one here. I'm going to correct it a little bit during the liner stage. So the better sketch is ready. Basically the difference between the first croissant and this one starts at the very beginning with more detailed and textured liner. This sketch resembles the actual piece more. Let's add a couple of almonds here as well just for added interest. Okay, let's do the lines. I'm going to start with almonds. I'm using my dark sepia liner again. Notice that I don't use very definitive lines, keeping my liner very light. I don't press it hard to the paper. For example, if I press it too much, the drawing will look too rigid, and I don't really like that when it comes to watercolor sketches. So I press my liner very lightly. Let's do this here as well, and then now I can deal with croissant. As before, my line is very light and quite uneven, and we're really trying to convert the feeling of the pastry with the liner first. Then I will end this with watercolor. If you are a person who cannot draw straight lines or simple geometrical shapes, then that's the drawing style you will love because here, they're more uneven and unnatural, and lively the item looks. Real croissant is actually may not be that uneven but to me, drawing is a little bit about exaggeration so that you convert the feeling of an object, and we're done with the liner. 12. Drawing complex croissant - color: I have just erased the pencil and suddenly our croissant lost some of its volume and that's okay because pencil was providing additional volume with all those extra lines. As I just said, that's okay because now we will add watercolor to bring that volume back and create some freely filtered. First thing, however, I will mask out the almonds so that I can paint freely over the surface when coloring the croissant. Having masking fluid is really useful. Of course, it's totally doable without it but masking fluid makes life so much easier. Now let's wait for it to dry. Masking fluid is dry and now I have to decide where the light will come from. Let's say from here. I'm just going to use raw sienna and start painting lightly with very diluted watercolor. I start from the part that will be in shadow, adding more color there, and then move to the left, to the part which will be lighter. I add more color at the bottom, once again because there will be shallow as well. I also intensify color here around almonds where again, the shadow will be cast from them. You can see that the whole area is still quite wet. If I feel that I need to add more color, I can do it and colors will naturally flow within this area with no distinctive edges unlike the ones we get during glazing. I want to add some darker color here. I used burnt umber and don't really like it to be honest but that's okay, since the painting is still wet, it's easy to correct it. I add more of raw sienna and just pull the color up and to the left. There we have it, our first base layer of watercolor. Now, the first layer is dry. I'm going to use burnt sienna and yellow ocher. This mix will be a bit more intense and I'm just going to apply it with white strokes. Don't forget that this part has to be darker because light comes from left so I add more color to the right and bottom parts. I leave some parts untouched at the top here, where the light will hit the most. As of now, it does look already quite good. Basically, all pastry drawings is all about layering and layering and layering. But for each new layer, it is probably a good idea to mix a little bit darker color than before to get to that freshly baked look. Right now I'm still using the mix I made, burnt sienna and a yellow ocher. I'm going to wait till this layer is dry and add another glazing with more burnt sienna and added burnt umber in the mix, adding more reds. It's almost dry and we can add more color. This time, I'm just adding some random broad strokes, more on the right. I don't try to make them perfect or pretty. Mostly making them with a flat belly of my brush. Also, I want to work on shadows here a bit more so I'm just going over these areas here. Because I know that this part will block light on this part here, so it has to be in shadow and also a bottom part. Now, you might think how're we supposed to add shadow if this left part is supposed to be well lit. But again, we're not trying to make it perfect to view, we're just trying to make it believable. I'm going to add some little shadows here to introduce some contrast. Notice how I apply my strokes either upward or downward, going along the shape of the croissant. I don't go horizontal strokes here. I add more color where the almonds are. I think this part is a bit too light, so I'm just going to cover it. Here we have quite a bit of volume. It's all uneven and it really looks like a puff pastry, which I really like. I decided to add a bit more shadows here, just a little bit. At some point you got to stop before the painting becomes too heavy. This feeling of when to stop will come with time and practice. The finishing touches, remove the masking fluid, color the almonds and add a shadow. I use eraser to remove masking fluid. For the almonds I'm going to use very light yellow, quite diluted in water. I'm just going to cover the almonds. As you can see or probably can't see, it's way too light so I'm going to add some raw sienna. Better. As you know almonds are creamy, off-white color. I want them to be light, but I don't want them to be white. For this little sides, I'm going to use my favorite burnt umber. The color has to be quite dry for me to draw a fine line and make it quite intense. The color leaked on the almond and here as well. I got to wait till the light colored surface of almonds is dry before drawing sides. Is it dry now and I'm going to add this brown burnt umber here. As you can see, adding that burnt umber on some of the sides really adds volume to the whole piece. Let's also add some dark sides here. I'm going to add a little bit of shading on the almonds just to make them more real. Add some raw sienna as drops here and there. It's also a glazing, although very light and gentle one, mostly on the right sides. Notice how I hold my brush, I hold it at quite significant angle. Now, let's add shadows. I use a mix of cadmium orange and ultramarine. As you can see, the mix is very light. I Keep in mind light direction, start applying shadow same as with liner. I don't make the shape of the shadow very sleek, making it more uneven, following the shape or the croissant. Adding some shadow here where almonds as well and a bit here. We are done. Our beautifully made freshly cooked croissant. 13. Drawing other pastry: We drew a croissant in three different ways and even in its most basic form, it still does look very much like a croissant. That is down to one simple thing, a croissant has a very recognizable shape. So even if you draw the most basic liner, the chances are high that a croissant will still be a croissant. Now, with other puff pastry, the situation is a bit more difficult. So here we really have to utilize our glazing skills to create that puff pastry look. This time, we will draw this square shape puff pastry things. On the reference image here I have plums, well, pieces of plums. For the purpose of this class, let's substitute it with something more recognizable, a raspberry maybe? I'm going to start by sketching a basic squarish form with a pencil. Don't try to make very sharp corners or straight lines as it won't really look as a pastry. For now, it looks a bit like a sandwich. It will definitely look much better with colors. Okay, now raspberry. I start with a very basic outline and then add mini circles to make it look like raspberry. Once again, if you're uncertain how to draw it just google raspberry. Now I can use the liner. I will start with the raspberry. As you can see, I don't follow the outline strictly, I just do slightly as I go. Let's do the pastry itself. Because pastry is filled with air, I use very light lines, not pressing my liner hard, adding more lines here to outline the layers and just a hint of lines here where I will add more color. All right, now let's erase the pencil. Let's add our first base layer. For this one, I will use a large brush to make larger strokes, which is most suitable here. So I'm just going to add color. Oh, I forgot to master the raspberry. Okay, no problem. I will cover it after this layer, I just have to be more careful now. I also forgot to set the light direction. Okay. So the light will come this way. I will make a note after this layer for future reference. I will add more color on the right and bottom and keep adding a bit more color, especially in the areas that are supposed to be in shadows. So this is our first layer. The layer is dry and I'm going to master the raspberry. I love using masking fluid. It's definitely in my watercolor essential kit. So the layer is almost dry and here is the light direction. I'm just going to add some wide strokes of darker color around, trying to make it look quite random, but also keeping in mind to add more where shadows are. I added quite a bit of water here. No worry, I gather some with a dry brush. Okay, a little bit more in this corner and some here as well. Define your layers. I think I need more burnt amber where the shadows are to make it even darker, adding little corners here to make them look like they had been slightly over-baked. Same as before, at some point you have to stop. So I will stop here and let it dry and see if I need to add more glazing. I decided to add just a few more darker strokes to intensify the freshly from the oven baked look, and a bit here where the raspberry is. Now, I remove the masking fluid from the raspberry and start coloring it. While it's still wet, I'm going to add a bit more red color here to add some color variations. I also will add just a little bit of color here around the raspberry, like some of it spilled onto the pastry. However, I don't want it to look like a glazing. So I add water and pull the color around a bit to get to more fluid look with very soft edges. Let's wait for it to dry. Now, I will add just a little bit of glazing on the right parts so it will have just a little more volume. Okay, I haven't left any highlights, but that's okay because of what I'm planning to do next. Before that however, I will add a shadow here. So here is the shadow. For the final part, we will add some extra festive feel with white gel pen to add some powdered sugar on top. If I wasn't planning to add anything else, I should have probably left this part of the raspberry much lighter and this part a bit darker, but since I'm adding some powdered sugar, that slight mistake won't be that visible. So I'm just going to add random round dots here and there, concentrating in the middle, as you would expect to have more powder where it was sprinkled and less at the edges. So you see the raspberry looks much more lively now and the whole pastry got this festive look and we're done. Here are a few more examples of pastry you might want to draw. 14. Drawing Oreo cookie - example 1: In this section, let's do something fun. Let's draw Oreo cookies and learn how to brush darker colors. In terms of shape, it is very similar to the cookie number 1 we already drew, this one. It is slightly more complex here at the top with all the patterns and ornaments, but still the main shapes are three very flat cylinders. The reason we are going to draw a similar shaped cookie is to learn how to tackle dark-colored objects. See, a real cookie is almost black, at least the one I have here. So do you have to draw with black color? Obviously, if you just painted all over with some very dark color, you won't be able to tell if it's a cookie or if it's something else. As you remember, the volume of the drawing is simply a combination of light and dark parts. Same principle applies here. The tricky part is to determine which parts will be light and which will be dark. We will deal with this as we go. But let's start as usual. Let's do the liner first. Since the shape is not the most simple one, as before, I start with the pencil outlines, I will draw two cookies. The first one will be from very simple, flatly angle, meaning we don't have to deal with volume here. So let's just start with a simple circle and then add the oval that includes name in the middle. I also add an inner circle to know where the edge of the cookie will go. As you can see, there are quite a lot of patterns on the cookie, and frankly, I don't want to draw all of them. Instead, I pick the ones I think will give the feel of the actual thing but will not take ages to draw. Let's use the liner. I go in small half circle shapes round the outer circle to replicate that cookie, and then we'll also add those lines to make them look a bit deeper. Now, I outline inner circle in few places just for reference, and let's do the pattern. It's okay to leave them not perfectly spaced or really true to the original. They don't have to be because it's a sketch and as long as it resembles Oreo and has Oreo written on it, we'll be fine. It will still be a cookie everyone recognizes. Now, this ornament here and letters, once again, they don't have to be perfect, they just have to look similar. This little ornament here, don't be afraid to simplify complex things like ornaments here. I didn't include all of them simply because they will take some time to draw, and I prefer moving quickly with sketches. Okay. Now this looks quite good. One thing to keep in mind, when you use eraser to remove pencil, your liner may become faded a bit, and it wasn't really important for other drawings we made because they were rather light in color and outlines still stood out against the raw and burnt sienna. It may not be really visible here on the video, but if you try it yourself, you might notice that the liner slightly fades just a little bit. So for this kind of drawing, because it's going to be quite dark, we're going to go over the finished painting illustrations with those lines again with a fine liner, or maybe even a brush pen. Same as before, to make our life easier and to achieve consistency, let's consider light direction. See light is coming from the right. This means that this part will be better lit and this one less so. Don't forget that Oreo cookie is not really flat on top because of the ornaments. See the ornaments are slightly above the main surface here, so some of the parts will be darker because those ornaments will block light, and others will be lighter, like here catching light. With this in mind, we can make our highlights here. You don't really see any highlights on the actual cookie because it's too dark. But in a drawing, we can do that. Now, just a little fast-forward so that you can understand what I'm trying to achieve here. This is a finished Oreo, and you can see that I actually left these parts completely white. Instead of leaving some parts with base color as I did with the first cookie, here I actually want to have more contrast so that the dark parts would look darker. Hence, I want to leave some highlights completely white. For this, I prefer using masking fluid and a very thin brush. Don't forget, masking fluid can ruin your good painting brush, so don't use your favorite brush in it. Use the one you don't really need, like I had this little brush from Cotman watercolor set. Another thing you might do is to either use wipe your pen, after you finish coloring or try to leave highlights white while drawing. This is the hardest way since the details are so small. When using masking fluid, first thing you need to do is to determine where the highlights are and mask them. I will cover some spots here on the rim of the side tracing light and add a bit here as well as here on the edge. See, I don't use it here where the shadows will be, but I do put it on the inner circle and probably it's going to be somewhere here, and maybe a little bit here, don't get carried away. Highlights are merely small points of interest to bring life to the otherwise dark color drawing. Here's a close up. You can see that pale blue is where I used masking fluid. Let's talk about actual color. Oh boy, should you just use black watercolor? Probably not, unless you really want to. Personally, I let the reality a bit loose and paint the color that I think can be associated with Oreo and easier to draw. For me it's rich deep chocolate color. So here I have two colors. My favorite burnt umber and Payne's gray. First of all, let's do color check. This is the burnt umber, and this is Payne's gray, it has some bluish tint to it. But if you mix them together, you get something like this, which is much closer to the original cookie. But for me, it's a bit too dark, so I will use burnt umber as my base color, and then we'll use the mix to darken the shadows. Also, instead of mixing, you can use watercolor sepia, which looks very similar to that mix. So the first thing I'm going to do is I'm going to color it slightly with water. Same as with the first cookie we draw, I'm going to add some volume during this wet on wet stage. I'm going to add more darks here. This time I cover everything because my highlights are masked. I continue to build up color while paper is still wet, adding some shadows and less dark here where light hits the cookie. I decided to add a bit more color here while it's still wet. But as you can see, the first layer is almost dry now. So I add a bit more water because I will add more definitive glazing at the next step, whereas this one is merely improving the base color. Let's start glazing. I add Payne's gray into the mix and try the color and start glazing. I start with the edge going with light strokes following the liner, I keep adding shadows. I also want to add some here on the letters but added too much. So I will just dry my brush with a paper towel and collect some of the excess paint, as well as pulling color sideways. The upper part is dry and I decided to add more dark stroke, looks good. Now let's remove the masking fluid. So the illustration is almost finished I really like the white contrasting the darks and even though the color is not as dark as the real Oreo it does look pretty similar, and we still see patterns and shapes of it. Finally, lets add definition by going over the liner again, I will use brush pen to intensify the letters. Fine liner for the rest, but you can use fine liner for all of this work. I go over the edge, making it more pronounced. I will also go over ornaments and this oval here to make shadows more visible. There we have it a real Oreo versus illustration one, not bad. 15. Drawing another Oreo cookie - example 2: Now let's make another one from a different angle, more difficult one. I start with oval shapes stacked on top of each other. I'll also leave a bite, obviously if you look at a cookie at this angle, you actually won't see the cream. But that's what is great about drawing. You can exaggerate. Don't forget to make this edge more uneven. Now, the oval inner layers. Something like this. It doesn't have to be perfect. This time I will not draw all ornaments. I'm just going to draw this ones, and maybe some circles here. This part will be a bit more difficult as we need to create volume. Let's do this side. It's flat and it's easier. This side of the cookie consists of two parts, upper part and side. When drawing here, make sure to address that. Something like this, cream here, and bottom part, it doesn't go all the way here. It's rather sharp edge. That's what I'm going to do here. Now let's use our liner. I will start in the middle. Ornaments, and the main part. As you can see here at some point, this will start to curve to the right side. In the middle, it's almost straight. Then from here the curve will change direction. Now let's add this bitten part, I'm not going to draw a definitive line here, just an outline. Drawing the cream inside. Now we can delete the pencil. Let's choose the light direction. I'd say it comes from the right and above. Let's do the highlights with masking fluid. As you can see, I don't apply in straight line as those will look a bit unnatural. I'm just doing light uneven strokes and dots here and there, maybe a little bit here. I want to leave this oval white as well. If I won't like how it looks, I can always paint over it. This time my base color has more paints gray and is a bit darker. I apply very diluted color as my base. I add more burnt umber while the painting is still wet, darkening the left upper part and dropping more color around. I definitely need more colors here. Some minor correction, and while it's drying, I'm going to do the bottom part here. The bottom has to be darker. Maybe adding a bit more burnt umber just a little bit. Now let's wait for it to dry. As you can see, even though I put just one layer of color, I already made some shadows. This part looks darker and this one is lighter, and there is a shadow here. Now during glazing, I need to intensify that. I'm going to start with this site here because I know I wanted definitely darker, but I don't just cover it with one swift motion. Rather, I try to make my strokes small and random here because it's a cookie is not supposed to be clean and perfect, especially where the bite is supposed to be chunky and uneven. Now I'm going to go over this part making edge darker. I will also go here as well to make it stand out more and create that volume we have talked about in the vine creation section. I'm adding a bit more color at the bottom because there will be less light there since it comes from above. I also want to add more color here. But then again, I don't just go over everything applying strokes unevenly. Don't just cover everything like do the little bit random strokes, but nowhere to make them. Considering the light. For example, I know that this part is going to be darker and this one is lighter and the bottom part. Again, I go with small round strokes, but I add more color at the bottom. Also, I want to darken just a little bit this part below the cream to add more contrast. Maybe a little more here. It's hard not to over do it because right now I'm thinking, if I should add more or stop, and I'm not sure if I actually need more. Let's leave it at that. While we wait for it to dry, let's add some little chocol bits in the cream. Don't make them perfectly round. Just tried to make them in rough, imperfect shapes. Something like this, the painting is dry and I can remove the masking fluid. Lets add more definition would liner. I start with this edge here and add some random dots here like this. We'll make this ones a wider and more visible. Once again, it's still not include all the details. I mean, if you want to go with all the ornaments, probably you have to make a larger drawing, mine almost a real thing, but the details are too small. If you want to draw all the details, you probably have to go this big. I like this form an N size so I just omit some parts. Going over the Oreo name and adding a bit more shadow on the oval. I make shadows more pronounced on sides of the oval. We'll also draw this little outlines where the edge goes. We'll go over here. It may look a bit messy when you go over with watercolor, but with subjects like this, cookies and Peace Tree, missus actually agreed. Uneven and irregular color application actually works for the illustration because cookies are not perfectly round or have totally smooth texture. Imperfect is great for more believable tasty results. Let's add some crumbles and once again, make them sharp, edged, and uneven. Here is our second cookie. 16. Drawing Oreo cookie - using gel pen: Finally, just a quick example. If you don't have a masking fluid, what you can do is to use a white gel pen. The process will be quite similar, however, you color your cookie with base color, then add some glazing, keeping in mind alight, and once it's dry, apply a little highlights with the gel pen. Make sure not to paint with watercolor over gel pen as it will come off. I already painted the cookie and I want you to see why highlights are important. They add a lot of character and life to the drawing. Right now, even with glazing in shadows, the painting does look a bit boring and flat. We can add more contrast by going over the line art again. As you can see, this now has much more volume, but adding highlights will improve it even further. I will draw white highlights on this side, not an all of them, but just on some. Don't go over all of them. We'll make them perfectly shaped. I will also go a little bit here and here as well. The reason why I don't like gel pen for this is that this one with masking fluid looks a little more chunky while gel pen lines are more clean, but it's okay and a valid alternative to a masking fluid, and we're done. Same as before, you don't have to stick with just Oreo. There are other dark chocolate cookies out there you can try. Here are just a few examples I made. 17. Class project: Congratulations on completing this class. Now, it's your turn to draw. For your class project, you will be making a sweet illustration, a cookie or a pastry. Get inspired by pictures which can be found on web or on Instagram. Choose the level of difficulty. The first simple croissant is probably the easiest one, so if you need a place to start, that would be a good one. Get your watercolors and start painting. I really hope you enjoyed this class. If you did, please leave a thumbs up. If you post your awesome drawings on Instagram, please use this hashtag; #marikaskillshare, so I can like them. Thank you for watching this class and I will see you in the next one.