Let's Paint: Oozy Chocolate Donut with Watercolors | Eugenia Sudargo | Skillshare

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Let's Paint: Oozy Chocolate Donut with Watercolors

teacher avatar Eugenia Sudargo, Watercolorist and Graphic Designer

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

20 Lessons (1h 29m)
    • 1. Introduction

    • 2. List of Supplies

    • 3. Preparing Paper & Outline

    • 4. Tracing

    • 5. Painting: Middle Donut Crust

    • 6. Bottom Donut Crust

    • 7. Top Donut Crumb Textures

    • 8. Top Donut Crust

    • 9. Additional Donut Textures

    • 10. Chocolate: Base Colour

    • 11. Chocolate: Shadows

    • 12. Chocolate: Highlights

    • 13. Halved Strawberry

    • 14. Full Strawberry

    • 15. Strawberry Leaves & Details

    • 16. Splatters & Shadows

    • 17. Icing Sugar Texture

    • 18. Icing Sugar Shadows

    • 19. Final Overall Adjustments

    • 20. Closing and Class Project

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About This Class

Hi everyone! My name is Nia and I’ll be your teacher for today’s class. Today we’re going to be painting these realistic oozy chocolate donut, this one was so much fun to paint, so I’d like to share with you my process of painting this one.

In this class I will show you the full process of how I completed this painting from start to finish and I will break it down into shorter lessons so it’s easier to follow along to.

I won’t be including the drawing portion in this class however, I will provide you with the line art as well as the references and the photo which inspired me to paint this subject but if you would like to draw out your own donuts, you can also do that because this painting consists of very simple shapes to replicate.

Most of the steps of this painting are actually fairly easy despite how detailed it looks, however there are certain sections which will require a bit of instinct, so like usual as my other food illustration classes, I would classify this as more of an intermediate level. But as always, if you’re a beginner and you’re interested in trying it out, you’re definitely welcomed, and just try to work at your own pace and your own level of comfort.

I’m so excited for this one because I just find that the techniques are so much fun to follow along to, we’re going to create different textures from the golden crust, the oozy chocolate to the soft bread and dusting of icing sugar which is so satisfying to do.

Like all my other classes I’ll be speeding or skipping through parts of the class where the steps might be repetitive or if my hand is off camera to get the class going, so if you decide to paint along, I’d suggest for you to watch either the full class, or individual lessons prior to painting along so you know what to expect. And when it’s time to paint, you can pause in between the steps, so you can always work and figure things out as you go in your own time, and move on to the next step when you’re ready.

Hope you enjoy this class!


  1. Introduction
  2. Supplies and Colours
  3. Preparing the paper and Line art
  4. Tracing
  5. Start Painting: Middle Doughnut
  6. Bottom Donut
  7. Top Donut: Soft Inner Crumb
  8. Top Donut: Crust
  9. Additional Donut Texture
  10. Chocolate Base
  11. Shadows on Chocolate
  12. Chocolate Highlights
  13. Halved Strawberry
  14. Strawberry
  15. Strawberry Leaves
  16. Splatters and Shadows
  17. Icing Sugar
  18. Icing Sugar Shadows
  19. Final Overall Adjustments
  20. Closing and Class Project

Meet Your Teacher

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Eugenia Sudargo

Watercolorist and Graphic Designer


Hi, my name is Eugenia, and I go by Nia. I'm a graphic design graduate from Curtin University, Western Australia, who loves to paint with watercolours. In my final year, my teachers back in university noticed that most of my design works incorporate watercolours. So I guess I picked up the medium by accident, but now I'm totally in love with them. They're so versatile, flexible and wild at the same time. There are times you need to tame and control them, but there are also times you let the watercolour do its thing!

Mid 2017 I started a watercolor YouTube channel, nianiani and I was quite amazed at the response, I also realised how much I loved uploading videos and sharing tutorials. I started teaching art and watercolour end of last year to children and adults, as a part time jo... See full profile

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1. Introduction: Hi everyone. My name is Nina and I will be your teacher for today's class. Today we are going to be painting these Lucy chocolate donuts. These were so much fun to paint. So I'm really excited to share this one for you guys today. In this class, I will show you the full process of how I completed this painting from start to finish. And like usual, I will break it down into shorter lessons so it's easier for you to follow along too. I won't be including the drawing portion in this class. I will still include the line art as well as the reference photos which inspired me to be the donuts. However, if you would like to draw this yourself, you can also do that because this painting, despite how detailed at most, as actually very simple to draw, and it only consists of simple shapes for each replicate. This painting is actually quite easy to paint because the steps are quite straightforward for you to follow along too. And it can create all these details and textures. However, there is this one section which is the interior or the crumb of the doughnut, which is quite delicate and it requires you to Pete quite instinctively. So like all my other food illustration classes, just because of this section, I would classify this to be for intermediate students. However, if you're a beginner and you would like to give this ago, you're always welcome. And just try to work at your own pace, at your own comfort level. And so excited for this one, I just find that the textures themselves are so much fun to paint. We're going to be painting the goals and crossed off, DO NOT to the soft interior, to the Oozie chocolate. And finished off with the dusting of IC sugar, which is just so satisfying. But before we start, let me go through the outline so you guys know what to expect office hours. After this introduction, I will go through the spice as well as the colors that I use for this meeting so we can get the meridian organized. Then I'm going to prepare the paper and trace the line art. And after that we're ready to beat. I started out by painting the crust of the donut from the middle to the bottom. And before beating the crust of the top DO NOT IP to the soft interior crop, followed with the cost. Then we finish the donor off with additional textures. After the donor is done, I'm going to move on to painting the base of the chocolate, followed with the shadows. I'm also the highlights then onto the strawberries and how to be in the intricate pattern as long as the texture and leaves. At this point, I like to add on the spatters shadows and you can call this finish at this point. But I also want to add the edge on dusting of icing sugar for extra texture. Then after this, I'm just going to finish off a beating. Adjustments followed with a cleansing and class projects, like all my other classes, I will be skipping or speeding through parts of the painting which is off-camera or inactive just to get the classical ink. So if you would like to be too long to this, I would suggest for you to watch the full class or the individual lessons higher to printing long. And then when you are ready to feed a lot, you can pause in between each step so you can work at your own piece. And when you're ready, you can move on to the next step without being rushed. So with all that said, I hope you guys enjoyed this class and let's begin. 2. List of Supplies: Before we start, let me go over the list of supply so you can get them ready before we start painting. So firstly, you will need watercolor paper. This is Arches paper cut in to this size, 18 centimeters by 14 centimeters. But you can also resize the line art to trees and use different sized paper if you would like to. This is the path that I got the paper from. It's fine-grain cold press, 300 GSM Arches paper. You will also need scrap paper. And ideally for the paper to be the same as what you're painting on. So I use the scrap paper from the pad before to swatch my colors when I'm unsure about certain tones. Here is the outline of the painting that you can download from the resources section. And this is such a size that I have painted mine. But as I mentioned before, feel free to resize it however you would like to. But you can also draw out your own outline if you would like to sense the drawing itself is fairly easy to replicate. I'll be using two brushes. They are both cheap synthetic brushes, which are fairly similar and texture across different brands. The main brush that I'll be using as a Vi text size two. And the other one is an old brush bi-layer, which is also a size. The tech is a local brand where I'm from, but you can use reefs or Lyra as well, which only costs around $1 or so. And I've used them before. And I feel like they're quite similar and textures. So there's no problem if you can't get access to the tech brush on top of these brushes, if you ever feel the need to use a smaller brush to paint tinier details and have more control. Feel free to switch your brushes. And if you would like to create a larger painting, I would suggest to use a slightly larger brush as well for the painting. So these are the paints and the palette that I'm going to be using. I'll go over the list of colors and the brands at the end of the lesson. And as for the palette, cheap plastic palette that I bought from dy, so here are additional white paints for highlights and icing sugar. I'll be using bleed proof white by Dr. Ph. Martin due to the very opaque nature and also a white Jelly Roll pen to get the smaller areas. But you can also opt for an opaque white wash, like permanent white or titanium white. You will of course, need a jar for your water and tissue to clean and dab your brush from excess paint. And as for the drawing and tracing tools, I just have a pencil and an eraser. And the pencil is a pentose sharp blood, and the eraser is by Saqqara. Since I'll be tracing the line art on to the watercolor paper, I'll be using this tracing tablet, but you can use any of your go-to method to trace the line art. This is optional, but you can also use a spray bottle to wet the paints if you ever need to. I'd like to personally do that, but of course you can just use your brush and do the same thing. And lastly, here are the list of colors that I'll be using. Firstly, here, I have mineral Violet by Holbein, burnt umber by Holbein, burnt sienna by Holbein, cadmium orange by Winsor and Newton for a million by Holbein, Buff Titanium by Daniel Smith, lemon yellow by Holbein, Manganese Blue by Winsor and Newton. And the right we have Hansa Yellow by Daniel Smith. Couldn't read by Daniel Smith. Netflow read by M. Graham, olive green by Holbein, Prussian blue by Holbein. And lastly, every black by Holbein. I'll also just leave you a list of the supplies written down, as well as the colors in case you want to get them organized. 3. Preparing Paper & Outline: Here's the outline that you can download. And this is the size that I've made it out to be. You can also resize this to any size that you want the painting to be. This particular one was 17.5 centimeters by 14 centimeters. But for the painting itself, I think I want to increase the frame size from 17.5 centimeters to 18 just to round it out. So this is something that you can customize. Also in the outline, I have included some of the details. I won't be including one, I'm tracing them. So these details should act more as reminders. And you can just have this outline next to you to remind yourself what the details will look like. But that's a problem for you though. I guess if you tried to outline it very lightly, you might be able to get away with it. But the reason why I'm not going to outline those areas, It's because I'm going to be using very light colors specifically for those details. So I tried to minimize the pencil marks that I'm going to make. So here I have are just paper that I'm going to use. And I'm just going to first measure out the paper first. So it's a similar size and then add the additional five millimeters that I wanted to add for the height. Just keep in mind, you can always resize this as you want, or even just increase the dimension. So the painting might be a bit smaller in terms of the composition. This is all up to you, but this measurement is just what I have personally chosen for mine. Now I'm going to cut the paper using Stanley knife. You can use scissors or anything you're used to. But as a quick tip, if you decide to cut using the same method as what I'm doing here, always caught from the outside of your papers. So try to avoid cutting from the area you're going to be painting on. Because sometimes you're handmade slip and you might put into that area where you're going to paint on. Whereas if you cut it this way, if you miss a bit of paper, it'll be from the part of the outer frame so you can just quickly fix it without ruining the dimension that you're going for. 4. Tracing: Now I have my paper and the liner here. I'm going to trace it on. I'm using a light tablet, but you can use any method of tracing that you're used to. Firstly, I like to look for the correct side that I'm going to paint on and place it right on top of the line art. And because the dimension of the lineup paper is a bit smaller, I'm just going to flip it and find the position that I want the painting to be. So for this, I would want my paper to be somewhat in the middle. Then I'm going to stick one side together with masking tape. And this is so I can always open and take a peek at the line art. If something is a bit hard for me to see on the watercolor paper. From here on, I'm just going to trace out the main lines, which are the larger loans. I do still want to include the highlights though on the chocolate, because I find that having these larger highlights, they're quite easy to trees. And since it's going to be surrounded by dark colored pencil mark would just blend right in. You can also alternate the placement of the highlights of you would like to or even add more wonky lines for the bread of human make it a bit more imperfect. So you can customize this further if you would like to. So I think I'm just going to speed this through. It's very straightforward and I'm going to show you the lines that I drew out before painting when I'm done tracing. So here you can see the comparison between the two. So as you can see, they're just specific places that I didn't draw out. Mainly the middle part of the doughnut itself. A little bit of detail, or the air pocket in the bread. And also inside the detail of the strawberry, you can also change this to a full strawberry. The template is very customizable and you can even customize the flavors and add sprinkles if you would like to. 5. Painting: Middle Donut Crust: Before I start painting, I just want to wet all of the colors that I have here so I can activate them easily and take the colors easily whenever I need to. I'm just going to spray all of them one by one until I get a little bit of a puddle in the middle. So the paint becomes nice and soft and they can pick them up easily with my brush. Now that I'm ready to start painting, I'm going to begin by taking the lemon yellow first, which is this color right here. And I'm only going to take a very thin consistency of this for the middle part of the doughnut. I want to work fairly quickly here since I want this to work with the wet on wet technique. So I'm actually going to be using a very wet load on my brush to begin with and letting some of the paint puddle so it doesn't try out easily. Let's have created the thick curved line with the light consistency, lemon yellow. I'm going to continue with a color. And for this, I use a mixture of cadmium orange with the lemon yellow. And I'm just going to place it underneath the lemon yellow and continue it downwards. But I'm going to slowly build up the color with a darker brown mixtures. So I can create a golden brown color for the donor because the lemon yellow as paddling wet, the paint will travel quite quickly. So I'm only letting the cadmium orange touch very slightly, or else it might take over the whole area of the lemon yellow. I'm also going to do the same thing for the top part with cadmium orange as well. And I want to make sure that the lemon yellow stays where it is. I just want them to slightly blend together towards the edges so it creates a really nice soft, bland. You'll probably notice that the cadmium orange at the top part as a bit thicker inconsistency compared to the one at the bottom. This doesn't really matter too much because I'm going to be building up on the colors until it reach a certain vibrancy. So I'm just going to keep building it up, but I was a bit more confident after I pleased the bottom part. So I'm just working with a thicker consistency. It's up to you. It is safe. Work in a thin consistency first if you're not confident. But if you are, you can work street with thicker consistency with the cadmium orange. Next, I'm going to build up on the colors. And for this, I used a mixture of burnt sienna with vermilion to create a reddish brown color. And I'm going to follow up with the color underneath and working on the still wet surface. So I'm still creating that soft blend with the other colors as well. I also tried to add more cadmium orange, so I still have a nice gradation between all of the colors. I'm going to keep on building on the brown tones now. So the next mixture I use as burnt umber with mineral violet to Crete and very dark brown mixture. For this, I'm using a fairly thick consistency because the more wet the surface is, the more Europeans is going to distribute. And if the pigment keeps distributing, it's going to create a lighter colors. So when the paper is fairly what I tried to use, a thicker consistency paint. There comes a point where you'll notice that your paper won't take anymore paint once it reach a certain wetness. And I think I've reached it for now. So I'm just going to leave it to dry and work on the top section of the doughnut. By now the top part is a bit dry for me, so I first what it slightly with a bit of water so I can still work with a wet on wet technique. I want this top part to be lighter than the bottom. So I'm using similar mixtures. I took the previous color mixture from burnt sienna with a million, but this time I added cadmium orange along with it to lighten the brown tone slightly as the paint dries and settles. It will travel in such a way that is a bit unpredictable. So whenever the surface is still wet, like right now, I can start to see that the cadmium orange was traveling too low for my liking. So I just soften it with my brush and pick up any excess paint that I can move while the surface is still wet. And after that, I'm just going to keep building up on the colors. I used the same color mix shared, but added more vermillion in it, so the brown becomes even more reddish and vibrant. I'm also including the dark brown mixture from burnt umber with mineral violet for the top section. And I'm just adding this around the top edges for now. And I think this already gives a good image of the color distribution that I'm looking for. So from here on, I'm just going to continue adding layers to increase the vibrancy of the same colors as the paper starts to dry off and take more pigment. At the same time, if any of the paint starts to travel to places, I don't want them to mainly to the lemon yellow area. I just take the excess paint off with either a clean dry brush or with tissue. You'll start to see that the dark brown color that I initially placed at the bottom has traveled too much upwards as it settles and starts to dry. However, the paper is still damp enough for me to move the pigments. So I'm going to keep adding the lighter brown mixture from the burnt umber with vermilion and cadmium orange. Then I also decided to add a bit of vermilion to the dark brown mixture as well to warm the tone further where the lemon yellow starts to dry off. I just use a clean, damp brush to create a softer transition between the brown and the light lemon yellow. And whenever it travels too much, I just take the excess off with tissue. This applies to the top section as well. I can already start to see the blooming and just starting to form. So I just use a clean damp brush to soften the transition. And meanwhile, you can also start to add a bit of uneven texture for the doughnut as well. I think this is close to being done. So lastly, I'm going to add a final layer with the same color mixtures before from burnt sienna, cadmium orange. And we're million and if they consistency as the final enhancement for the top section. 6. Bottom Donut Crust: Moving on to the bottom, DO NOT. I'm going to use the exact same color mixtures as the previous DO NOT. So firstly, I'm starting with lemon yellow, but this time I just what the rest of the area using the same lemon yellow instead of changing to cadmium orange. Both ways are fine. You can even start by just wetting the whole area with water first. These are just several ways you can go about it, but still achieving the same effect. You'll notice that I'm following the curvature according to the outline as reference for the doughnut and the middle, the curve is facing upwards while this one is facing downwards, I just find that these small changes make the composition more dynamic and static. So be sure to follow the curvature as it's such a simple way to enhance the composition. So here I moved on to cadmium orange for the top and the bottom part of the doughnut. And I'm just painting the whole area this time. The reason why I can do this is because the additional colors that I'm going to be adding on, it's darker in value. And the cadmium orange is also a color that would still work well mixed into those browns. So doing this won't cause any disruption for the brown mixtures. Well, the surface is still wet. I'm going to add on the first brown mixture from burnt sienna, vermilion and a bit of cadmium orange. And just firstly added to the bottom. And just like before, after I place the brown, I want to reintroduce the cadmium orange again, so the brown won't travel too far outwards. And you can still see the transition between the colors. Then I'm just going to repeat this for the top section as well. Now moving back to the bottom section again, I'm going to use the second round mixture, which is from mineral, Violet, burnt umber, and vermilion. Here with a clean, damp brush, I just move the paint to position them where I want them to go. And sometimes if there's too much pigment covering the light area, I also pick it up with a dry brush and take the excess color off while it's still wet and just dab it on the tissue and repeating the process whenever I need to. I'm just going to leave that section to dry off now and move on to the right-hand side. And I'm just going to follow the same method as before, starting with the light lemon yellow wetting the surface and adding the cadmium orange and the browns. Going back to the left-hand side again, I'm going to build on the darker brown for the top and the bottom with the same mixture. And this time, I also want to add a little bit of imperfection for the donut by adding a straight line so the surface of the donor looks a bit uneven. Using the same dark mixture, I use a much thicker consistency with burnt umber and mineral violet. And I'm just going to enhance the texture further. So I felt like the color was a bit too dark here and it looks a bit burnt. So when this happens and the surface is still wet, you can always add the vermillion to give it more of a golden look, instead of it being burnt. Because the mineral Violet might have darken it a bit too much. And I'm also going to add the same dark brown mixture but in the thinner consistency for the top section as well. Finally, to finish off this doughnut, I'm just going to do final adjustments by fixing up certain areas or moving the paint around and softening some of the transition between the colors. 7. Top Donut Crumb Textures: In this lesson, I'm going to be painting the inside of the donut. So firstly, here are the colors that I'm going to be using. Firstly, I have lemon yellow of titanium, manganese blue, cadmium orange, burnt sienna, vermilion, and mineral violet. I'm going to start with a simple color mixture from lemon, yellow and buff titanium. I'm going to use this to paint a flat wash on the Brady part of the doughnut. And I'm going to use a very thin consistency because I want the color to be very light to start with, so we can build it up slowly with thin layers. Probably the hardest part of the painting because we have to be very careful with the colors since this whole area is going to be very light in color. So this is where I use a lot of my scrap paper to test out the colors before applying it to the painting. Using the colors that I have here, my palette, I tried to figure out tones of brown that would suit the texture and shadows for this area, I ended up using an admixture of cadmium orange, manganese blue, burnt sienna, lemon yellow, and mineral Violet. And along the way, I like to test out the colors to find certain tones that I'm looking for. And you can do this and check by changing up the ratio. For this. I like mixing different tones off light browns by using the colors that I have. So you can adjust to the colors after testing it out to suit the color of your painting. Here I'm just lightly mapping out certain areas which are going to be in shadow with a very thin consistency. This is so it's much easier for me to fix if I make any mistakes at this point, because it's easier to layer and add on certain details. On top of this, right, out the top left, you'll see a slight bulge. And that's where I want to create an air pocket starting with this color, too slowly distinguish the shape. This is the picture that I took inspiration from in terms of the subject matter. And I was also drawn to the texture of the Oozie chocolate as well as the air pocket on the doughnut in the middle. So this is what I'm trying to recreate in the area here. We're not going to copy this straight from the photo, but just taking rough shapes and textures and then applying it to this new composition. It may seem complicated, but let's just try to break it down so it makes a bit more sense to tackle. I like to imagine the air pocket like a cave shape with stalactites and stalagmites forming from the top and bottom where it's actually just the bread pulling. I tried to imagine the cave shape that I drew out here and paint the inside of the cave, leaving some of those longer an uneven surfaces for the edges of the bread. Along the sides, I like to make smaller air pockets as well. And the key is to make the placement as natural as possible. So this means avoiding any repeated patterns for how the points come upwards and downwards. And I tried to make this be seeing and placement as uneven as possible. I'm just going to outline this so you have a better image of the rough shape that we're going to paint after this. Let's try to paint the base color for this area. First. I'm using the same color mixture as before still, and I'm just trying to get a flat shape of the k First. I work very slowly as we are trying to recreate the small details here. And you can also switch to a smaller brush if that makes it easier for you to avoid painting some of the strands. As a tip. Try to work with quite a dry load so you have much more control over the smaller areas. And I also try to make my strokes go vertically to help create those uneven lines for the top and the bottom edges. Here I'm just redefining certain areas on the sides using the same color. So I get a better visualization when address later on. And this way the strands will become more visible with a bit more contrast and value. Once I'm done, I'm going to leave it's dry first and move on to the other textures. Again, I'm just looking for different brown tones and placing them in random areas. This section is quite instinctive to paint and you don't actually have to use the exact mixtures that I have. Hopefully by switching the colors beforehand. They'll give you a better understanding of the tone of brown that I was looking for in certain areas. And if you feel like you can create similar tones of browns using different colors, you can go ahead and do that if it's easier for you. So this, like everything else, is open to interpretation and just find the level that you're comfortable with. Just be mindful that whenever I add a new layer for this specific area, I would most likely use a very thin consistency because I don't want the sudden pop of color which might look out of place. So I will be layering whenever I need to build on the vibrancy or a value of certain areas. Using the orangey brown mixture that I just made, I use the tip of my brush to tap lightly and create soft, uneven textures for the bread. Sometimes I like to crowd one area with a darker tone, which is what I'm trying to build on the top right here. And the rest I just tried to make the surface not flat. But again, I'm just using a very light mixture in order to get very subtle textures while the inside of the bread still looks nice and soft. So I keep on repeating the light tapping motion that I created before. And I like to paint it more lightly as I get towards the center and a bit darker most of the time towards the edges of the bread. I'm sorry if the colors are off the frame, but I basically added manganese blue to the current mixture, which is why the brown is a bit more muted now. And I just placed this, as I mentioned, towards the edges where the bread is more of a golden brown color from the outside crust. And the slightly muted brown will act a little bit like a slight transition for the shadows inside of those small air pockets. I understand that this may be but hard to see what I'm doing. But basically I use a damp brush to take the Access color off from those edges that I just painted. And I use whatever load was left on my brush, which is a very light consistency of that brown. And I just tap very lightly around those empty areas where it's still looking a bit flat. And this will create those uneven textures, but it's still very subtle that it doesn't pop right out and look out of place. If any of the textures that you've created pop out of place just like the previous one that I just painted at the bottom. You can always wait for it to slightly dry and then you use a damp brush and use the exact same technique as I did before, too soft in it and redistribute the color across those empty areas. You think i now the big air pocket at the top should be completely dry. But before I painted, I'm just going to show you what I am going to do with the color. Basically what I tried to recreate as the depth of the air pocket. So I'm basically going to layer on a darker color on the right-hand side. So it looks like a deep cave instead of a flat one. So you can see the transition from the left side, which is a bit closer to you. And the one on the right-hand side is getting deeper and you can see deeper into the air pocket for the color, I'm using a mixture of burnt sienna with mineral Violet. And though I want to create a deep and dark area here, I'm trying to still work on a light surface, which means that it doesn't take much for the color stand out. So I'm still working in a fairly light consistency here. I just paint on the area that I drew out and shader before while following the textures along the edges I initially created from the previous layer. And because this color is much darker in value, those fibers textures on the bread will be enhanced and become more visible. Along the edges of the curved line. I use a clean, damp brush to soften the edges. So now there's a transition from the left side to the right side of the air pocket. I feel like I can start to see the transition forming here, but I want to exaggerate it further. So I'm going to layer on a darker brown by adding more mineral violet with a touch of manganese blue to mute the brown further and use this to darken the right-hand side. I went a bit too overboard here by painting the top part. So I'm going to take that off by rolling up a piece of tissue and just forming it where I want the curve to be. I think I'm fairly happy with how I mapped out the textures here. So I'm just going to add on another layer to darken certain areas. Like here, I'm using the same dark brown mixture that I used before and adding it to the right-hand side. And I'm also going to add more of the orange brown around the edges of the bread. For this orange brown, I used a mixture of burnt sienna, lemon yellow, and also cadmium orange. Again, whenever you feel if the paint is a bit too dark or it's paddling a bit too much. You can either take it off with a dry brush or just dry it off with tissue. 8. Top Donut Crust: In this lesson, I'm going to be painting the crust on the top donut. And it's basically exactly the same, which is why I've rotated my palette again so I can have access to the previous colors that I've already mixed. So again, I started with a light consistency, lemon yellow for load with cadmium orange. And after that, I'm going to follow up with the first brown mixture, which is from vermilion, burnt sienna, and cadmium orange. And just like before, I used a very thick consistency to paint the bottom part. And then I'm going to follow that up with the darkest brown mix, which is from mineral Violet, burnt umber. If you feel like a mixture is looking a bit too burnt, you can also add vermilion into the dark brown mix. And because the top part is now dry after I've please the same mid-tone brown. I just use a clean, damp brush to soften the transition. Here comes the fun part of the painting. I basically just use the browns that I already have on my palette. And I use the tip of my brush and lightly facing the center of the bread to create uneven edges on the crust. Because no bread, no matter how well you can part, will have such a perfect edge like the one presented here. So I'm just using this method to create the imperfect textured edges. I'm also going to paint the left side. Now that I've left out. I'm not starting with lemon yellow here because I felt like that pi would be mostly covered. So I just started with the cadmium orange, followed with the mid-tone brown from burnt sienna, vermilion, and cadmium orange, followed with a dark brown from burnt umber mineral Violet and vermilion. And after that, I'm also going to create the uneven texture of the crust for that area as well. From here you'll probably notice that the top is looking a bit odd because usually some other color of the crust would peek through. So I'm going to follow this up by painting the outside of the top part with uneven texture as well. And I'm just going to use the same round mixture as before. Consistency and something close to a dry brush load. So the edges will be nice and sharp. In terms of the color, I just tried to match it with a brown status on the crest of the bread. So if the sides are light with aluminum yellow, sometimes I like to add a bit of lemon yellow to a mid-tone brown or with cadmium orange to make a lighter color. And if the sides are closer to the bottom or closer to the top, I would use the mid-tone brown and red at the bottom, I would use the dark brown or a mixture between the mid-tone brown and the dark brown. This is also fairly instinctive to do, but if you're using the mid-tone brown and the dark brown, it would be fairly sufficient. After this, I use the same color to add more textures within the bread, but still closer to the edges. Here I'm just using a thin consistency and to create somewhat of a transition. And to try to link both the crust and the inside of the bread together by using some of the colors that I've already used. So here again, I'm just using the same round mixtures and then consistency to paint some dots and additional textures. And because the loader, my brush was a bit too heavy, I ended up taking the excess paint off, using a dry brush to finish everything off. I ended up creating the uneven texture again and I tried to bring it more towards the inside. And this time I leave out a bit off the bread colors still. And I just feel like this makes it look more and perfect and natural this way. So I'm just going to do this all around the donut. 9. Additional Donut Textures: In this lesson, I'm going to add the final touches for the crust off the doughnut. I'm using a mixture of manganese blue with the mid-tone brown from a Musharraf burnt sienna for a million, and cadmium orange. I'm just going to use a very thin consistency for this to paint some of the faults that may form on the grass of the donor. When donuts are being fried, they are usually cooked on one side first, then flipped to fry the other side, which is why there's usually this light area in the middle where it's least submerged and the hot oil. And this would make that area more delicate instead of it being crusty like the rest of the donuts. So it tends to fall on itself a bit creating the slight fold, which is what I'm trying to create here. Because the area is very light and just like when we pin to the top donor, it's best to use a very light consistency of paint so the additional texture doesn't look too out of place. I'm also creating curvy lines and textures around the donut filling. For the middle donut. The fillings are usually piped end, so I think it's only natural for the doughnut itself to have a slight indentation from the piping tip. I'm also going to apply the same thing for the bottom donut as well, using the same color mixture. And also a little bit on the right-hand side of the top donor. 10. Chocolate: Base Colour: Here are the colors I'm going to be using for the chocolate. I have ivory black, mineral Violet, burnt umber. And for a million. In this lesson though, because we're only going to be painting the base color of the chocolate. I'm just going to use two colors which are burnt, umber, and Vermilion. So that's basically it. That's the only color mixture that we're going to be using. And I'm going to use this to paint all of the chocolate area and avoiding the highlighted area that I drew earlier. This part is very straightforward. We're just trying to basically paint a flat wash with this color mixture. You can also switch around to smaller brushes if you ever feel the need to have more control for small areas, especially close to the highlights. I'm using a medium to thick consistency for this with a very heavy load so I can move the paint around without it drying too fast in one area. If you would like to be a bit more adventurous, you can also customize the filling to jam custard or cream and the glaze for the bottom don't have to be a completely different color. Like pink with sprinkles or any other topic. But I'm going to keep this one simple and just paint that Lucy chocolate for all of the donuts. Once I'm done painting the filling of the first DO NOT, I'm going to be adding a bit of texture for the edges of the chocolate. At the moment, the chocolate looks completely separated from the bread. So I'm adding this bit of texture by using the tip of my brush and just tapping it very slightly around those edges to give it a software ready texture. So it looks like some of the chocolate are touching the bread and some are oozing out. The key to this is to make those edges as uneven as possible to give it more of a natural feeling. So some of the chocolate may even touch outside of fulfilling. So I like to do the same tapping motion outside of the area as well. But don't overdo it because we don't want this to look too messy. In mindful as you are painting this and that, you have a similar ratio between each of the doughnut filling or topping. For me, I ended up adding too much burnt umber in the mixture as they get towards the bottom, DO NOT, which is why the chocolate glaze end up looking a bit darker. But if you're following along to this, I would definitely suggest for you to get the color mixture close to the top, DO NOT filling because it's a really nice mid-tone where you can still add darker browns easily to give the chocolate, Please admit more depth and form. So from here I'm just going to finish off painting the base color of the final donor. Okay. 11. Chocolate: Shadows: In this lesson, I'm going to be painting the shadows for all of the chocolate, the filling, and also the glaze. And for this, I'm just going to use one color mixture from burnt umber I Reebok and mineral violet. I'm going to use a very thick consistency for this, since the base color itself is fairly dark already. So I want to make sure that this color is still visible when layered. For the top DO NOT. I'm starting out by painting the sides, including the textures around the sides for the chocolate filling. I'm going to leave the first one for now, and I'm going to move on to the middle one where I just tried to paint the edges again and trying to create a 3D form for these donuts. For the doughnut at the bottom, I'm first adding the shadow right at the top were the middle donut is sitting on top of the chocolate, so that area will be in shadow. And I'm also going to add shadows around the dripping to make the drips look a bit more succulent and puffy. Going back to the first donut, now I'm going to add a bit more shadow on Oozie part of the chocolate filling. And I'm just basically going to line some of the sides. As for the middle, I'm going to do a slight gradation where the right-hand side is darker than the color fades as it moves towards the center of the chocolate filling. So to do that, I first paint the area which are the darkest first. Then I'm just going to use a clean damp brush or even just a slightly lighter consistency and paint the left side. As for the chocolate drip, I'm just going to treat it the exact same way as I did for the bottom donut by painting around the edges and the bottom of the gel to give a fuller farm. If the center looks a bit too empty for you, you can also add additional details with the shadow color if you want to. 12. Chocolate: Highlights: In this lesson, I'm going to be painting the highlights for all of the chocolate. And it's very simple. We're only going to be using one color which is mineral Violet. And after this is going to be followed up with my white gel pen. But you can also use whitewash if that's more accessible for you. I'm going to be using a thin consistency of the mineral violet to start. So hopefully you can see how water either mixture is from my palette. And I'm just going to apply this all over the white areas of the chocolate that I've left. If you accidentally pick up some of the surrounding brown colors, that's okay if some of the lines and get a little bit blurred. But it is necessary to wait for the color of the chocolate itself to completely dry before painting the highlights. If not, the brown, will run too far and blend with the light consistency mineral Violet. Once I'm done painting the base color, I'm going to go back to the top gonad again, since that part will probably be completely dry by now. And I'm going to use the same color, but as you can see, I pick up a slightly thicker consistency than the previous layer. And I'm just going to be painting random squiggly lines on the highlighted area to act as a reflection from the surrounding environment which is fairly abstract and distorted. This is something that I somewhat made up, but you can also look at reference photos from Google images or Pinterest. Since sometimes it is much easier to get an idea of the placement for the highlights with reference photos, as I used for the base shape, for the highlight on the top donor. But I'll just try to make a few images and the resources section. So you can also take look at, in case you want to create something different than what I'm doing here. For the one in the middle, I felt like the shape was a bit weird, so I ended up adding some off a chocolate color from earlier, so the highlight doesn't look too chunky, but I ended up taking some of it because it kind of spread it out a bit too much. C, this is something that I kinda just experiment with. So you can do the same with your painting as well. On top of this, I also use my white gel pen. This as the Gelly Roll pen. And the ink itself is water-soluble. So I like to do this when there's only like tiny areas that I want to add white highlights two, and then I just soften the edges with a damp brush so I can get a sharper edge. As I mentioned earlier, you can also use whitewash. But specifically since I am only using this for a very small areas, I prefer to have the pen tip compared to using a brush because I have much more control for the edges though since the pen tapas fairly thick, it will be rounded, which is why I'm using my brush to soften the edges and I'm just treating it the same way as whitewash or any other water-soluble paint. I'd like to also apologize for the sudden drop of image quality and the past and coming lessons. It's rainy season here and suddenly became very dark, even though it was filmed at around 02:00 PM, you might even see flashes of light from the heat, lightning strikes from outside my window. Hopefully it's not too distracting. And hopefully this is something that I can also avoid for a feature classes. But back to the highlights, I just basically use this white pen to enhance smaller areas like painting thin lines and dots around the drips, as well as adding details to the edges of the larger highlights. 13. Halved Strawberry: Since we're fairly done with the donuts, I'm going to go over the colors or strawberries. Firstly, here, I have burnt umber, olive green, Hansa, yellow, Nuffield red, couldn't read. Mineral Violet and ivory black. I'm also going to use Prussian blue later on, but not in this lesson. So here I'm going to start out by wetting the surface. I'm only going to wet the flat surface of the half strawberry because we're just going to work in that section for the moment. I'm only going to what this until they are evenly damp all across. And I'm going to mix the first color which is from Quinn red, methyl red, and also hands yellow. And I'm going to use this in a very thin consistency just to line the outside of the half strawberry. I'm only doing this right at the edges. Since this What is just going to travel anyway. And after I'm done with this, I'm going to also paint the middle with the same color and consistency. At this point, because the surface is wet, the paint will just travel on its own wildly. So you can either use a dry brush to control the placement of the paint and where it travels or take the excess off with rolled-up tissue. After that, I'm going to mix the exact same polar mixture as before, but in a slightly thicker consistency. And I'm also going to use this to paint the center, but I made sure I left a bit of the previous layer and then I soften the transition. So you can see that the middle part is slightly darker than the outside. Since the previous layer isn't too wet, the surface should be dried by now or you have to wait for the paint to mostly dry. Then move on to this next step, which is drawing out the pattern with a thin consistency of the same color, which you're going to layer on around strawberry later on. I'm just painting this free handedly, but you can also use the reference that I have given you from the line-up because that's the pattern that I'm going for. It's very easy though to do it free handedly. I just basically create these separate almost triangular shapes, but the tip isn't too pointy. Maybe it's more like a trapezium shape, but a bit longer and I just make sure that each of those shape doesn't touch. So you have the white negative space of those fine lines in between. So here I'm just going to keep repeating the shape all around the strawberry. Once I'm done painting those mini trapezium, I'm going to use the same color with a slightly thicker consistency to paint the edges or the bottom of each of those shapes. While still leaving the negative shapes in between. And then after I've placed the rich red color, I'm going to soften the transition with a clean, damp brush for all of those sections to create the grid addition separately. So here my brush is clean and slightly damp. And I'm going to use this to soft and all of the reds and pull it towards the tip of each of those trapezium. And whenever my brush pick up too much pigment, I made sure to wipe the excess off with my tissue so my brush stays clean. For the next sheet. Here I'm going to make a creamy yellow green by mixing Hamza yellow, olive green with the orange red that I have on my palette. And I'm going to use a very thin consistency of this to paint all over the white area of the Haas strawberry. So it doesn't look completely white. But I do want this to be a very thin consistency, so the color is very soft and subtle. And I'm going to mix just the Hansa yellow and olive green without the red. And this at the top section of the strawberry near the leaves, while the surface is still slightly damp from the previous color. Moving on to the skin off the strawberry, I'm going to start off with a creamy yellow green to paint the top portion off the side. And I'm going to continue the color with novel read. And then in terms of application, I like to paint dots around the skin. So the negative space and between those dots act as highlights on the glossy skin. As I get towards the bottom, I made the dots slightly smaller than I continue painting the rest of the bottom area with just enough floret. Now to paint the shadow area, I'm going to make a dark red color close to a Burgundy or a Marone. And for this I use a mix of quinn red mineral violet and a bit of burnt sienna. And along the way I'm just going to swatch it on my scrap paper until I get the color that I'm looking for. Once I get the color that I'm looking for, I'm just going to apply this at the bottom portion of the strawberry skin and also along the edges very thinly. And to finish this drug off, I'm just going to layer on the first red mixture again from Methyl Red, Queen red, and a bit of hands-on yellow for the center of the strawberry again. And I'm just going to adjust the placement and by using a clean damp brush. 14. Full Strawberry: Let's move on to painting the whole summary. I'm going to start with just enough will read. And I'm going to map out the area of the highlights on the strawberry. Once I've indicated this section, I'm going to paint dots or ovals within the highlighted area, while also making sure that the sides are uneven. I'm leaving the top portion of the strawberry first. And I just paint the rest of the strawberry using the same color while leaving a bit of white negative space randomly. Then for the top portion, I'm going to use the yellow-green mixture from Hangzhou yellow and olive green. And I'm just using a light consistency and blending it together with the red that I already painted on the strawberry. Since the base color is now dry and a bit faded, I'm going to use a thicker consistency of methyl red to paint more ovals in, as well as increasing the vibrancy of the reds in certain areas. Next, I'm going to be using the same burgundy mix from before, and I'm just going to layer on the darker value on top of this methyl red. For the application, I'm just drawing ovals as before, and I'm layering this on top, so there are layers to the texture of the strawberry. And lastly, I'm going to build the value of the strawberry to paint the shadow area using the previous burgundy mix with added Quinn red, mineral Violet, and ivory black. 15. Strawberry Leaves & Details: Let's paint the leaves on the strawberries. Now, I'm going to start by using a green mixture from olive green and Hansa yellow. And I'm just going to apply this for all of the leaves as the base color. I'm going to continue by adding more olive green and the mixed to create a slightly darker green. Then I'm going to apply it to the bottom sections off the leaves at the back and some with folds. So this is where I introduce Prussian blue and my pellet. And this is to build a darker and richer green color to enhance the shadows. So I'm just going to add this Prussian blue to the green mix from the olive green and Hansa yellow. Here I took some of the reds that I have on my palette and mix it with my greens to create a warmer tone and complement the cooler green that I've placed so far. So here on my palette, I have a bit of permanent white wash. And I'm going to mix yellow with the white for the color of the seats. I'm just using the same brush size here, but you can also switch to a smaller brush if it's easier for you to paint the seeds. I'm also going to paint the seeds on the host drug-free. You'll see that the color and the form is a bit out of place, but we're just going to work on it after we've placed all of the seeds all around strawberry. Just be mindful that when you're placing the seeds to follow the curvature of the strawberry. And this will help you give a more three-dimensional form. And if you would like to learn more about how to paint strawberries, I also have an in-depth class on this subject. So you might want to check that out. I feel like the strawberry is looking a bit flat, so I'm going to add more shadows. I'm starting with a burgundy mix from the previous lesson. Then I'm going to apply this at the bottom of each of the seeds. For the bottom portion, I'm using the burgundy because that part is darker and in shadow. But as I get towards the top portion or the lighter portion of the strawberry, close to the highlights. I'm going to use the methyl red to paint the additional shadows. Even though I'm using the same color as the base. Because the layer before is now completely dry, the reds will still show through in a subtle way. Here I felt like the highlights or a bot to glaring white. So I end up using a clean, damp brush to pick up any of the surrounding color very lightly. And I'm using that excess paint to paint parts of the highlighted area so it's no longer to light. And I'm going to do the same with a burgundy color as well. And this will make the seeds a bit darker so it doesn't pop out as much as before. And I'm just basically going to be the axis quash off with a clean damp brush also if I feel the need to. And by now the leaf should be completely dry. So I'm going to layer on the details using the dark green, mix it with a Prussian blue to clean up the edges as well as paint some of the mid ribs on the leaves. And lastly, for this lesson, I'm going to add a bit of shadows on the donuts. I'm picking up the greens that I have left on my palette as well as some reds with added burnt sienna. And I'm just going to paint behind the leaves with this color and then softening the edges with a clean damp brush. 16. Splatters & Shadows: So here most of the elements of the doughnuts are pretty much done. I'm still going to add some icing sugar later on, but I feel like adding the splatters now, this is of course optional, but I always like including splatters to a lot of my food illustrations because I feel like it adds a bit more dynamic in the composition. For the spotters, I'm using a mixture of burnt sienna with cadmium orange. And I use a medium consistency and have a heavy load on my brush. Here I'm using my white gel pen to tap my brush to create and distribute the splatters. But you can also use any stick or another brush. I'm spreading it around the donut, but I'm not going to do too much at the moment because I feel like leaving a bit of space for me to do final adjustments towards the end. But if you're confident with your splatters, you can create as much as you would like to at this point. The splatters may also learned on areas where you don't want them to. So for me, if it lands on the highlights of the chocolate or the donuts themselves, I just use my tissue to take the paint off while the spiders are still very wet. I'm going to paint the shadows now and I'm starting by wetting the area where I want the paint to travel for the shape of the shadow. I want to create something more fun for the shadow. So I'm going to include a bunch of different colors just for added interests. I'm starting out with some mineral violet. Then I use the previous brown mixture from burnt sienna with cadmium orange. And I'm just using my brush to let them mingle with each other. I'm only using a thin consistency here because I don't want the paint to travel to the outside of the line quickly, but for the paint to distribute softly around the edges. For the shadow on the strawberry, I'm using the same method as before, but I'm using the red mix that I have left from my strawberries is Had a bit off Methyl Red, Queen red and a bit of mineral Violet and other colors. But it doesn't really matter too much to get the exact same mixtures because you are going to be adding a bunch of different colors. Anyway. You don't even have to follow the exact same colors that I'm using here, but tried to have fun while picking out some colors from the palette. Ideally, I just tried to use the colors which reflects the object. So for the donuts, I added has a yellow, the browns and also mineral Violet. While for the strawberries, I'm using more of the reddish mixtures that we previously used to paint. And I just tried to build the colors while at the same time softening the edges. And I basically want to keep most off the concentrated colors for the shadows at the center of that what, oval. After all that, I decided to add a bit more splatters as well as starting somewhat the splatters to make them slightly larger. 17. Icing Sugar Texture: Here I'm going to be painting the icing sugar. So for this I'm going to be using bleed proof white and also my white Jelly Roll pen. You can also use opaque white gouache, like titanium white, or even permanent white, I think is fairly sufficient. But you do have to add a few layers. But since I'm running out of my white gouache, I'm just going to use these instead for the application of the bleed proof white. I like to use an old brush that is fairly freed. This is just a small flat brush, but you can also use afraid round brush if that's what you have access to. I just want to make sure that the brush is fairly small like this one, but not overly small. Exercise 0, because it'll take you forever to paint on icing sugar if you want to paint the same amount that I'm doing here. The reason why I use both the brush and the pen is because with this brush, I am able to cover more space easily for parts of the painting. And then for the smaller areas, I have much more control with the pen. As an example, I like to use my pen to get cleaner edges and also use this to paint dots in areas where the icing sugar is a bit more sparse. So here I'm just going to keep switching between the two until I get a fairly good coverage, which is what I'm going to do all throughout the lesson. But I'll just include the process in case you want see the progression of the painting. Hello. Okay. Okay. For the doughnut right at the bottom, since this one is glazed with chocolate topping, you don't really have to add icing sugar, but in the next lesson, I ended up adding icing sugar to this one too, because I thought that it would probably get a bit of icing sugar dusting just for being placed underneath the two doughnuts. But of course, I'll leave this up to your interpretation. 18. Icing Sugar Shadows: At the moment you can see that the white of the icing sugar has flatten the painting significantly despite painting the form of the doughnut earlier in the class. So here I used a damp brush to pick up some of the base color and spread the colors around so the white will be slightly mixed with the brown to darken as slightly. And I use a mixture of burnt umber with mineral violet, which is the color mixture of the dark brown of the donut. And I use this to dot some areas or is covered by the icing just to break any large spots so it doesn't look too heavy. I'm also going to do the same thing for the donor in the middle, smudging the bottom icing first, then adding a lighter color mixture of burnt umber mineral violet. But this time with added vermilion, I'm just going to work on tiny sections and I'm going to keep going back and forth towards certain areas. So I don't accidentally overwork one area, but I'm just going to try to find balance throughout the painting. Here. I also added a bit of dusted IC sugar on the doughnut at the bottom as well, using the same technique as the previous lesson. But I tried to put less icing sugar on this doughnut. I only put a small portion here, and I also add more icing sugar and the parts where I feel the need to like for the middle donut. This is still part of the going back and forth. And of course this is fairly instinctive and open to interpretation. Sometimes I feel like the white off the pen might be a bit too strong. And when this happened, while the surface is still wet, I use my old brush and tap it lightly to distribute the white or if it has already settled. You can also adapt a new brush and do the same thing because this is water-soluble. After I have a fairly good distribution of the icing sugar on the doughnut at the bottom. I moved on to painting the shadows again. And this time I'm using a mixture of burnt sienna, cadmium, orange, and vermilion. And I'm going to use this color to break apart some of the heavy icing sugar for the top of the middle donut. I'm tapping the paint and random areas near the top, but I'm using a light to medium consistency. So you can still see a bit of the white of icing sugar using the same color. I also like to apply it in a different way by dotting it with the tip of my brush instead of doing light wash. And this way the paint is a bit more concentrated and darker. They feel like these smaller dots are much more depth to the placement on the sugar towards the top, since that area will be in shadow, I switch to the darker brown mix with burnt umber mineral, Violet, and vermilion. And I'm just applying it the exact same way. If parser a bit too dark and as losing too much of the white, sometimes I like to add more dots just to put a few dusting off IC sugar back. So that's pretty much all of the process. I'm just going to repeat this for the rest of the doughnut. Okay? Okay. 19. Final Overall Adjustments: In this final lesson, I'm just going to be doing the final adjustments. There are nothing new to this. All of the techniques and application are basically the same as the previous lessons. I'm just going to enhance certain shades and form. And final adjustments really depend on the individual of how your painting is looking at. Basically balancing everything out. So yours might be completely different to mine, but I'll just include this for you to see how I finish up my work. And I'll just write down the colors in case you're curious. But since these are additional layering for details, you don't have to be too strict with a color mixtures. Instead, I focused more on the value of the colors. Hello. During this week. Mr. Okay. 20. Closing and Class Project: Congratulations for communist fire and completing this class. I hope you guys enjoyed watching it as much as I enjoyed putting it together for the class project, I would love for you to follow along to this painting from start to finish. You can either use the liner or dryer on if you would like to. However, if you're feeling adventurous, you can also try to customize using the library or try to make your own composition completely and use the techniques that I mentioned here today for the painting. Once you're done with the painting, I would like to see it posted in the project section so you can share it with me as well as other students. I'm really excited for this one and I can't wait to see the customizations you put together if you decide to do so. If you guess into this class and you would like to see more tutorials by me. You can follow me on my YouTube channel neon Yani, or if you would like to see more artworks, you can also follow me on Instagram at AIG underscoring union. If you guys are still here, I would like to thank you for sticking right to the end of this class. I hope you guys enjoyed watching it. Happy painting and best of luck.