30 Days Oil Pastel Challenge: Learn to Paint 30 Delicious Cakes and Slices

1. Welcome and Introduction : Welcome to this class. On 30 days, oil pastel challen, learn to paint 13 delicious cakes. Before we begin, I would like to provide you with an idea about the class and how it is organized. This class is organized as a 30 day daily challen. That is, you have to paint a project each day. There are 30 projects plus five bonus projects. I don't want to show you the entire collection, I want to keep it as a surprise. But here are some of my favorite from the collection. We'll be using a variety of toppings and vibrant color to make our project look more delicious. Hi, my name is Vishal and aller instructor for this class. I'm an artist from India. This is my skills profile. These are my few classes on the skills. Here you can find my other work on the Instagraming you all the Verybst for the rest of the class. Thank you for taking this class. Happy painting. We will start the class with the basics of oil pistol, which I've divided into three parts. For the first part, we have basic oil pistol strokes, preiser and different angle. For the second part, we have color wheel color, blending, consistency, overlaying and gradient technique. For the third part, we have some basic techniques such as hatching, cross hatching, scratching, high light shadow, and few of the blending tools in the techniques that can be used. Then we will move on to the final project, which I have divided into ten part. Each part focuses on a specific element. For the first part, we have four projects merely focusing on simple shapes and techniques such as stipling, creating different texture, and avoiding common mistakes. For the part two, we have three projects. Here we'll be focusing on creating radian and smooth texture for the slices. One of the project in part two consists of quaraminon slices. We'll be using this as an example. For the third part, we have four project for this cakes, we'll be adding different varieties of berries and leaves. For all the demonstration videos, I'll be showing you many examples. For the fourth part, we have two projects for this, we'll be focusing on adding ice cream on the top. For the fifth part, we have three project for this. We'll be adding frosting on top of the slices, this ice cream cone and the cupcake is just for the example to show you that you can use the frosting for other things too. For the sixth part, we have three projects here. We'll be adding jams and chocolate for the cakes in the slices. Moving on to the seventh part. Here we have five project here, we'll be focusing on blueberry, blackberry, raspberry, and small flour. Now moving on to the eight part, here we have three project here. We'll be adding kev slices, palm granate, and pistachio, as well as another variety of flour. After that, we will move on to the ninth part. Here we'll be adding strawberry for the cake. Then for the tenth part, we will have five project. Here we'll be combining all the elements together and we'll be experiment with different shapes. This class is suitable for both beginners and the intermediate. You don't need much knowledge about the oil pistil to start this class. This class is beginners friendly. I've covered most of the basics of the oil pistel, the part y visions of the project, along with the introduction of the new element with a step by step guide, an example will simplify the process further. Also, all the projects in the videos are in real time, so you can always follow along with me seeing you all the variables. See you in the next video. Happy painting. 2. Class Project : For this class, the class project will be uploading any or all of the 35 or slices, or you can come up with your own unique composition. Also, I would encourage you to practice the basics and all the tutorials and the extra element from the videos at the beginning of each part. You can upload those two in your project section. This demonstration video at the beginning of each part will be very helpful and beneficial to you in your other projects and artworks. I would highly recommend you to do the practices with the demonstration videos. All the videos are in real time, so you can always join along with me throughout the class project. I have used different kinds of color paper. You can use whatever you have. You don't have to use the same colored paper that I am using. Please applaud the project so you can share whatever you have learned with me and the other student. Don't underestimate leaving a project. Your projects and reviews makes me really happy. I personally shares all your projects. Missing you all the very best. See you in the next video. 3. List of Supplies : For this class, you will need pencil eraser masking tape to secure the paper. Or you can use clips. If you're using a skits pad brush to remove oil pistol dust or eraser dust, oil pistol paper or any paper of more than 160 DSM will do the work. I'll be using both colored as well as white paper. Oil pistol, You can use oil pistol of any brand. I'll be using gallery oil pistol. This where the essential. Apart from these, you can use blending stem tip and tissue paper for blending purpose and colored pencil to add extra detail. This scratching tool, instead of this you can use toothpick or any pointed object. Here is a list of the items that we'll be using for this class. You can take this screen sort, see you in the next venue in which we will talk about the basics of the oil past still. 4. Oil Pastel Basics 1: Let's start with the basics of oil pastel. Oil pastel are a type of art medium that consists of pigment, a non drying oil, and a wax binder. These are similar to soft pastel but have a different composition, allowing them to be more versatile and less prone to dust and submerging. Some of the main features of the oil pastel includes vibrant and intense color. They are versatile and can be used on various surfaces. It can be easily blended together to create smooth transition between the color it allows for layering. There are various types of oil pastel available in the market, each with its own unique qualities. From student rate to artist's rate, you can find a range that suits your preference and budget. Today we are diving into the vibrant world of oil pastel, a versatile and expressive medium. But before we dive into the strokes and the technique, let's take a quick trip down the memory lane. Oil pastels were first introduced in the 1920 by Japanese artist. The vibrant districts quickly gain popularity for their unique qualities. Now let's talk about the characteristics of oil pastel. Unlike traditional dry pastel, oil pastel contain a non drying binder, usually a mixture of pigment, non drying oil, and a wax binder. This combination gives them a buttery consistency. You can clearly see how buttery the consistency is, you can easily draw with it on your hand. Now let's jump into the practice side. To start, let's slore some basic strokes. Whether you are a complete beginner or looking to refresh your skills, here are fundamental strokes. The fundamental strokes lay the groundwork for the more complex reason. Mastering the basic strokes is crucial. Feel the smoothness as you glide the pistol across the paper. Take your time to explore the texture you can achieve with the different strokes. Experiment with a different pressure to understand the variety of marks you can create. As you can see, by wearing the presser and the angle, a wide variety of strokes can be created. It's all about finding your rhythm and getting comfortable with the medium. Straight lines, curves, and circles. They might seem simple, but they form the building block of countless artworks. Experiment with a different pressure to understand the variety of marks you can create. Remember, all pistol are all about control. The amount of pressure you apply and the angle at which you hold the pistol can dramatically change the outcome. Now let's talk about the pressure. Understanding presser is the key. Whether you are creating a soft blend or bold line, it all comes down to the pressure you are exerting. Play around with it. See how the pistol responds to your touch. By applying more pressure, the lines are getting bolder. Now here's another example of different pressure, light pressure, medium pressure. This one is with the firm presser. Light presser, your gentle touch, creating soft gradient and subtle use were the pastel grace, feeling lights across the paper, leaving a delicate mark. This is perfect for creating ethereal background or blending. Let's talk about the firm preiser. Applying more preiser gives you a bold line, rich color, and powerful presence. Experiment is the key here. Try wearing your preiser as you go. Control goes hand in hand with the preiser. The angle at which you hold your pistol and the deliberate movement you make, determine the outcome of your strokes. Play with the angle, hold the pistol upright for precise lines, or lay it flat for broader strokes. Don't be afraid to explore and find what feels natural to you. Now let's put this into practice. Light press, medium pressure. By applying more pressure, the lines are getting older now let's put this into practice. I'm filling the inside of the sea with different pressures. Light pressure, medium pressure. And this one is with the fun pressure, rich color, and powerful presence. There you have it, pressure and controlled with the oil pistol. See you in the next video. 5. Oil Pastel Basics 2: Let's dive a little bit deeper into the world of oil pistol. Welcome to the oil pistils basis two. In this section, we will take a look at the color wheel. Color blending, mixing gradient, and overlaying with the oil pistol. Here's our color wheel. Let's start with the color theory. Color theory is the art and science of combining color in a way that is visually pleasing. Take a look at the color wheel, a fundamental tool for the artist. It's a spectrum of hues that guide us in creating harmonious color schemes. Now let's begin the theory into practice. We will start with the basic color blending using primary color. These are our red, yellow, and the blues, the building blocks of every color in the spectrum. For the color wheel, I'll be using firm preiser for the center of the color and decrease the intensity on both sides. Here goes our first color. Now let's add the other two color. I would like to recommend you to practice along with me so you can try out how your colors form the color wheel. Finally, adding the blue. Now adding the color on the adjacent side with decreased intensity. For this color wheel, you can try with different sights of red, blues, and yellow to see how different color reacts and form different type of color wheels. I have divided this wheel into three parts with center of each color with the firm pressure and decreasing the pressure on either sides. Adding the other two colors, the yellow and the blues. Right now, I am not mixing the color. Once I felt the color wheel, then I'll be mixing them to get a whole spectrum of the colors. Finally, adding the blue, some points to keep in mind, oil pistols have limitation in color mixing compared to other medium. As layering them does not always produce the same intensity as with the trodesional medium. The opacity of oil pistol can vary based on the brand and a specific color, impacting how they interact when overlaid on the other colors. Right now I'm mixing these colors by overlaying, or you can say, I am layering one on top of the other. Instead of creating this color will with light present, you can experiment with applying heavy presser and the result obtained will be a little bit to a whole lot different. I encourage you to experiment as much as you can with these. We are done with the three colors. Blend them together, and you will unlock a myrate of secondary colors. Now to get more ranges of color, I'm using Q tip to blend the colors of the color mix red and yellow, To get orange, blue and yellow for green, and red and blue for purple. This is where magic begins. Apart from blending the colors with the Q tip, you, you can create unique and interesting effects with the Q tips. The tips are excellent for achieving smooth transition between the colors, helping you to create gradient in your artwork. The pointed end of the Q tips allow for the pre season when blending, enabling you to work on specific detail in your oil pastel piece. The K tips are effective for softening edges between the different color, that's why I'm using it here. Instead of the skew tip, you can experiment with a tissue paper blending stemp or even your finger with these, we are done with the color with these three basic oil pastel colors. Now let's explore color mixing a little bit further with different color, overlaying sequence, and pressure. For the second one, I'm reversing the order of the color, starting with the yellow. Now adding the red, as you can see, both mix produces the orange color. Yet there is a different in their use. Here's another example. This time I'm using firm, starting with a yellow. Now adding the blue on the top, the green obtained is much more bold and vibrant as compared to the light preiser blends. Now let's see what happens by reversing the order. Achieving a precise color blend with the oil pastel can be a little bit tricky due to their soft consistency, which may result in unintended color mixes. Again, both green obtained are a little bit different. You can continue further with experimenting with the red and the blue. Now let's talk about the consistency of oil pistols in terms of oil pistol. Consistency refers to the uniformity and the evenness in the application and blending of the colors. As to sew you the different consistency of the oil pastel color, here are three circles with less to high consistency. To increase the consistency, apply more firm fraser so that the pigment will blend more smoothly and provide evenness and smooth texture. Now let's blend the colors. Blending consistency focuses on seeingless, merging color pigments. Achieving a uniform blend enhances the transition between the hues, creating a balanced and visually appealing result. As you can see, the consistency is also dependent on the preiser. The circle with the firm tracer is more consistent than the other two. Consistency in oil pastel art is a balance between intentional variation for artistic effect and maintaining uniformity for a polished and well executed result. Now let's talk about the color gradient. A color gradient in oil pistol refers to smooth and gradual transition of hues from one color to other. This blending technique involves seemless merging different color to create flowing, harmonious progress. For example, here I'm creating a gradient from yellow to purple. I'm not aiming for smooth blend here. If you prefer, you can blend the colors using Q Tip or any other blending tool here. Now I'm going in with a lighter variation of orange. Now let's add a lighter variation of red. If you prefer, you can blend the colors together to achieve a smooth gradient, like the one in the color wheel. Some of the tips that you can use while creating a gradient, aim for gradual, smooth shift between the colors. Build layers for seamless transitions. You can use stump Q tip or tissue paper to blend the colors. You can experiment with creating gradient with harmonious or contrasting colors. With these, we are done with a color gradient. Now here's another way to create gradient here. After every color, later on, I'll be adding white for a bit of transition from one color to the other. Some of the tips that can be useful while creating the gradient with the oil pistol, select the colors that blend well together and complement each other. For a seamless transition, use a study paper of more than 160 DSM that can withstand the blending process without tearing or parping. It is always advisable to apply the lighter color first and gradually layer the darker color on top. This helps in achieving a gradual transition, adjust the pressure on the oil pastel while applying light pressure for the softer color and heavier pressure for a bolder one. Overlap the lighter and darker color in a way that allows them to mix naturally in the middle, creating a smoother transition. You can also experiment with a cross hatching, where you apply strokes in different direction, creating a texture gradient effect. Q tips, blending stems, or even your finger, can be used as a tool to blend and soften the transition between the colors. If you want a more intense gradient layer the colors multiple times, blending between each layer. Now let's add white in the middle before applying the ingredient on your main artwork. Taste the blending technique on a scrap piece of paper to insure the desired effect. Explore the various blending techniques, such as stipling, circular motion, or back and forth strokes, to find the method that suits your artistic style. With these, we are done with our second gradient creation. You can experiment with other color to form your own gradient. Moving on to overlaying technique with the oil pistol. Overlaying oil pastel refers to the technique of layering one color over other to create depth, blend tones, or achieve a specific hue. Here we'll be mainly focusing on adding the color on top of the other, but not to blend it. I'm starting with a light shade of purple. Now adding a purple on top of it without blending it. As you can see, the purple is clearly visible. Here's another example, changing the order of the color. Now, adding the light purple on the top and it is not visible, you have to experiment with the colors to see which colors with which color. Here's another example. This time I'm going in with the pink and the lines are clearly visible with these. We are done with this section. See you in the next video. 6. Oil Pastel Basics 3: Welcome to the third and the final oil pastel basics. In this section, we will try some of the oil pastel basics techniques. Let's start with the hatching technique. A classic technique where parallel lines are drawn to create sating in depth. The closer the line, the darker the area, the farther apart the lighter. Vary the direction of your hatching lines to add interest and dimension to your artwork. This technique is fantastic for creating texture in different surfaces and objects. It's all about finding the right balance. Experiment with the density direction of your scratches to add complexity and visual interest. Now let's move on to cross hatching. Taking hatching up a notch, we have cross hatching here. We add a second state of line that intersect with the first. The result is a mess of line that weld up tones and texture. Cross hatching provides a more complex shading effect. The density and the angle of the lines play a crucial role in defining the light and the shadow in your artwork. It's a versatile technique that can add upon depth to any composition. I encourage you to experiment with the hatching and the cross hatching. Now let's move to the scratching technique. For this scratching technique demonstration, I'll be making a simple leaf. Here I'm starting with applying one layer of light green color for the leaf. The scratching technique in oil pistol art involved selectively removing or scratching away layer of applied oil pistol to reveal the underlying color or the paper surface. This technique adds texture, detail, and visual interest to the artwork. Now adding another layer of dark green on top of it. Artists typically use various tools to scratch into the layers of the pistol, creating lines, shapes, and intricate pattern. You can use toothpick or any pointed object. Now let's scratch the second layer to reveal the underneath color in the form of the veins of the leaf. Before scratching, have a clear idea of the design or pattern you want to create. Consider the area you want to reveal and the overall effect. Gently and selectively scratch away a portion of the oil pistol using your chosen tool, the precut to achieve different depth and texture. With these, we are done with a scratching technique. Now moving on to outlining for this, I'm drawing a simple red circular ball here. I've applied medium pres to draw the circle, now going in with a darker set of brown to outline it. This is the outlining. And to make it more smooth and uniform, I'll be going back with the red to blend the outline a little bit with the insider color, we'll be mainly using the outlining near the corner and edges of the cake slices, as well as for the fruits like the strawberries, blueberries, and the cherries, to make a contrasting effect between the colors. Now here I'm going back with the red to blend it with the brown a little bit to create a smoother transition in between the colors. Now let's move to adding highlight to add high light. Use any light color on one side using overlaying technique. With this white color to create high light, I generally used white, pale yellow, or sometimes salmon pink to create the highlights in the form of exclamation mark. You can experiment with other shapes for the highlights. Now let's add shadows. For shadows, you can use dark slate of any color. For this, I'm using gray. Adding the green on the opposite side of the high light for the shadows. Apply darker slates of oil pistol to area where the shadows naturally occur, concede the direction of the light sources. And layer progressively darker color to build up the shadows intensity. With these, we are done with the outlining, creating highlight, as well as adding shadows to make the outline a little bit more smooth. You can use the blending stem to smooth the edges, or if you prefer, you can use color pencil to do the outlining. Remember the key is to experiment, play with the colors, and let your creativity flow with this blending stump, We have made it more clear and precise. Now let's talk about blending using blending tools. For this, I'm starting with the blue to create four circles here. I'll be filling all the circles with the medium pressure. Then I'll be using different tools to blend the colors to a finer and smooth consistency. Blending colors in oil pistol art is a captivating process that adds depth and nuanced to your creation. Various blending tools can be employed to achieve different effect, enhancing the overall visual appeal of your artwork. For the first one, I'm using Q tip, Q tips, or cotton swaps of a precise control when blending a small area. This tool is great for creating detailed texture and subtle transitions. Now for the second one I'm using blending stem. Blending stems are cylindrical tools made of tightly rolled paper. They are excellent for achieving smooth gradient and soft transitions between the colors. Blending stems allow for controlled blending spacing in the area with the fine details. For the third one, I'm using tissue paper. Fold the tissue paper like this, or crumble the tissue paper. And use it to blend the color softly to create interesting texture. Tissue paper is a versatile blending tool that can be used for both broad strokes and detailed blending. Finger blending, the fourth and the final one, the warmth and sensitivity of your finger make them a natural blending tool. Use your fingertip to gently blend the colors together. Finger blending is ideal for large areas and lends a personal touch to your artwork. It's a direct and tactile method allowing you to feel the texture of the pistols. This finger blending came out a little bit monkey. Beyond blending, using your finger can create a unique blurring effect. Remember to clean your blending tools between colors to avoid unintentional color mixing. Each tool offers a distinctive texture and a level of control allowing you to tailor your blending technique to the specific needs of your artwork. Blending with oil pistol is an expressive and tactile process, inviting artists to explore a wide range of creative possibilities. Here's the example of creating blurring effect. For this, I'm using another color, applying the oil pistol in a specific area, then gently rub or tap your finger over it. This technique soften the edges and blurs the line, giving a dreaming painterly quality to your artwork. You can experiment with the amount of pressure and observe how it influences the label of blurring. With these, we are done with this section. See you in the next video. 7. Part 1: Welcome to the part one, day one to day four. For this, we have four paintings, Nisarquick and Simple. We'll be painting 123.4 simple slices of cakes using five to eight colors and mostly using stippling technique. Let's begin the part one with the basic shapes for the slices. We will start this part one with a few sketches for the slices in various perspective. The sketching slices is quite easy. Start with the triangular, safe for the top. You can make it long, sort thick or thin, then draw a rectangle for the sides. With these, we are done with a very simple sketch for the cake slice. Moving on to the second example. Start with a triangular s for the top, For the far side, make the triangle a little bit round. Now, for the side, sketch a rectangle with these, we are done with a second slice. For the purpose of sketching, I'm keeping the slices simple. Moving on to the third skeche. This one is lying on the side, starting with a rectangular se for the side, adding a bit of curve. It's our fourth example, the slice facing in other direction. In the part two, we will dive into more complex safes and perspective. For the part one, we are keeping it plain and simple. Since I'm sketching the slices slightly, the lines are a little bit translucent. Going over the lines to make the seat more clear and bold. Some of the point to keep in mind while sketching, use light pencil for the sketching. Start with the broad outlines. Step back to assess your sketch from a distance and identify the errors This I fail to do repeatedly. And then my sketches come out a little bit wonky or loop sided. Use press to remove razor dust to avoid smudging of lines. Use tissue paper under your palm to avoid smudging. With these, we are done with the four simple sketches. In our main project, we will make it more appealing. As you can see, the slices in the part one's project are simple. Only the one and the four half layer. The other two are very simple. For all the slices, I mostly use stripping technique with a little bit of variations. For this fourth one, I have created smooth texture and pattern on the top and used gray along with the white to create light and sado near the corner of the slice. As for the layers, I used stripping technique. Now let's close the stippling technique. First thing first, let's understand what stippling is. Stippling is a technique where you can create an image by applying individual dots closely together. These dots can vary in sight density and spacing, allowing you to achieve different effects in your artwork. Here's an example of a stippling with small dots by using a stippling with oil pistol. Well, stipling is a fantastic way to add texture, depth, and intricate detail to your oil pastel creation. It's a versatile technique that can be used for various subjects from landscapes to portraits. Stipling big dots by varying the distance between the dots, you will get different results. I have used big dots in the second project. By varying the distance between the dots, you will get different results. To control the density of your stippling, where they spacing between the dots. Closer dots create a denser look while spacing them out more gives a more open and fill Start to stipling by applying light pacer with the tip of your oil pistol. Experiment with the dot sizes, create some large and smaller dots. This dots will gradually build up the form of your image to control the density of your stipling where they spacing between the dots. Closer dots create a denser look while spacing them out more gives a more open and fill. Here's an example of a stipling technique that we'll be using in the project. For this we'll be using stipling along with the overlaying, starting with the first color with the oil pistol dots, a little bit apart. Going in with the pale yellow with the oil pistol dots closer to each other, overlaying it on top of the olive brown from the earlier. With this pale yellow, I'm creating small and close dots for the stippling overlaying the pale yellow on top of most of the olive dot from earlier. Finally going in with the white, overlaying the white on the top of both pale yellow and olive, as well as partially blending it with the rest of them, adding the white near the corner and the sides. With these, we are done with the first example of the stripling technique. Moving on to the second example. Let's start with a skeech for the whole slice. For this one I'm using different state of color. Now let's paint, starting with the brown for the stripling, creating big and small random dots. Now going in with the ocher, creating smaller and closer dots with the ocher and overlaying a little bit on top of the brown. Finally, going in with the oraneous yellow, partially overlaying and blending the orangeous yellow with the other two colors. As you can see, the brown dots from the earlier picking through the ocher, and the orangeus yellow appearing like chocolate chips. And the rough texture obtained with and partially overlaying for all the four projects from this part, one will be aiming for this kind of texture. For the layers, you can leave it as it is or continue with me to transform it into a delicious slice. Going in with a reset for the top, you can use other color like brown, red, or other dark, or even light color. I decided to add jam. You can keep it simple. We'll be taking a deeper dive into the jams and sauces in our later projects. Since I did not plan to add the jam earlier, it's hard to overlay the recite on top of the other colors. Adding the recite for the side and the adding the rest for the site, and the maze, extending the site a little bit. This is just a rough demonstration for our main project. We'll be doing the things properly. With these, we are done with a rough demonstration of stipling technique to create rough texture for the slice. As you can see, it became a little bit of tricker to do a proper overlaying on top of the stapling technique when it's fun with multiple layers. Finally, moving on to the last segment for the part one, avoiding and correcting common mistakes. If this happens, you can use eraser to lighten the intensity of the color and sometimes the eraser can completely remove the color. Light smudges can easily be erased by the eraser. Sometimes when we forget to clean the oil pistol after high light or color mixing, then the color get transferred to the other work. Always clean your oil pistol After every use, you can use cloth or tissue paper. While working on any project, the oil pistol gets transferred to the palm of your hand and that leads to smudging. Use tissue paper below your palm to avoid this. The slight smudges can easily be erased. The slight smudges can be erased to some extent with the eraser. Sometimes you can use oil pistl itself to cover the smudges and the mistakes by covering it on top of the mistake or smudge. Sometimes when you're not using lending stem or color pencil, the outline becomes a little bit dull. You can use eraser, you can use eraser around the outline to make it more precise. And sar, always use brush to remove the oil pastel dust to avoid smudging with these, we are done with the part one. See you in the next video with our first project. 8. Simple Slice - Day 1: Starting our first project. Simple orange and yellow slice. Starting with the basic pencil is key for the site of the slice. Art is not just about creating beautiful images, it's about problem solving and pussing the boundaries of our creativity. As we embark on the 30 day challenge, I encourage you to embrace the creative process and be open to experimentation. Don't be afraid to make mistakes. They often lead to unexpected discoveries and breakthroughs in your artwork. Before we begin, I want to take a moment to talk about inspiration. Inspiration can come from anywhere, a beautiful sunset, a favorite childhood memory, or even a simple slice of cake. As artists, it's essential to stay open to the world around us and the inspiration. In everyday moments, sometimes the most ordinary things can spark the most extraordinary ideas. I encourage you to keep your eyes open and embrace the beauty and the wonder of the world around you. Let's channel this inspiration into our artwork and create something truly magical and delicious. Oil pistol painting has a rich history and diverse range of influence, from the vibrant landscapes of Edgar Degas to bold expressive work of Mar Chargal. Artists throughout the history have embraced the unique qualities of oil pistol. By studying the master and understanding different artistic movement, we can gain valuable insight and inspiration for our own creence. Now let's paint, starting with the orange, going over the pencil outline, and adding a little bit of orange for the inside. Doing the same for the other side, that is going over the pencil outline and adding a little bit of orange for the inside of the slice. Now adding a little bit of color for the inside of the outline, mainly focusing on the edges and the outline art is not just about creating beautiful images, it's about problem solving and pushing the boundaries of our creativity. As we embark on this 30 day challenge, I want to encourage you to embrace the creative process fully. Don't be afraid to experiment with different techniques, color and composition. Now continuing forward with the golden yellow, filling the entire top in the site with this golden yellow, overlaying it on top of the oren. And blending it to obtain a gradient from orange to golden yellow. Gradually moving upward with the golden yellow, applying a thick layer of golden yellow to obtain uniform consistency. Applying form pressure with the golden yellow to blend it with the orange. Now moving onto the other side with the golden yellow, doing the same, that is applying a thick layer of golden yellow. Gradually moving upward with the golden yellow. Applying form pressure with the golden yellow. To blend it with the orange, I'm using a thick layer of golden yellow to achieve glossy effect with the oil pistol. This thick layer will also blend perfectly with the orange. With these, we're done with the golden yellow phone now. Now going back with the orange to redefine the edge of the slice, we have to go back and forth on multiple times with the oil pistol, depending upon how visible the colors are or if you are satisfied or not with the label of the contrast gradient and the stating of the whole painting. Going back with the golden yellow to subdue the orange a little bit. If you're satisfied with your result, you don't need to go over the colors removing the oil pastel dust. Avoid using your hand to remove the dust, because it may lead to smudging of the colors. Now moving on to the layers of the slice. For the first layer, I'm starting with the Cer, creating random small shapes, with the Cer defining the outline a little bit with the ocher. With these, we are done with the ocher adding a little bit of more occer. Here I have applied firm pressure with the ocher. You can experiment with medium and low pressure. Also going in with the salmon adding the salmon beside the ocher. With this occur and salmon I am trying to bring forth a green texture for the layer. With these, we are done with the salmon finally going in with the pale yellow, filling the entire layer with the pale yellow. Adding the pale yellow addition to the other two colors. Instead of the pale yellow, you can experiment with other light colors like white or pink, or even light grey or grey. Covering the other two colors. Parsley, with this pale yellow, adding a little bit of more. If you want more textured slice for the K, you can apply another thick layer of the color on top of it. Moving on to the other layer, doing the same, starting with the Cer, creating random sees with the ocher defining the outline a little bit. With the Cer going in with the salmon adding the salmon beside the acer. Remember, there are no right or wrong answer in the art. Only endless possibilities waiting to be explored. Let's dive in with an open mind and a willingness to embrace the journey ahead. Together we will uncover new insight, hone our skill and create something truly remarkable and delicious layer, thin to thick apply thin layer of oil pistol first and gradually add thicker layer as you blend. One thing I forgot to mention as I'll be using different colored paper, it is not important for you to use the same colored paper. You can use the white or any other colored paper if you have. You can also experiment with black oil pistol paper and that will make your painting more bold and vibrant. With these, we are done with the peel, yellow ocher and salmon for the upper and the lower layer of the slice. Now moving onto the middle layer, starting with the orange, creating small dots with the orange. Using a stippling technique, I'm using this orange for the middle layer. As I use the orange for the upper layer, you are welcome to experiment with other color like brown, red, or even purple. With these, we are done with the orange. Now going in with the golden yellow, filling the entire layer with this golden yellow over laying this golden yellow on top of the orange and parsley blending it. Let's be mindful not to completely cover up the textured surface we have carefully created on our cake slides. As we apply this golden yellow oil pastel using the stripling technique, our goal is to maintain the rough texture underneath by stippling lightly and leaving some areas uncovered. We allow the orange dot from our previous layer to subtly. So through this intentional layering creates a sense of depth and dimension, adding visible interest to the middle layer of our simple oil pastel cake slides. It's all about balancing the smoothness of the golden yellow with the texture of the underlying orange, resulting in a more dynamic and lifelike representation of our delicious cake. Now going back with the pale yellow to blend it with the middle ear a little bit. With these, we are done with the basic coloring, removing the oil pistol dust. Now let's add the Sadows for the simple slice. For this, I'm starting with the acer and then I'll be using pale yellow. I'm using two colors for the sadows to show two reasons of the Sadows. One is darkened and the other one is lighter tiger transition from a dark shadow to light Sado. Now adding the pale yellow. Now using my finger to blend the two colors for the sadows. This is a simple and effective method for smooth transition. Use the pads of your finger to gently rub and smrge the colors together. Also blending the pale yellow to the paper by gradually decreasing the intensity of my finger. Some of the tips that you can use for you all pistol artwork, opt for textured surface water color paper or sanded paper as they hold pigment better and allow smoother blending for layering of the color. Start with the light values, begin with the lighter colors, and gradually build a darker state. This gives you more control and prevents over blending. Now I'd like to open the floor to any question you may have, whether it's about the technique we have covered today. Tips for choosing color or anything else related to oil pistol painting. I'm here to help, don't say, feel free to ask away in the discussion section. With these, we are done with our first project. 9. Red and Brown Slices - Day 2: Starting with the basic pencil skitch for the two slices. For this project, we'll be using only five color black, scarlet, brown, orange, and russet. This project is a simple one. The top will be of scarlet and brown. With these, we're done with the basic sketch for the first slice. Moving to sketching the second slice. I'm using colored pencil to draw the Ka as the outline with the normal pencil was not that clear. Apply light pressure with the pencil scag so that it will be easier to remove the color. This time, I am not erasing the sketch as I'll be using darker colors. And it will cover the pencil sketch. If you ever forget to lighten erase the pencil mark, you can do the same. But it only works when you are using darker states of color. It will not work when you are using lighter state of the color. Adding details for the top, with these done with the skitch. Now let's paint. This time I am not erasing the sketch, starting with the black for the first slice. The region why I am using black on top of the black paper is if I only use a single color with this scarlet for this cake, then there will be no contrast in color until I use another color along with the scarlet for the top. For why I am using black instead of any other darker color for contrast, like brown or russet is because the black of the paper will make the black on the paper invisible. But when scarlet or orange will be added on top of it, the contrast can be easily seen, resulting in creating regions of light and dark for the top of the layer. With this, we are almost done with the black. As you can see, the black is not that much visible. Now going in with a scarlet, adding a thick layer of scarlet for the entire top and the side lying heavy pressure with a scarlet to overlay it on top of the black. Instead of the scarlet, you can use any other color, and you don't need to use the same black crystal paper. You can use any other color paper, whatever you prefer. Now you can see the reason why I used black earlier and how it can be seen. Now adding the scarlet for the other side, here for this other side, you can also use different color if you prefer adding a little bit of Morris Scarlet to increase the intensity and consistency of the color. If you prefer, you can apply firms to get a smoother and gloss effect for this layer. With these, we are done with the scarlet. Now continuing forward with the brown, creating big and small random dots with the brown on top of this brown, I'll be adding the orange. Now let's talk about the importance of experimentation in our artistic journey. As artist, it is essential not only to master the technique, but also to explore new possibilities. To add more contrast, I decided to add a little bit of black for the center of the brown dots. Experimentations allow us to break free from our comfort, Jones, try new things and discover what truly inspires us. It's about embracing curiosity, embracing failure, and embracing the unknown. With these, we're done with the brown and the black for the dots. Now going in with the orange, completely filling the entire cake with this orange, completely filling the entire cake with this Oran. Using a stippling technique. Partially covering and blending the Oran with the brown dot and the black gradually moving towards the right. With the orange, we are using medium pressure with the orange so as to obtain green like texture. Let's embrace experimentation, embrace curiosity, and embrace the joy of creating something truly original and unexpected together. Let's push the boundaries of our creativity and unlock our full artistic potential. Partially covering and blending the orange with the brown and the black. We are using medium pressure with the orange so as to obtain green, like non uniform texture for the slice. This technique will enhance the contrast and bring out the highlights, creating a more vibrant and realistic appearance. As we gently layer the golden yellow over the dots allow some of the darker colors to peek through, adding complexity and dimension to our artwork. This subtle interplay of color will evoke the delicious richness of our cakes lies, making it even more enticing to the eye. With these, we are done with our first slice. Moving on to the second slice, like the first one, starting with the black for the top and the side. By the end of the second project, we will have created a masterpiece filled with vibrant color, rich texture, and captivating layers. Let's dive in and explore the endless possibility of overlaying colors in our oil pastel paintings. Now for the top of the second slice, I'm using combination of brown along with the rest, Adding the brown for 50 to 70% of the top and the side. Let's talk about the 30 Day Challenge a little bit more. The oil pastel 30 Day Challenge is not just about creating beautiful artwork. It's about pushing ourself, exploring new technique, and nurturing our creativity over the course of 30 days. Each day, we will embark on a new painting project focusing on different subject styles and compositions. But the 30 day challenge is about more than just completing a series of painting. It's about growth, progress, and personal discovery. With these, we are done with the brown for the top. Now going in with the reset, filling the rest of the top with the reset, partially blending it with the brown and the black. Over the next month, you will have the opportunity to develop your skills, refine your technique, and unlock your artistic potential. Whether you are a seasoned artist or just a starting out, this challenge is designed to meet you where you are and help you take your oil pastel painting to the next level. Each painting project is carefully crafted to introduce new concept, technique, and challenge, building upon what you have learned. With these, we are done with the top for the second slice, now moving on to the rest of the slice, repeating the same, starting with the random small and big brown dots. Now going in with the black, adding the black at the center of the brown dots. You are not in this alone. You are a part of supportive and inspiring skillshare, community of fellow artists all embarking on this journey together. Say your progress in the project section. Ask question, cheer each other on as we work toward our shared goal and completing the challenge. Finally, going in with the orange completely filling the rest of the slice with this orange partially covering and blending the orange along with the brown and the black, gradually moving towards the right with this orange. The second project is fairly simple one, you can use it as the piece for the other slices and you can add other elements or topping as you prefer. A stripling with oil pistol can create beautiful and nuanced blends adding depth and texture to your artwork. In case of stripling, sometimes you have to hold pistol lightly, almost reaching the paper with the sight or the tip. When you apply light presser, it has to deposit to smaller and more controlled dots. But in this case we are applying firm preiser with the oil pistol. For this stripling technique, overlaying colors on top of each other in our oil pastel painting. This method allow us to create depth, richness and complexity in our artwork. As layers of the color interact and blend together to produce stunning visual effect. Pay attention to how hues interact. Perhaps they create new sets and tone where they overlap. Or they blend seamlessly to create a smooth gradient effect. Don't be afraid to experiment with a different layering technique. Defining the straight edge of the slice and adding wherever required. And with these, we're done with the basic coloring for the slice. Now going in with the pale yellow to add highlight. Moving on to the second slice. With these, we are done with the high light, blending the high light a little bit with a brown and scarlet. With these, we are done with our second project. If you prefer, you can add Bs or Sados. 10. Three Cheesecakes - Day 3: Starting our third project, three jumble cheesecakes. Starting with a pencils cake for the first slice. The other two slices will be behind this. This third project is also a simple one. For this, we'll be using five to six color, golden yellow, and set for the top, and olive peel yellow along with the white for the side. In today's class project, we are going to focus on something a little bit different, mindfulness and relaxation through art making. Art has a unique ability to transport us to a state of calm and tranquility, allowing us to escape the stress of daily life and reconnect with ourself on a deeper level. As we dive into our oil pastel painting today, I want to encourage you to embrace the process fully. Take a moment to center yourself, et go of any destruction and immerse yourself in the present moment. Allow the act of painting to become a form of meditation where your mind can find peace and clarity. Focus on the sensory experience of creating art, the feel of the pastels, gliding across the paper, the rich pigment blending together, the subtle variation in texture and tone. Let each oil pastel stroke, be a gentle reminder to breathe to be present, and savor the beauty of the moment. And with these sat with the pencil sketching, I'm leaving the pencil mark as it is. I'm not erasing the pencil mark as I'll be covering it with a thick layer of colors. Starting with the pale yellow for the side, going over the pencil outlined with the pale ellow for the three slices. As you paint, pay attention to how your body feels, the tension minuting away from your soldier, the rhythmic flow of your breath, the calmness setting into your mind, allow yourself to be fully present in the act of creation, letting go of any expectation or judgment. Remember, there is no, no praise, just you, your pistol, and the paper. Take your time, explore different color and technique, and let your intuition guide you. Trust the process, and trust in yourself. By the end of this class project, my hope is that you will not only have a beautiful piece of artwork to admire, but also a sense of near peace. So let's embrace this opportunity to unwind and reconnect with ourself and find the joy and simple act of creating art. Now going in with the live for the inside. Creating small random dot for the sit with this olive color. This olive color, along with a pale yellow, will provide green like f texture for the slices. Moving onto the second slice with the olive. For this first part of the project, I'll be money focusing on this sipling technique. Some of the point that you can keep in mind while using this stipling technique. That is there are different type of stipling that you can use like random stipling. In case of random stipling, we create a natural blended defect by placing dots randomly in close proximity, and to add the texture, vary the preser and the side of the dot. Then there is directional stippling. In case of directional stripling, we apply.in a specific direction like rose or circle to create a sense of movement or texture. This can be helpful for rendering f, glass, or fabric. With these, we are done with the olive. Now going in with the pale yellow, surrounding the olive, creating random large stripes with the pale yellow. Doing the same for the second slice. That is, creating random large stripes with the pale yellow, surrounding the olive. Finally, moving on to the third and the final one, repeating the same thing with creating random large stripes with the pale yellow. With these we had done with the pale yellow for going over the outline. Now going in with the white as the final color for the side. Using white to partially blend the olive and the pale yellow, creating large strokes with the white to blend it with the other two colors. I use this color combination of white olive and pale yellow to get somewhat pale green color for the slice. Moving on to the second slice. You should complete the first one and then move to the second one. As I decided to use live and pale yellow for the base, then gave up on that idea to keep this project simple. Back where I used to live, they used to sell pistachio flavor cake like this, and it looks something like this. I decided to use this color combination along with the yellow for the top. Then there is overlaying stippling. We add dots of different color on top of each other to achieve richer and complex blend. Starting with the lighter dot and gradually adding darker one to build a depth. You can also blend the sipling with your finger or any tool. That is after stippling, you can gently blend the dots with your finger tip or blending stem for a smoother effect. In case of this project, it is easier instead of trying to blend the entire area at once, focus on a smaller section, allowing you to control the transition and prevent overworking. Stipling work pace with the colors that create interesting contrast. Experiment with a complimentary color for vibrant plants. You can use different color for the slices. Don't be afraid to experiment and find what work best for you. The more you practice stippling, the more confident and comfortable, you will become in creating seamless plant. Here, to add more depth, you can add a little bit of cer near the edge to create lighter and darker regions. I'm not using the other color so as to keep the project simple. Carefully, filling the color near the edge. Completing the first slice that I started in the beginning. Here too, you can add some darker sets to create a little bit of darker regions near the bottom. Finally, moving on to the third and the final slice, repeating the same. Using large white stoke to parsley blend the olive and the pale yellow and filling the rest of the site while maintaining the texture for the slice. Here too, if you have added darker sets for the other two slices, then you can add some darker sets near the other two slices. With this, we are almost done with the white at the white wherever required, darken the outline, fill the lighter regions till you are satisfied. With this, we are done with the white for the sides, now moving onto the top with the white. Flying low pressure to fill the top of the three slices with the white. I'm using white as the primary layer, so as the other color on the top of it will not be subdued by the blue of the paper. If you are using white paper or any other light colored paper, then there is no use to use the white. Instead of this white as the primary color, you can also use pale yellow, light grey, or any other lighter side of oil pastel. You can experiment with other lighter sides for the other two slices, or you can use completely different states of color on top of the three slices. Finally, using the white foot, the last slice. If you prefer smooth texture, you can apply heavy placer and then use overlaying technique for the tops. Adding a little bit more white to increase the intensity wherever required. Now let's paint the tops. For all the three tops of the slices, I'll be using the same color, golden yellow, and the rest. Starting with the rest for the first slice, adding random strokes of rest on the top of the white spasly near the edges in the outline. Now moving on to the second slice. I'm using this reset along with the golden yellow as the reset will provide the darker set for the top when it will be partially covered with a golden yellow, and I'll be leaving 20 to 30% of the reset to be seen below the golden yellow. Finally, adding the rest for the th, repeating the same. Now going in with the golden yellow. Adding this golden yellow on top of the rest and the white, partially covering the rest with a golden yellow. Here, I'm applying medium to high pset to blend the golden yellow with the rest. For some places, I am partially blending for other places. I'm overlaying the golden yellow on top of the rest. Add the golden yellow, the way you prefer till you achieve your desired effect. Carefully adding it near the top and the edges, as well as redefining the shape a little bit. And with these, we are done with the second slice. Moving onto the first slice with a golden yellow, doing the same, that is partially covering the rest with the golden yellow. Like I suggested earlier, you are more than welcome to experiment with other colors combination. Instead of this golden yellow, feel free to use any other color. Also, you can use different color for the different slices. You can vary the placer, and instead of the rough texture, you can aim for smoother texture and uniform consistency. Enjoy the process. Finally, moving on to the last slice, partially covering the set with the golden yellow. Here's a small for what we have learned so far. Choose the right paper for your oil pastel, preferably oil pastel paper. For the sketch, sk slightly, starting with outlining the basic ses. As for the color, start with the base layer, se broad strokes to fill the larger areas. For layering, layer gradually, start with the light colors. As for blending, instead of overlaying and partial blending, you can use tools you can use tools like blending stem, clothe, tissue paper, or your fingers. To add more depth, play with the high light in the shadows using lighter and darker sides of the oil pistol. Now moving back to the project. With these, we add with the golden yellow for the three slices. Going back with the olive and the white to define the edges of the second slice. Adding the white wherever required. Using the white to blend the golden yellow of the top to the side a little bit. With these, we are done with our three slices. Now going in with the gray for the base. Adding the grass beside the base of the first and the second slice. Continuing with the gray. Few more points I'd like to suggest. For clean edges, you can redefine the outline a bit, or you can use pencil color or a scrapping tool to clean the edges. Once finished, consider using a fixative spray to prevent sing and preserving your painting back to the gray, adding it carefully near the edges. You can blend the grave if you prefer. And with these, we are done with our third project. 11. Twin cake slices with jam - Day 4: Setting our fourth project, four simple slices. As the name suggests, there are four slices for this project, starting with a sketching for the first slice. This is somewhat lengthy as compared to the other three project. But for this two, I'll be using only five to six color to keep it simple. This will be three layer slices with plet and olive down jam stripes on the top. For the top and the bottom layer, I'll be using olive brown along with the orange is yellow, and for the middle layer, I'll be using combination of violet, along with the light purple. We'll be trying to achieve course or rough texture for the sites with partial overlaying and blending using a stippling technique. While for the top, we'll be using thick and uniform consistency of the white along with the green to achieve smooth texture and find consistency. And on top of that, we'll be applying thick layer of uniform violet and olive for the Jam. Sketching the guideline for the third slice. Since this is a lengthy project, the many steps will be repetitive. I'll be only giving the instruction for the first two slices as the other two follow the same steps. While sketching, keep in mind a dull pencil create scratchy lines and hinders control. Keep your pencil well spent and clean. Also, avoid pressing to heart with your pencil, especially when starting out, light lines can be easily erased and adjusted while heavy lines are hard to fix. Start with the basic saves, break down the complex composition into simple saves like sphere, cups, and cylindrical. This makes them easier to understand and draw accurately. Finally, sketching the guideline for the fourth slides. Before you start drawing, take time to really observe your subject. Notice the same proportion, line, texture and value. First, I tried to skate the four slices in the form of pyramid. Then I decided to go with the normal slice laying on the side. If you prefer, you can come up with your own unique orientation for the slice. Since I applied light pressure with the pencil, it is easily irresv. Removing that dust. Making a little bit more adjustment for the third and the fourth slice. If you're not that much certain, use light faint lines to sketch the guideline and proportion before committing to detailed work. Instead of focusing on the slice itself, try drawing a space around it. This can help with the accuracy and perspective. If you prefer, you can use photograph as inspiration and to study proportion and details for the slices. However, try not to rely on neon copying and stripe to add your own interpretation. Don't be afraid to make mistakes. Making mistake is a part of learning process. Embrace them as the opportunities to improve and don't let them discourage you. Once again, I'm not satisfied with the escage, especially with the perspective and orientation. Easing some sections of the skate to correct it. Some of the point you can keep in mind for more accurate perspective. First, stabilize a horizon line. Horizon line is a line, which represent the viewer's eye level. Everything above the horizon line is see from the below, and everything below it is seen from the above. Second, use one or more icing point. Vicing points are the point at which receding parallel lines viewed in the perspective appears to converge or disappear. Use one or more icing point on the horizon line where parallel lines converge. This helps in creating depth to your painting. With these we return with the basic sap for the slices, moving on to adding the layers. Continuing forward with more perspective points for two point perspective, use two sin point on the same hoygon line. In case of three point perspective, add a third necing point above or below above or below the horizon line, four dramatic angles. For a scale in proportion, keep in mind, object closer to the viewer, appear larger, while those farther away appear smaller. Try to keep the sizes consistent with the distance. In perspective, overlaying and layering creates a sense of depth. Object in front, should partially cover those behind them. Then there is four shortening, that is drawing object or part of the object closer to the viewer as large to so depth. These we some of the point that will help in creating better perspective in your drawing. Adding the middle layer for the all the slices. The middle layer is optional. Also, if you prefer, you can add more than one layer. Moving on to adding middle layer for the rest of the slices. Finally, adding the layer for the final slice. With these, we are done with a basic ski for our fourth project. Now let's pain. Starting with the gray, G over the pencil outline of the tops of the slices and for the sides. Instead of the dark gray, you can use lighter gray or even completely different color. Continuing with the gray, to go over the outlines, adding a little bit of gray near the curve son. Here I'm applying medium pressure with the gray. Continuing with the gray to go over the outlines. Moving on to the third slice with the gray, repeating the same, going over the outline with the gray and applying medium pressure with the gray. Finally, moving on to the fourth and the last one. Adding a little bit of gray streak on the top, with these, we had done with the gree for the outlining. Now going in with the white for the inside and the sights of all four slices. Since this artwork has four slices. Applying heavy pressure with the white to achieve a uniform and smooth consistency and blending the white with the grey of the outline and near the curve portion of the tops. To avoid colors merging, I'm using tissue paper to place my palm. Gradually, moving upward with the white, applying heavy pressure with the white to achieve smooth and uniform consistency, as well as to blend it with the gray from the earlier. Going over once again with the white. Moving on to the other slice with the white, doing the same. Here are some of the tips for blending the colors using oil pistol by overlaying one on top of the other. Begin with lighter side as your base layer, this allow you to build up gradually darker tones and prevent muddy colors. But in our case, we are starting with darker color. As this darker color will act as the outline for the top and the rest of the slice. Apart from this, vary the ps, apply lighter presser for softer blend and heavier passer for the sarper transitions. In our case, we'll be applying heavy presser with the white to blend it with a gray as we want to achieve smoother consistency. Overlap color slightly, leaving some of the previous layer picking through for added depth and texture. If you prefer you can use blending tools to blend this color, you can use your finger, tissue paper, tip, or blending step. Moving on to the two slices in the front with the white. Gradually filling the white for the entire top while blending it with the gray. By mistake, if you have added a little bit of more gray or darker color, then you can use lifting technique. Use the needed eraser to lift some of the top color and expose the color underneath subtle variation with the blend. Also keep in mind, instead of trying to blend a large area at once, focus on a smaller son to maintain control and prevent mudding. Blending with the oil pastel can be a messy and fun process, embrace the experimentation, and let your creativity guide you. Adding the white for the side. Go over once again with a white. Finally, moving onto the last slice with the white, starting with the side. Doing the same, applying heavy pressure with the white, to blend it with the gray. Instead of this white for the top, you can use different colors for the top. I'm using white for all the slices to keep the number of colors. Feel free to experiment with the different colors. Moving onto the top with the white. Gradually filling the entire top with the white with a uniform and thick consistency. Go over the outline with the white, now filling the rest of the top with the white. And with these, we are done with the white phone now. Removing the oil past dust. Going back with the grave once again to define the edges of the slices, we may have to go back and forth a few more times till we achieve the desired effect. Here I'm using g to make the edges of the slice and the whole shape of the tops of the a bit more bold and crisp. As the white has subdued the grave outlines from earlier, adding the grave for the last slice. Now, once again, going back with the white to blend the gray of the edges are a little wet. As I said earlier, we may have to go back and forth a few more times. This time, I'm using the white to blend the sarper edges of the gray that lies inside the top of the slice. Clean the oil past does to avoid smudging. With these we are done with the tops for now, now let's color the layer. Starting with the le brown, creating random dots with the brown for the first and the third layer. You can experiment with the sap in the side. Here, I am creating small dots. You can create medium, larger, or even very small dots. Adding the olb brown for the other slices. Along with this lip brown, I'll be using ornges yellow, I'll be using a stippling technique to partially overlay the orneus yellow on top of the lip brown. With these, we are about to be done with the first and the second. Now moving on to the third one. Adding the olpe brown for the final slice. Adding some more olive brown wherever required. And with these, we had done with the olive brown, continuing forward with the oranges yellow. Now using the oranges yellow to partially blend with the olive dot while trying to obtain a rough texture for the layers. Applying heavy pressure with a golden yellow to partially blend with the live and to obtain thick layer of rough texture. Adding the orange and yellow for the bottom layer. Doing the same, that is applying heavy pressure with the golden yellow and partially blending with the olive to obtain rough and thick texture. With these we done with the orange yellow for the slice. Moving onto the rest of the slice with the oranges yellow, repeating the same, using a stippling technique to parsley overlay it on top of the olive brown, as well as completely filling the layer with the oranges yellow. For this slice, the bottom layer is only a little bit visible, adding the orange yellow for the bottom layer. Now blending the live for the front slice. As we pain, I want to take a moment to reflect on our journey so far. We have explored different technique. Learned a lot about the oil past. I'm incredibly proud of each and every one of you for your dedication. As we move forward into the part two of our challenge, I want to encourage you to continue embracing this process, staying curious, and ning your creativity. Whether you are a beginner or experienced artist. There is always something new to learn, discover, and explore. Finally, moving on to the last slice with the orange is yellow. So far, we have painted the top of the slices and the two layers of the slices. This process takes comparatively more time as we are using multiple colors in multiple layers. On top of that, we are using a sipling technique, that is another time consuming technique. That's why I try to avoid making more than two slices. There the number of slices, the time it takes. To draw and paint in faster, simply use las color and simple technique or make the side of the painting sm or use small sized paper. And with these, we are done with the oranges yellow phone now. Now, going back with Oli brown to define the edges and the outline of the slices a little bit. Now, landing the star pages of the outline of the lib brown with the orange is yellow. Defining the outline a little bit more with the lib brown. With these, we are done with the top and the bottom layer for the four slices. Now moving on to the middle layer. For this, I'm starting with the violet, creating random dots with the violet for the middle layer for all the four slices. This will be the same as other two layer. The only difference is the color combination. That is, I'll be using the color combination of violet along with the light purple. Violet for random dots and the light purple to partially blend with the violet and filling the rest of the layer while achieving rough texture for the layer. Also, I'll be using a little bit of light purple to blend the color of the top and the bottom layer. Adding the violet tots for the rest of the slice, and with these, we are done with the violet. Continuing forward with the light purple, using light purple to partially blend with the violet. Click the earlier two layer. I'm applying heavy presser with the light purple to partially blend it with the violet and to get a rough tac share. Moving onto the slice behind this. And with these, we are done with the second slice, moving on to the third one, repeating the same, applying heavy pressure with the purple to parcel, blend it with a violet, and to get a rough texture. Finally, moving on to the last slice with the light purple. With these, we are done with the light purple and the violet for the middle layer. Now let's add the jam. Starting with the front slice with the violet. Sketching out the guideline for the jam. Instead of this violet and olive, you can use other color for the jam like red, pink, yellow, green, or whatever color you prefer. Adding another streak of jam. You can add more jam if you prefer. Experiment with different orientation and perspective for the jam, as well as you can play with the thickness and the thinness of the jam too. Moving on to the slice at the back with the violet, Sketching the guideline for the jam. I'm keeping the shape of the jam simple. If you prefer, you can make it more elaborate and complex. Or if you prefer, you can add different elements for the jam, or you can also add toppings on top of it. Now let's feel the color inside the guidelines. Applying heavy pressure with the violet to overlay on top of the white with a thick and uniform consistency. As for the colors for the layers, I only used le brown and the orange is yellow and violet and the light purple. If you prefer, you can use other color combinations, or you can use different colors for all the different slices. Doing the same for the other slice. Starting with filling the violet, to make it more interesting, you can use white to at highlight for the jam. This jam remained a little bit group, make it uniform and sarp with these, we are done with the violet jam. Moving on to the live brown jam. Doing the same as the violet jam, starting with the guidelines for the jam for both the slices. Moving on to the front slice with the lib brown. We are doing exactly the same as the violet jam, starting with defining the outline for the jam, identical to the violet jam. That is two consecutive curved parallel streaks of jam, one is small and the other one is big. Now filling in side with the lib. You can also use different set of violet and olive brown to add more contrast to add more contrast to the Jam, creating darker and lighter region for the jam. Before we today's class, I want to remind you to upload your completed project to the project gallery. Sharing your artwork, not only celebrate your achievement, but also inspire and motivate your fellow classmates. Let's build a vibrant and supportive community where we can learn from each other and grow together. And don't forget to join the discussion section if you have any question inside or just want to connect with the fellow artist. This is a piece for sharing, learning, and celebrating our love for the oil pistol. With this, we are done with the olive brown jam. Now let's add the base for the four slices, using g for the simple base. If you prefer, you can leave as it is. Once again, congratulation on completing the P one of our oil pan. I'm excited to see you what P two has in store for us. Until then, keep, keep exploring, and keep singing bright with your beautiful art, happy painting. With these, we are done with our fourth project. 12. Part 2(a): Congratulations on finishing P one. Welcome to the P two. In the P two, we have three project. This three project consists of full K or sliced cut off from the full k. The P two itself is divided into two parts, A and B. In the part A, we will dive into the C for the whole slice, and in part B, we will take a look in creating watermelon gradient and explore a little bit of more color mixing. Let's begin with the sap for the whole cake. It's quite simple and easy to sketch. Consider it to be in the sap of a broad cylinder. Draw an ellipse for the top and a little bit of curved rectangle for the sides. Now let's take it a little further. To ensure the symmetry of the cake, start with intersecting perpendicular lines for the top. Circle these lines with an ellipse. Extend the middle to determine the height for the k, skate two parallel lines for the sides, and finally, connect the lines at the base. With these, we have a symmetrical. Moving on to the third example. This time, I'm roughly determining the s for the. I'm making it a little bit longer. And here we have a bigger cake. Now, let's remove a slice from it. From the center of the cake, Skage the segment, you want to cut. Now, let's sketch the removed slice. Choose a place to start the sketch. Now, sketch a straight line from the center. Draw parallel lines for the cut off section. Roughly estimate the length and add the curve part lastly, add the side with the straight line and another straight line for the base. With this, we are done finally, moving to the fourth in the final one. This one is a little bit trickier, but it will help you to sketch any kind of the cake with slice removed from anywhere. Starting with the sketching, starting with sketching perpendicular, intersecting line for the top. Circling the lines with an ellipse. Now adding the sides and defining the base. For this cake, I have decided to divide it into eight parts, Sketching another se of two intersecting lines, dividing the whole cake into eight equal parts. Now, choose any slice you want to remove and follow the same step as in the third example. I'm starting with removing the slice at the top right. Starting with defining the height for the slice, Skeche the triangle for the top. Parallel line for the side, and finally, another line for the base. Now let's remove another slice from the front. Extend the lines a little bit further. At the curved part, define the height for the slice at another line for the other side. Lastly, at the base, and with these, we are done with a fourth and the final example. In the same way, you can remove any slice from any part of the cake. Now let's start in Sage and talk about the rest of the project in the part two. For the first one, we'll be painting simple whole cake. We'll be mainly using a stippling technique for the slice and only using layer. This one will be quick and simple. The plate at the bottom is optional. For the second, it's just like the third example, simple color, single layer. Whole cake will be painted using a stippling technique. If you prefer, you can play with the S and the height of the ke. For the third and the final one, the whole skeet is quite the same as the second one, but instead of rough ture, we'll be aiming for smooth texture and glossy fines. Also, it's a little bit hard as we'll be creating gradient for the watermelon based color and painting a watermelon slice beside the cake. Don't worry. All the videos are in real time. You can always follow along with me or pause the video wherever you need, and then continue at your own pace. Some Tips for sketching simple pencil sketches for cake and cake slices. Start with the basic shapes to outline the overall form of the cake, rectangles or circle can serve as the foundation for your sketch. When sketching a cake slice, focus on the perspective, so the triangular or weight shape of the slice with attention to proportion. Incorporate setting to add depth and realism. If your cake is on plate or stent, sketch the supporting surface, pay attention to the spe and proportion of the plate. Sketch cakes from various angles to improve your understanding of the structure, experiment with a side view, top view, and the three quarter views. Refer to images of cake for inspiration and understanding how the light interacts with a different ke, texture and decoration. Start with a simpler cake design before attempting more intricate ones. Gradually challenge yourself with more complex details. Maintain clean and confident lines. Sketch lightly at the first to make correction easier and darken your lines as you finalize the details. And with these, we are done with the Part A of the Part two, see you in the next video. The the the the the the the the 13. Part 2(b): Welcome to the second part of the part two. In this section, we will focus on gradient, color mixing, blending, and layering. Let's start this section with the simple slice of the watermelon. Starting with the pencil scale, for the watermelon slice, a simple triangular sap. For the colors, we'll be using two to three sides of red and two or three stats of green with the white for blending and creating transition in between. We'll be painting the slices in layer. Start with the first layer, applying light presser with the red for the first layer. You can use different sides of the green or the red for this You can use different sides of green or red for this example. Adding a little bit of darker side of red in the middle and in the form of random strokes. Going back with the red for the rest of the slice. With these, we are done with the first layer. Later on, we'll be adding further layers. Now for the base, I'm starting with a lighter side of green, adding it below the, while leaving a little bit of gap. While leaving a little bit of space for the white. Lastly, adding the dark green just below the light green. Now let's blend the color. Going back with a light green to blend it with a dark green and to create a transition between these two greens. For blending, we have to go back and forth a little bit, till we get desired effect. Adding a little bit of green for the bottom. Subdoing the intensity of the dark green a little bit, and with these, we are done with the base for now. Moving on to the top. Now, we are aiming for smooth and glossy texture. We'll be obtaining that white, we'll be obtaining that texture by layering and overlaying colors. Applying firm pressure with the rate and gradually moving downward and blending it with a dark rate from earlier. When you apply firm pressure, a little bit of the oil pastel dust accumulates, remove this. Remove this using brush to avoid smudging. Consider using blending tools for a smoother effect. You can use blending, cotton swaps, or other tools for controlled blending. Now, for the trichor part of creating transition from red to green. Go in with the white to create the transition. I'm starting with a green and gradually moving a little bit up with the white. Now blending the white with the red. Blend the lower part of the red with another layer of white. Adding another layer of white to get a smoother transition from green to white. Now, let's mix the red, lifting the white to meet the rate while pushing white upward. Blend the lower part of the red with another layer of white. Add a little bit of smaller or finite details wherever required. Now we will gradually blend for the transition. Go back and forth till we achieve a smooth transition. Adding a little bit of light green to subdue the white. Now it's upon you how much blending you want. I'm leaving it as it is. If you want, you can make the transition more smoother. Adding a little bit of white near the edge. A little bit of green was stuck on the white from our earlier coloring. Adding a little bit of more white to cover that green. Now to make it more realistic, adding the darker sta rate on the top at random strokes of dark rate on top. Layering does not always have to result in completely smooth surface, experiment with leaving some texture by intentionally allowing underlying layers to sow through. Sometimes you have to go back and forth a few times till you achieve the desired effect, a little bit of white to make it more realistic. If you prefer, you can blend rates in the white more. For now, I'm keeping it simple. Now let's add the seeds. Adding the seeds in the form of droplet. Adding a bit of white for the high light. With these, you had done with a rough painting for the watermelon slice. If you want, you can take more time and make it more finished and polished. Moving on, here's another example for the base, starting with the light green for the top. Adding a dark green below it. Now, let's blend. You can start with the light layer and gradually melt up color. This allow you to control the intensity and avoid overwhelming the paper. You can experiment with a various pressure while applying layer, light pressure create a delicate layer, while farmer presser intensifies the color. While farmer presser intensifies the color. You can layer similar color on top of each other to create smoother transition. This is particularly effective for creating gradient or transition or transitioning between the hues. A basic understanding of color theory will come in handy. Layering complimentary colors can create interesting effect while layering analogous color produces harmonious blends. It's always better to test on scrap paper. Before applying layer to your main artwork, taste different color combination and layering techniques on a scrap paper to see how they interact. Try to apply lighter colors first before adding darker ones. This prevent darker color from dominating the lighter one. Now, here's another example. This time, I'll be adding white in the middle. Adding the light green while leaving a little bit of space. Finally, adding the red. Now, let's add the white. Again, a bit of red was to stuck on the tip. I always forward to clean the oil pistol. Continue forward with the clean white, adding it in between the rates and the light green. Applying presser with the white to overlay it on top of the light green. Applying firm placer with the white to overlay it on top of the light green. For the base, increasing the intensity of dark green a little whit. Adding a little bit of more dark green. Now let's subdue the white a little w. Adding a little bit of light green. This time, I'm using QT to achieve the gradient. Applying firm fraser with the QT to blend the colors. Gradually, moving up with the QT. Here are some tips for overlaying, apply a translucent layer of light color over darker one to create interesting color variation. Use a lighter color for overlaying specific areas to create highlights. This can add dimension and make certain elements pop. Overlaying with darker colors can add depth to your artwork. Use this technique to emphasize shadows or create contrast. Assist with too many layers. Especially if you're blending multiple colors, it's easy to create muddy appearance. Too many colors are layered without purpose. With these, we add in with this example. Continuing forward, let's draw simple watermelon seeds. Simple TR drops for the seeds. You can use dark sets of brown, black or gray for the sed. To make it more realistic, apart from the highlight, you can add another darker sat on the other side of the highlight. With these, we are done with the seeds. The outline for these seeds are not that much precise. Try to make it more precise. This is just for a demonstration purpose. Lastly, we have a sketch for the watermelon slice. It's a simple shape in the form of triangular cone, sketching the base. Sketching the bays. To make the lines more clear, going over the lines with the black sketch pin. Blend layer and overlay in a combination to achieve nuanced effect. Don't limit yourself to single technique. Let them compliment each other for a richer result. And with this, you add with Part B of the Part two. Adding a little bit of small and finite details wherever required. After finishing an tw, always try to assess how your project looks. Add a little bit of smaller or finite details wherever required. And with the, we are done with this video. See you in the next video in the painting. 14. Cake with the plate - Day 5: Let's start our fifth project, cake with the plate. Let's start with drawing the guidelines for the cake. I'll be following the same steps in the process that I showed you in the practice sesion. Here I have already started with intersecting lines for the top of the cake. You can play with the sake in the side of the cake. You can You can make it big or long, whatever you prefer. You don't have to follow exactly how I am doing it. Now defining the shape of the cake using the intersecting lines. The skach for the painting and the main painting in itself is quite easy. What is different as we'll be using more colors and more layering. This project will be multi layered as well as multicolored. Now, using intersecting lines to eke the sits for the cake and the base. Also, for this project, we'll have to go back and forth many times. Like we'll have to use same color four or five times till we get the desired effect. We may have to use three or four color for the same sections. So we prepared for that. For the cake, we'll be using light gray, golden yellow, flame red, scarlet, russet, cor, and orange is yellow. For the top we'll be using russett, and golden yellow. For the icing will be using gray along with the white. Now sketching the guideline for the plate. Instead of the circular sap for the plate, you can play with the rectangular shape or any other shape. You can make it big or small. You're more than welcome to experiment with the sap and the side, as well as with the placement of the plate, or you can just draw the cake without any plate. For the plate, I'll be using cobalt blue, light blue, turquoise, as well as mell side green. For most part of this painting, for most part of this painting, we'll be aiming for rough texture. If you prefer, you can go with a smooth texture. Continuing with the plate. Once again, I would like to remind you that the plate is optional. You are more than welcome to play with the shape of it. You can make it big, small, or you can even try with any other accessories associated with the plate. You can place a spoon or sugar cubes. Moving on to the top for this section, we'll be placing the icing. And with these, we are done with the guidelines. One more suggestion. To avoid smudging and mudding of color or pencil marks, use tissue paper underneath your palm to avoid it. Lightening the pencil mark. Few more heads up for this project. Since this project consists of a lot of stippling and overlaying, so it will take a lot of time. Instead of rough texture, if you aim for smooth texture, it will become faster. Also, you can use blending tools to make the whole process faster. One, one more way to make it more faster is to use smaller paper or draw a small cakes. Instead of this A four paper, you can use A paper. Feel free to experiment with a different co paper. I use brush to remove the oil pastel dust or the eraser dust so as to avoid smudging of colors or the pencil is skates. Now, let's start painting. We will start our painting with the white. Go over the pencil outline for the top. Now, going in with a light gray. Instead of the slight gray, you can experiment with a dark gray two, the combination of a the combination of white and gray is optional. You can use pale yellow. That will be interesting too. Adding the gray beside the white and for the lower outline. As I said earlier, we may have to go back and forth a lot many times. In this case, we'll have to go with the white and the gray. Moving onto the other side with the gray. Now, going back with the white to blended with the gray, applying heavy passer with the white to blended with the gray to a smooth and uniform to a smooth and uniform consistency. I'm applying the oil pistol with circular motion so that the consistency will remain more uniform and the whole area will be covered more uniformly. Adding the white for the other side? Adding a white for the other side. Adding a bit of more gray for the upper part to darken the side a little wit. Instead of this combination of white and gray, you can use a combination of white along with pink or light purple or any other color. Blending the gray for the side and the upper part a little bit. With the, we are done with the icing. Now moving on to the top, starting with a golden yellow. The top will be multi layered and multi colored, consisting of golden yellow, flame red, scarlet, and set. Here, I have already started with a golden yellow, adding the golden yellow, spreading out from the center. Here, I'm spreading out the golden yellow from the center, so it will be easier for me to cover the whole area. Also, it will signify that the decrease in intensity of the golden yellow from the center. Now going in with the flame red. Adding the flame adding the flamed beside the golden yellow, doing the scene, spreading out from the center. A few suggestions for the top. You can use a darker set of red or orange to form crack for the top surface. And when we'll be applying the final layer of color, those cracks will be visible as we'll be using lighter color on top of those. Now going in with the darker st, starting with the scarlet, Adding the scarlet over the outer region. Now going over the outlines with the scarlet. Adding the scarlet on the outer edges beside the flame ray and the golden yellow. Adding a little bit of a scarlet for the inside. And with these, we are done with the scarlet. Finally, to complete this top, I am going in with the rust. Filling the rest of the empty space of the top with the rust and parsley, adding it on top of the other colors. To convert this cake into chocolate flavor. Instead of this it, you can use dark brown or you can use a combination of rust along with a dark brown. I'm increasing the intensity of the set along the perimeter of this cake. Also, to create more contrast for the top. For some of the person, you can add a large volume of set, and for other places, a little bit of rust will do the work. And with these you had done with the set. Now going back with a golden yellow to blend all the colors. Using this golden yellow to blend all the colors partially. I'm using overlying technique with this golden yellow to lay it on top of the other colors. The reason why I used golden yellow for blending. The reason why I used golden yellow for blending, because it is of lighter stat compared to the other colors that I used. Also because of the golden yellow color light intensity, all the colors beneath all the colors beneath it will be somewhat visible. Apart from that, I'm applying medium pressure with the golden yellow to partially blend it with the other colors to achieve somewhat rough texture. If you prefer, you can apply heavy pressure with the golden yellow to get a smooth and consistent uniform consistency. Apart from this, you can see we have achieved somewhat orange stop with the blending of all the colors using golden yellow. Now, going over the outlines with a golden yellow to get a crisp and definite outline. With these, we are done with this section. Now, moving on to the rest of the cake. For this, I'll be using a combination of cer, st, and orange is yellow. Instead of this three color combination, you are more than welcome to come up with your own unique combination. L pink, violet, and purple, or you can use blue, light blue, and gray or any other tried color combination. Here, I have already started with the cer, creating random streaks throughout the cake. Here I have created small and medium side streaks. You are more than welcome to experiment with the different shapes. You can make it comparatively more bigger, or you can make it even more smaller. Adding some more cer streaks. And with these, we are done with the cer. Now going in with the set. Doing the same creating small random streaks. The sides of the random streaks are comparatively similar to that of the cer. Once again, you can play with the side of the streaks. Here, I'm applying rest parsley over the ocher. Instead of this ocher and the set, you can use red to depict cherries or berries. Or you can also use violet or purple to depict blue berries and black berries. You can use brown or dark brown or other variation of brown to represent chocolate nuggets. It depends upon you. This is optional. Here to with the set that distends between the streaks of the set is comparatively equal that of the ocher. And with this, we are done with that two colors for the cake. Finally, going in with the oranges yellow. I'll be covering the entire gin of the key with this orneus yellow. I'll be using the sipling technique, or you can say, I'll be creating a little bit larger streak as compared to that of the cer and the set Carefully adding this orneus yellow near the white surface. Instead of this orange is yellow, you can use any other light variation of the yellow. Once again, you're more than welcome to play with the distancing between the streaks or the stippling dots. Always keep in mind, the closer the dots, the more denser rate appears. The farther away they are, the less denser rate appears. Also, the side of the dots also play a very important role. The bigger the sge, the denser, the smaller the side, the less denser. So here I'm applying medium precip this orange yellow to blend it a little bit with the occur as well as the rust. The reason why I choose this orange yellow is because it's a lighter color and the colors underneath it, the darker color rust, and the lighter color occur will be somewhat visible. As well as it will create a combination of all three colors. This is a bit time consuming process. If you, if you prefer, you can partially overlay this orange e on top of the other two colors, or you can apply havy pressure with it to completely cover more the colors. But to get the rough texture, I'll be covering the entire surface while doing this. Gradually moving towards the right. Carefully adding it near the ways. Somewhat defining the shape of the cake with this orange is yellow. Somewhat defining the shape of this cake with this nee yellow? With these, we are done with the orne yellow. Now, moving onto the blades. Starting with the cobalt blue. Adding this cobalt blue beside the piece of the cake, like earlier, like earlier for the cake. I'm creating this smaller streaks with this cobalt blue. I'm creating this smaller streaks of cobalt blue, very closer to each other so as to create more density as well as to bring depth to the painting. Moving with the cobalt blue. Adding more cobalt blue towards the right. If you prefer, you can apply heavy pressure with the cobalt blue to get a smooth texture for the plate. And with these, we are done with the cobalt blue. Now, going in with the light blue. Doing the same, creating smaller streaks with the light blue, and placing them comparatively closer to each other. Now let's paint the plate. As I mentioned earlier, the plate is *****. Also, you're more than welcome to play with different sea and site for the plate. Adding the light blue beside the cobalt blue. Gradually moving with the light blue. A adding it carefully beside the cobalt blue. Now, moving on to the outer regions of the plate with the s light blue. Now going in with covalt blue for the simple design safe. You can play with the design of the sapes. You can make it more complex or more easier, whatever you prefer. Also, you don't have to use the same color combination for the plate. You're more than welcome to use silver or any other color silver as to create silver ware or you can even use white along with the gold to create golden plates. You can use a variety of different color combination for the plate, as well as for the design and the shape of the plate. Adding a little bit of more detail in the design. So I'm keeping the design a little bit more simpler for the project. For the plate, I have chosen to go with the rough texture. If you prefer, you can go with a smooth texture. Now, going into the turquoise green. I'll be overlaying it on top of the covet blue as well as filling the rest of the empty spaces of the plate with it. You can play with the distancing between them. The closer they are, the closer the dots are, the more denser it will appear, and the farther they are, the less denser it will appear. Upon further inspection, I found that the distinction between the two colors were not that apparent, so I chose to go with the melast green to add a little bit of more distinction from the outline to the inline. Adding more melacyte towards the right. Also, defining the outline of the plate with this melacyte. I'm using the melacyte in the same way that I used cobalt blue and the light blue, creating small streaks with the malacyte, as well as placing it closer to each other. Now defining the outline here with this melacyte. I'm applying very light pressure with this melacyte to form the outline for this plate. Moving on to the other site with the melacyte, to form the outline for the plate. I. Finally, going in with the turquoise green to cover the rest of the area. Even now, you can make it more smoother by using blending tools to blend all the colors. You will get a beautiful gradient, as well as different regions of darkness and lightness. Upon that, you can add different patterns and designs. Adding the turquoise green near the edges. Adding the turquoise green near the edges. Covering the rest of the plate with a turquoise green. So to make drawing of plate easier for the next time, avoid these mistakes, choose colors wisely, and experiment with the color on the rough paper first. Adding the turquoise green near the edges. The the dead Now taking a look at your picture and addor coy screen wherever required. Finally, with these, we are done with our fifth project. See you in the next medium. Happy painting now comes the most satisfying part masking our final painting to avoid smudging of color, use fixative spray, to preserve your painting. I'd de de. 15. Sliced cake - Day 6: Welcome to the sixth project. Just like the last one, starting with intersecting lines to draw the seat for the top. Following the same steps, like we practiced earlier in the practice session. This project is a little bit more advanced as compared to the last one. For this one, we'll be taking out one slice of the cake. Now, sketching the slice of porton. Continuing with the sides of the main cake. Adding the bees for the cake. Now, sketching the sliced off section of the cake. This two is multi layered and multiclored. We have to go back and forth a few times till we get the desired effect. Finally, sketching the slice. Adding the sides in the base. I decided to keep the color theme for this simple, so I'll be only using six color, set, and the brown for the top, mask green, pale yellow, and white for the rest. I was not satisfied with the side and the placement of the slice, so I decided to redraw it. Whenever you are not satisfied with it, just pause the video and make adjustment to your painting. Always use slide pencil so that it will be easier to erase. Now we sketching the slice of section of the cake. The whole video is in real time, you're more than welcome to join with me. Adding the slides in the base. If you prefer, you can slice of more sections of the cake. With these, we are done with a pencil sketch, removing the overlaying lines. I'm not lighting the whole pencil sketch as I'll be covering it with the colors. Also the paper is black, if I erase the lines, it will become harder for me to see the lines. If you're using light papers, you erase the lines. Also, as I'll be using darker sets of color, I'll be completely overlaying it on top of the outlines. Now, let's paint. Starting with the car mine for the top. Bowing over the pencil outline with the car mine, owing to the sliced of section with the car mine, as I said earlier, that I'll be covering the pencil outline. So here, I'm going over the pencil outline with the car mine. Adding the carmine for the other side layer. Once again, I would like to remind you. You are more than welcome to come up with your own unique color combination, as well as you are more than welcome to play with the safe site, as well as the orientation of the cake. You can make it bigger, longer, fatter, smaller, or any awkward or different shape and size. Now adding long streaks of carbine coming out of the center for both the cake and the slice. The reason why I am starting from the center is to depict that the center is more dense. Adding a little bit of more carbine near the outer edges. The whole video is in real time, so you're more than welcome to join with me. I'm wearing the sides of the streaks. Again, you can experiment with the different sides and the thickness of the streaks. The closer the streaks are, the denser it looks, the farther away they are, the less denser it appears. So as you can see, I have covered 70 to 80% of the top with this car mine. And after this, I'll be using set and I'll be covering the rest of the area. By the rest of the area, I'm not meaning that I'll be covering 100%, but I'll be overlaying this rest on top of the car mine, but I'll be leaving a little bit of the carmine from the underneath completely visible. And with this, we are done with the carmine for now. Now, continuing forward with the rest. Adding the rest beside the carmine and blending it a little bit with the car mine. I'm applying medium pressure with the reset to blend it with the car mine. I'm doing the same that I did earlier with the car mine, creating larger streaks of the sette. Moving onto the side with the set. For this cake and the slice, I use 70 to 80% of the car mine. But on top of this car mine, I'll be using 50 to 70% of the set, not 50 to 70, but 40 to 60% of the set. So I know it sounded a little bit complicated. But but the whole video is in real time. So you can see what I'm doing. Now continuing on and with these, we are done with the set. Now going with the brown for the final touches. Adding this brown for all the empty areas and partially overlaying it and blending it with the carbine and the set. Like I mentioned earlier, I'll not be covering the entire area with this brown. With this brown, I'll be only covering 20 to 40% of the other two color. This helps to provide more variation and color for the top. Here I use darker sets of the color. You can experiment with lighter sets of color also. I'm wearing the size of the streaks. Again, you can experiment with a different size and the thickness of the streaks. Again, it is apparent that I'm aiming for rough texture. You are more than welcome to apply heavy pressure with it to get a smooth texture. With that smooth texture, you will also get a gradient and different sections of lightness and darkness. The smooth texture will provide glossy effect like chocolate cake or something slimy. Of the light of the d Now moving on to the slight section with the brown, starting with the side. Now moving on to the top with the brown. Finally, adding the brown near the outline and a little bit near the center. And with these, we are done with the top using the brown, the sit, as well as the care. Now let's paint the rest of the cake slice. Here I'm starting with the mall screen, creating random dots throughout the cake and the slice with the small screen. Apart from it, I'll be using pale yellow and the white. I like this color combination a lot. That's why I'm using it a second time. You don't have to use the same color combination. You can use different color combinations. For this project, we are aiming for ro texture. If you prefer, you can always go with a smooth texture. For the smooth texture, just apply heavy pressure and try to blend it perfectly and try to blend it smoothly with more uniformity and consistency. Now, continuing forward, adding the mass green for the insights. To make the insights a little bit more darker, you can use a little bit of gray. Gradually moving towards the right. And with this, we add with the mass screen. Adding comparatively larger strokes of pale yellow beside the mass green and partly blending it. Here with the pale yellow, the stroke side is comparatively a little bit meager as compared to that of the moss green. Gradually moving towards the right with the pale yellow. Now moving on to the slice, repeating the same, adding comparatively larger strokes of pale yellow beside the mask green and partially blending with it. Adding larger strokes of pale yellow beside the moss green. And with these, we are done with the pale yellow. Finally, going in with the white, starting with going over the pencil outlined with the white. Using this white to fill the rest of the empty spaces as well as partially blending it with the mass green and the pale yellow from the earlier. Same is earlier, comp bigger streaks and blending it with the rest of the colors. The distance between the streaks are somewhat closer. The sap and the side of the dots or the streaks play an important role. The closer they are, there denser it appear, the farther they are, the less denser it appear. Also the thickness, and the sizes also play an important role. So to get a denser and more compact look, I'm going with closer dots, and the dots are a little bit smaller, and the distance between them is comparatively very small. Gradually moving towards the right with the white. Defining the beast of the cake with this white, continuing forward with adding more white. And with these, we are almost done with the white for the cake. Now let's move to the slice with the white. Repeating the same, using the white to fill the rest of the empty spaces, as well as partially blending it with the moss green in the pale yellow from the earlier. Also, to make it more darker, you can use a little bit of gray near the edges as well as where it overlaps with the cake. Adding the white for the other side of the cake. Now back to the slice with the white. Oh. Defining the outline for the base with the white. And with these, we are done with the white. Now, to finass, going back with a brown. Take a look at your painting and add the colors where they are required. Finally, adding the white for the highlights. Adding the highlights near the edges of the outline. Moving on to the slices with the white to add the high lights. Adding the highlights with the white near the edges of the outline. With these, we are done with this project. You can use gray or any other darker color to add the base for the cake. This one is optional. I'm not adding the base. I'm keeping this project simple and easy and under 15 minute. So if you prefer, you're more than welcome to add the base or plate or any other accessories. And with this, we are done with this project, see you in the next painting, painting. 16. Watermelon cake and slice - Day 7: Let's start our seventh project. Sliced watermelon cake with a watermelon slice. So this is comparatively the hardest one of the second part. Let's start with a straight line as the reference line for rekching the s of the cake. Like I mentioned earlier, all the project in this section follows the same guidelines and process that we did earlier with the practice sions in drawing cakes, as well as drawing the slices or sliced off portion from the cake. Here, I use the leptical sap to define the sap for the cake. Now sketching out the guideline for the sliced of person. This would be apparent by now. This cake will be also multi laid and multi colored. We'll be trying to achieve smooth consistency throughout the cake, so we'll be using high pressure to get a thick and uniform consistencies with the colors. Moving on to adding the sides of the pie for the cake and the slice. Again, a heads up, this project will be a little bit longer. To make it faster for you, you can use smaller size paper, preferably a five paper, or you can reduce the size of the cake. Moving on to adding the sides of the piece. Instead of this one slice, you can experiment with two or three slices, two or three slices with different positions and different perspective. Finally, adding the sketch for the watermelon slice beside the cake. Also, I would suggest you to experiment with the sap of the watermelon. Instead of this triangular sap watermelon slice, you can experiment with semicircular sap of watermelon. And with this, we have done with the basic pencil sketch for this project. The watermelon slice beside the cake is optional. This will be a little bit more time consuming as the size of the cake is a little bit bigger compared to the other one. And in this project, I'll be using a lot of blending with heavy pressure to get a smooth and uniform consistency for the cake and the slice. We are aiming to achieve glossy like surface for this cake. Go back and forth with your pencil eskche till you are satisfied. Always use the light pencil ekches so that it will be easily asi. Now, let's talk about the colors. For this project, I'll be using scarlet, armion, light green, emerald green, light olive, brown, salmon pink, and white. Instead of this color combination, you can use other varieties of the greens or red. Now, let's talk about a different section for this painting. For the top section, I'll be using different variations of the red, and for the seeds, I'll be using browns. For the middle section, I'll be using a combinations of white and different variations of the green. Same goes for the watermelon slice beside it for the top, I'll be using combinations of the red, and for the bottom and for the bottom, I'll be using combinations of the green along with the white. Like I showed in the earlier example of the watermelon slice, I'll be following the same steps in the procedure for the colors as well as how I'll we blending them? If you prefer, you can go with a rough texture too. But for this project, I'll be aiming for smooth texture. If you prefer, you can use blending tools to make the process more easier and more smooth. Here I have made the k slices comparatively more big. Now let's paint, starting with the white near the center. Adding streaks of white is spreading out from the center. The reason why I'm concentrating more white on the center is because I'll be making the center more and a bit more lighter as compared to the others as compared to the other regions. Or in other word, you can see the reason I am using white like this is because but I'll be using dark color on top of it, the white from the base layer will make the dark color ale bit subdued on those regions. Adding a little bit of more white alongside the streaks. M Going on to the slices with the white. Going over the pencil outlines with the white. And with these, we are done with the outline for now. Now, continuing forward with the salmon pink. Adding the salmon pink beside the white streets. Moving onto the slice with this salmon pink. I'm blending a little bit of salmon pink with the white. Adding a little bit of more salmon pink surrounding the white. The reason behind using the salmon pink is to subdue the white a little bit for the top layer. And with these, we add with the salmon pink for the main cake and the sliced of porson, continuing forward with the vermilion. Adding the vermilion on top of the white. Adding this vermilion on top of the white and the salmon pink from earlier. I'm applying medium pressure with this vermilion to cover the white and the salmon pin from earlier. I'm covering 80 to 90% of the top surface with this ermion. Leaving a little bit of empty spaces in between the vermilion. Moving onto the sliced with the ermion, adding comparatively less p ermion for the sliced of section, gradually moving all along the shape of the cake with this ermion. And with these, we are done with the ermion for now. Later on, I'll be using ermion to cover the entire cake and the slice. Now going in with the scarlet, starting with going over the outline with the scarlet. Primarily concentrating the scarlet, near the outlines in the center. The reason why I'm using the scarlet scarcely is because it is of more dense color as compared to that of the vermilion, and I'll be using this property of darker sid of this scarlet to make the cake and the slice more interesting. Now moving on to the slice with the scarlet. Primarily, concentrating the scarlet near the outlines in the center. And with this, we are done with the scarlet. The outline for the side. Going over the outline carefully with the ermion. I'm applying light pressure with this ermion to go over the outline of the side. Now defining the outline for the slice, and carefully defining the outline for the other part. Now let's color. Going back with the ermion to finish the top, gradually, filling the entire top with this ermion. Continuing forward with the arman to fill the entire top, applying medium to high pressure with the arman to fill it. Here I am doing just the opposite. Instead of spreading out the color from the center, I'm spreading in the color, starting from the outer edges of the cake and gradually moving towards the center. Also, it should be apparent that the white and the salmon pink that we used earlier is sticking in the effect, the central part of the cake is of somewhat lighter color as compared to the edges and as compared to the edges and the outlines of the cake. Gradually filling the rest of the top of the key with the vermilion. Carefully filling the armion near the edges. This time we are aiming to cover 90 to 95% of the top, and the rest 5% will be covering on later on. Now, going back with a scarlet for the sliced part, adding a thick layer of a scarlet for the side. The reason why I'm using a darker side of a scarlet so that to ensure that there is a state difference in between the colors, creating regions of lightness and the sados for the cake. Doing the same for the slice, moving on with the scarlet. Adding the scarlet for the sides, applying heavy pressure with the scarlet to get a uniform and smooth consistency. Adding the scarlet for the other side. Now let's finish the top of the cake and the slice. Going in with them, applying heavy pressure with the man to cover the rest of the slice. I'm applying quite heavy pressure to entirely cover the top of the slice. Going back with a cake with a vermilion, applying another layer of vermilion on top of it, using heavy pressure with a vermilion to achieve smooth and uniform consistency. If you pay close attention to the painting, you can see the center of the cake and the slice is a little bit more light as compared to the outer regions. The reason because we use comparatively more white and salmon for the scented power. Since we have applied a lot of placer, a lot of oil pastel dust has accumulated. Always clear this oil pistil dust to avoid smudging. Also, it is advisable to use tissue paper or any clothe underneath your palm to avoid smudging and muddying of colors. Now for the final touches, adding the vermilion carefully near the edges. Try to maintain the crispiness of the outline in the boundaries of the cake in the slice. Now going in with the scarlet, going over the insides of the cake with the scarlet, applying a thick layer of scarlet with heavy pressure. I decided to increase the width of the cake with the scarlet. For the project like this, we may have to go four or five times with the same color till we get the desired effect. In this case, smooth and consistent glossy like texture. Now, going back with the armion to blend the scarlet a little bit. Carefully blending the scarlet with the armion while maintaining the sharp edge of the slice. Doing the same for the side of the cake, while maintaining the sharp edge of the slice. This side of the elepse was a bit grouped, so I'm going back with the arman to rectify it. The continuing forward with a scarlet. Doing the same, applying heavy pressure with a scarlet. Let's fill the entire side with the scarlet. Applying heavy pressure with the scarlet and gradually moving towards the right. I'm leaving a little bit of a space in between the scarlet and the vermilion. Later on, I'll be using vermilion and scarlet together to create a crisp and sarp for the cake. Now going in with the arm to create the sarp and crisp for the cake while blending it with a scarlet. Now add the arman wherever required as the final touches. Let's clean the oil pastel dust. Remember to avoid smudging. Use tissue paper under your palm and use brush to remove the oil pastel dust. And with these, we are done with the top. Since we are done with the top, instead of moving to the rest of the cake, let's paint the watermelon slide. Since we'll be using the same color combination. Starting with the white for the top, the outline, and the base. Do you know the reason why I'm using the white for the top. Now, going in with the scarlet. Adding a little bit of a scarlet beside the white. Finally, going in with the white to cover the entire top of the watermelons lies. With this, we are done with the barman for now. Going back with the white to blend the man and the white to get a gradient from the man to the white. Let's add a little bit of highlight for the wamion slice with the white. And with these, we are done with the high lights. Moving on to the base, starting with the light lip below the white. Going back with the white to blend it with the olive. Creating a gradient in between the olive and the white. Let's create a gradient in between the arm and the white and the light olive. Finally, going in with the emerald green for the ate. Going back with the light live to blend it with the emerald green and to subdue the excess emerald green ale. Later on, we'll be adding seeds. We'll be adding a bit more color to make it more appealing. With this, we're done with the basic coloring for the top and the slice for now. Moving back to the cake with the light gray. Adding the light gray a little bit below the scarlet, leaving some space for the white. Doing the same for the slice, adding the light gray a bit below the scarlet while leaving some space for the white. Increasing the width of the gray area a little bit to make the gradient more appealing and easier. Now, going in with the white, using the white to blend the gray and the white for the gradient creation, carefully adding the white below the scarlet to prevent mixing of the colors, overlaying the white on top of the gray. Carefully adding the white below the scarlet. Carefully adding the white milow the scarlet to prevent mixing of the colors. Now going in with the light olive. Like earlier, we'll be using the same color combination that we used for the watermelon slice. Leaving the piece for the white in the middle. Moving on to the slice with the light olive. Increase the width of the light olive a little bit. Increase the width of the light live a little bit. And with these, we are done with the light live for now. Now, going in with the white to create another gradient between the grain and the light olive with the white in the mile. And with these we done with this section, moving onto the slice with the white to create the same ingredient. Now moving on to overlaying the white on top of the light olive. Now, moving on to overlaying the white on top of the light olive. Moving onto the slice with the white. Finally, going into the emeral green for the base layer. Adding a thick layer of emeral green for the base layer. Going onto the slice with the emerald green. Adding a little bit of more emeral green for the watermelon slice as I was not satisfied with the thickness of the watermelon slice. Now, going in with the light live to blend and subdue the intensity of emeral green a little bit, to make it more compelling and appealing. And with these, we are done with it. Finally, to get a smooth gradient, adding the white on top of the olive and the emeral green. Moving on to the slice with the white, adding the white on top of the olive and the emerald green to grate another great and smooth gradient. And with these, we are done with the basic coloring. Moving on to adding the final touches. Starting with the brown to add the seeds, using brown to create the seat for the seeds on the top of the cake. Adding the sat, adding the sat likes on top of the cake and spreading it out from the. Moving onto the slice with the brown, repeating the scene, creating seeds for it. Now moving onto the watermelon slice with the brown, creating more seeds with this brown. With these, we are done with the brown for the seeds. Adding a little bit of black to create more contrasts for the s. You can add white to create highlight for the seeds if you prefer. Adding a little bit more white or final touches. Add the white wherever required. Adding the white for the seeds on the watermelon slide. Adding the white for the seeds. And with these, we are done with it. The sado for the base around the cake and the butter Mon slice is optional. If you prefer, you can use gray or any other dark color to create the sats, or you can even drop that you have learned earlier. And with these, we are done with this seventh project. See you in the next section, painting. 17. Five Layered Cherry Cake Slice - Day 8: Welcome to the D eight and the eight project. This will be five blade cake like the other one, this to will be multicolored and multi lay. Here I have already started with a basic pencil in skage. For this one, I'm using a dark colored paper. If you are using the same colored paper, it is advisable for you to test out the color on a scrap paper before you use it on your main project. Dividing the cake into two section, and with these, we add almost done with the basic pencil skitch. Now let's paint setting with a white. Go over the outline of the top with a white. For this fy player of the slice, we'll be using cer, brown, lilac, olive yellow, and carmine. For the top, we'll be using gray along with the white. Adding the cherries on the top. The same for the cherry. For this, I'm adding two cherries, if you prefer, you can add one or more cherries. Now moving onto the side of the cake with the white. T thickening the outline of the e a little wit. With these, we had done with the outlining the top layer. Now going into the grain, adding the grain near the corner and beside the cherries and beside the curved edges. Moving onto the curved edges with the gra. Here we apply medium pressure with the grain and creating ss with it, rectifying the side a little wit. Thank you. Continuing forward with the grip for the side, adding the grip for the front. And with these, we are done with the gray for now. Now going back with the white, filling the entire top and the side with the white. Here we apply medium to high press with the white and blending it with a gray. Applying heavy press with the white to completely blend it with the gray. Oh. Carefully adding the white near the strawberries on the top right side. We with the top. Now moving onto the side with the white, repeating the s, applying to medium pressure with the white to blend it completely with a gray. When you apply heavy pressure with the oil pastel, a lot of oil pastel dust are generated. It is advisable for you to remove it. Otherwise, there are chances that it may lead to smudging of the colors. Even when we are applying heavy pressure with the white to completely blend with the gray, you can clearly see the radiation from gray to the white, and not all the gray is covered. Now removing the oil pastel dust avoided smuging. So adding a little bit more white wherever required to give a definite to the cake. With these, we are done with the white phone now, going back with a gray to redefine the edges of the slice. Since the gravy used for the outline are so overpowering, I decided to add a little bit more white to blend it with the rest of the cake. So blending the gray from the edges a little bit with a white. And I am going over once again with the white for the side, as it was not uniformly mixed with the gray and to achieve a smoother and uniform consistency. And with these, we are done with the white and the gray for the top. Now, let's paint the cherries. For this cherries, we'll be using darker variation of the colors, starting with the black. Adding the black near the center and the perimeter of the right. Now, going in with the vermilion. Instead of this vermilion, you can use any other variation, other dark variation of the red. Now, parceling, blending the vermilion with the black, apply medium to heavy present. Subdue the black a little bit with this ermion. Now going in the car Completely covering the black and the vermion with the car mine. With these, we are almost done with the top. Now going in with the white for the high light. With this, we are done with the basic coloring for the cherries. Now let's add the layers for the slice, starting with the cer as the first layer, applying medium to p with the cer. You are free to choose the colors for the layer. You don't have to use the exact same colors that I'm using. Filling the occer inside the outline. Later on, we'll be adding more details to the cherries, as well as redefine the sap a little bit. Filling the occur on the other side. With these we are done with the occer, now going in with the brown. Doing the same, applying medium to heavy presser with the brown, and adding it just below the oc. I am keeping the thickness of the layer. You can also play with the thickness of the layers. Adding the brown on the other side. Now moving on to the lilac. Once again, I'm doing the same thing, applying medium to heavy per with the lilac, adding the layer of the same thickness as that of the occur in the brown. With this, we are done with the lila. I'll be doing the same for the other two color, the le and the yellow. You are free to use any other color combination. You can also create gradient. It all depends upon you. You can keep it simple or only use one color for the layers. Play with the color, whatever you prefer. For this geek, I'm not aiming for the smooth texture. That's why I'm a plying medium pressure. Apart from the top and the cherry rarely, I'm using heavy pressure. The seat was a little bit groomed. So going back once again with the cer brown in the lilac to rectify the safe. Now, going in with the red for the last layer. Defining the outline for the base. Now let's feel the color for the last layer, creating text with medium to have a for the last layer. Gradually filling the last layer with the red. As you can see the sape at the top is not that much clearly defined, basically the curved part, so you can use tensil or you can use blending stem to redefine the sap. With these, we are done with the bottom layer. Moving back to the cherries, going with the olive for the branches. I decided to add another cherry behind the cake. This is optional. Using the same color combination. Here I'm starting with the black. Now going in with the vermilion, partially overlaying this vermion on top of the black. Lastly, going in with the car mine. Overlaying this carmine on top of the vermion and the black by using heavy presser. Adding final touches for the cherry, as well as redefining the curved shape of the cherry a little bit. Now let's add the stem and the leaf for the cherries. Once again, I'm using the lef for the leaf. Now going in with a lighter variation of the olive for the leaf. Applying medium pressure with it and filling the entire leaf. Go back with a darker variation of the live to define the sap of the leaf, as well as adding the in the veins. With these, you attend with our simple painting of five bla cake with cherries in the leaf. See you in the next video. Okay 18. Part 3 a (Berries): Welcome to the Part three. For the Part three, we'll have four project. Day eight, day nine, 18, and day 11. Primarily, we'll be focusing on different kind of the berries, like cherries, blue berries, and other different colored berries, as well as a little bit on the leaves. So this first video is a demonstration of different kind of cherries and the berries, as well as other colored berries. So let's start with the berries. So this whole video is a demonstration of how to draw different kind of berries, and in the next video, we'll have different kind of leaves. So drawing the berries are very simple. Let's start with a simple circular save. The coloring for the berries will be divided into two parts. One will be of lighter side and the other of the darker side. This part will represent the highlighted portion for the berry, and this one will represent the side of reason. For this first one, I'll be showing you three example of berries. I'll be progressing from light colors to the dark color. For this one, I'm using lighter sides of the color. Here I have already started with a yellow apart from this yellow, I'll be using a lighter side of orange, and then a darker side of orange. This time, I'm only focusing on applying heavy pressure and medium pressure to get the transition in between the color. If you prefer, you can use QTip or earning other blending tool. You can use QTp or any other blending tools to get a smoother and glass blending. Here, I'm applying medium to low pressure with this color to blend the two color a little bit. Now applying pressure with the oil past to blend all the colors and to get a smooth texture. For the demonstration purpose, for this example, I'm only focusing on smooth and glossy texture. If you prefer, you can use technique to get rough texture. So experiment with different texture, whatever you prefer. Now, finally, adding the highlight on the top left side with the white. The highlight is in form of a dot and somewhat semicircular line, or you can see an exclamation mark. With these we had done with our first Mary. To make it more beautiful, you can use pencil to make the outline more clear, as well as add highlights and shadows in a better way. The white was not that visible. So here I go again. Adding the white on the top left side and the bottom right side for the highlight. Finally, adding the sad with a green. Adding the sado near the bottom right side. This is our first berry with a light side. Now moving onto the second one, for this one, I'll be using a little bit darker side, starting with the white to draw the outline for the berry. Once again, starting with the yellow. Adding the yellow on the upper side. Now instead of the light orange, I'm going in the carcass side of the orange, overlaying a little bit of orange on top of the yellow. And now finally going in with a red. Applying medium to heavy presser with it to blend the orange from the earlier. I'm leaving a little bit of a space. Finally going in with a brown. Applying presser to blend it with a red, overlaying the brown on top of the other color to blend it. Now going back with a darker set of orange or you can say red to blend all the colors together. For the upper section with a yellow, I'm applying light pressure. And with these we're almost with a rough coloring for the y for the final touches, adding a little bit of more dark brown near the bottom. And finally, for the upper section, for the highlighted portion, adding a little bit of light orange. Applying medium pressure to blend it with the other color. Lastly, let's add the highlight. Applying heavy pressure with the white to create the highlight in the form of an exclamation mark, white dot and a somewhat straight line. Now let's finalize it with the sido. Go in with a grain to add the sado. As you can see, it's comparatively darker to the first one, and the third one will be the darkest of all the three. Once again, starting with the white to draw the outline for the save. Adding a little bit of white for the top side. Now, directly starting with the red. Adding another state of red and blending it with the white from the outline and the white from the top. For the rest of the area, I'm adding black. You can use another variation of black, another variation of brown. But instead of this, I'm going in with a black to create a contrasting effect. Now overlaying a darker side of red on top of the black. Apply, have it to medium pressure to blend it. I was not satisfied with that blending, so I decided to add a bit of more black. Now, going back once again with a darker side of it to blend it completely. Now going in with a little bit of lighter send for the upper part. Redefining the shape of the berry a little bit with the color. And with this, we're almost done with this third one, now going in with a white. Adding a bit of white on the top to create somewhat reflecting surface. Now, applying heavy preserve with the white to create the high lights. To make it more realistic, you can add a little bit of white on the upper left side and the bottom right side. These are our three berries, but different sits. You can switch the color to get berries of any other color, the yellow, the blues, the red, the pink, or whatever color you prefer. This was just a demonstration to show you how you can get berries of different sits using different colors. Now moving on to the blue berries in the blacker. The shape is simple. Once again, starting with a simple save. The sap is simple, just like the cherry, starting with a circular save. Once again, for this one, I'll be swing you to different sides of the blueris. Apart from this, I'll be painting two berries side by side. I forgot to add the sum for the third one, going back in the grade to add the sido. Now moving back to our blueberries, adding a circle for the top. Now going in with a lighter side of purple. Blending the darker blue sit a little bit with a purple. As you can see, I'm extending the color from the center toward the outlines, so as to create an illusion of a downess of the blue merry. Here I'm applying medium pressure with a light purple to stretch the color, as well as to blend it with the outlines. Now, applying heavy pressure to create a smoother gradiation and a blending. These blue berries are very vibrant and dynamic in color. I love them. You can also experiment with different other stats. Instead of this blue and purple, you can combine mesenta pink as well as a little bit of red. In the same way you can use to create black berries and the resp bearing. The main difference will be. The sizes of the berries will be a little bit smaller as compared to this one. Also, I would like to mention. Since this is a demonstration venue, in the main project, we'll be drawing the berries in the cherries, smaller as compared to this one. So the minute details, the highlight in the shadows will be not that clear and visible. Now going back with the black for the center. Adding a little bit of black over the earlier outline and adding the black near the bottom right side for a side of a reason. To blend the black, I'm going back with a lighter side of purple, adding a little bit more purple near the center and blending it with the black a little bit. With these, we are done with a rough demonstration for our first blue bearing. If you prefer, you can go over the outlines once again. This was just a rough demonstration, moving on to the second one. This one is a little bit bigger. Starting with the outline for the shape of the blue Berry. This time, I'm using white for the center to sew you a different way to draw the blueberry. Now, surrounding the white with the blue from the outline, overlaying a little bit of blue on top of the white. Once again, going in with a lighter sad of purple. Finally, going in with a darker set of blue. Now let's blend all the colors today there. For this one, for the blending, this time, I am using the same lighter set of purple. Apply heavy pressure to blend the colors. I'm applying medium to high pressure with this light purp to gradually be the color and to create a grad in between the colors. Creating gradient and the transitions with the oil pastel is a little bit time consuming process. You have to be placent and focused to create smooth and amazing gradient. Applying medium to heavy pressure with the oil pastel to create the gradient. To make it more simpler, you can use. You can use the tools like blending stem, Q tip, or even your finger. Now going back with the darker side of the blue to give the definite s to the blue bearing, starting with the center. Now going over the outline with this darker blue. Since this dark blue is so bold, I am going back with a slight purple to blend it with the rest of the colors. And with these, we are done with our second example. If you prefer, you can use the pencil to make the shape of the blueberry more concise. And here goes our third and the final example of the blueberry. For this one, I'm starting with the darker side of blue to give the same to the blueberries. The one in the behind will be of the darker side and the one in the front will be of the lighter side. For this one, I'll be using a different color combination. Starting with a light purple. Moving on to the front one, leaving the leaving the space for the center, and now encircling the center with the light purple. Let's move on with the other color, going into the darker side of purple. Blending atle bit with the lighter purple. Now moving on to the front one. Finally, moving with another variation of the purple and filling the rest of the empty spaces of the blueberry with it. And the colors wherever required. Going back with the medium sight of the purple once again to blend it. Now let's blend all the colors. For this one once again, I'm using light purple. This time, I'm applying low to medium pressure to blend the colors. I'm simply overlaying the light purple on top of the other two variations of the purple. As you can see, I'm stretching the color out from the center toward the other outlines. Adding a little bit of more light purple on the top side, giving a definite shape to the blueberry with a slight purple. For the blueberry behind, I'm not applying that much light purple, so as to create stata region for that blueberry. Now, moving back with the blue for the center. Going over the outline with the blue. For the final touches, going over the outline with the dark blue to give it a definite shape. We are done with our two blue berries. I did not add the highlight of the shadows for any of the blue berries. Now going in with the white to add the highlights. The highlight for the second one, simple shape ao and somewhat semicircular line. Or you can say an exclamation mark for the highlight. Finally, going in with a gray to create the shadow. Um a little bit of color was smudged, so using the eraser to lighten the smudges. If the smudges are a little bit lighter, you can simply erase it with the eraser. Otherwise, it will become hard to erase it. To avoid this always used tissue paper plow your palm. Now, the spa ou for all the blueberries, I'm going in with the blending stem to blend the colors a bit, as well as to redefine the sep of the blueberries a bit. Creating definite and crisp outlines with oil pastel is a little bit challenging. So you can always experiment with colored pencil. You can even use crayons or you can use blending stem to redefine the outlines. There are many ways in which you can make the outlines more crisp and defined. Here, I am not focusing that much on the crispness of the outlines. Blending sets a b with the blending system. For more definite and defined shape, you can use colored pencil for the outline of the blueberries or any other berries or any other paintings. With these, we are done with our four blueberries. Finally, moving on to other variation of the berries using different shades of color. For this one, I'll be showing your example of yellow and two example of green ones with different variation and the shades of the colors. For this one, I'm starting with a yellow. Starting with the outline for the mary. Adding the yellow for the top left side, that's going in with light orange. And to blend those two color, I'm using once again the yellow. The blond have it to medium pressure with the yellow to blend it with the orange from earlier. Gradually blending the two colors together. Now going back with the orange to add a little bit more details. With these, we had done with a simple yellow berry. As you can see it was very simple. You can simply create barriers using two variations of the color or two sets of the color. Now moving on to another example. This time, I'm using greens. Starting with the outline. So by far, I believe you have got the idea how to draw the berries using two or three different sets of the color. The berries will be divided into two or three section. The one section will be of lighter color, the other will be of darker color, and in the middle, we'll be trying to create a gradient in between those two colors. For the highlight will be using white on one side, and for the shadows will be using gray or any other color. The shadows are optional. As for the darker reason, you can use brown black or depending upon the color, darker set of the color. Now blending the color for this very. To blend the color, I preferaly use lighter set of the color and apply medium to high pressure to blend them. For creating gradient and creating transition or blending the color. The presser play an important role. The medium and the heavy presser are generally used to create the gradient. And we use low pressure when we are using blending tools to blend the color. In case of heavy pressure, we apply a lot of presser to blend those two color and sometime to make the transition more smooth, we use white or any other lighter side of the color in between those two colors, and then reapply the color. Sometimes it become two or three layers of color to create gradient or transitions. So here is our rough example of green Barry. Now moving on to our final example for this one, I'll be using darker sets of the green. Starting with a dark green to draw the outline for the green bar, adding the darker green for the bottom right side. Now going into the light set of the green and filling the rest of the area. And now let's blend the colors. Overlaying the light green on top of the dark one so as to create gradient in between those two colors. I was not satisfied with the blending, so adding a little bit of more dark green. Now let's blend the colors, overlaying the light green on top of the dark one so as to create gradient in between those two colors. With these, we are almost done. Now let's add highlight for all the three berries. For this middle one, we don't require that much highlight because of the lighter side of the green. Lastly, let's add the shadows. Oh Lastly, adding the cater for the yellow one. It is advisable for you to use the darker set of that color to create the sad for this one, for this yellow one, you can use cer or Bncana. For the green one, you can use olive for the shadows. For the blue berries, you can use darker sets of blue, and for the cherries, you can use darker set of red or brown to create the sados. Now for the final touches, I'm going in with the blending stem to blend the colors together a little bit, as well as to provide a definite shape to the berries and a little bit more definition to the shadows. And with these, we had done with our berries. See you in the next video. 19. Part 3 b ( Leaves): Welcome to the second part. Once again, here are the four paintings that we'll be doing in this part. We'll be mainly focusing on the cherries, blue berries, as well as the leave. This one will be multilayer cake with the cherries. This one will be simple cake with the leaves. This one will be the three cake with different berries. And the last one, will be the four cakes with four different colored berries. So far we have covered the berries, now moving on to the leaves. Starting with the basic shapes for the leaf. Drawing leaf is very easy and simple. Here's the basic sketch for the leaf. For this video, we'll be only focusing on two types of the leaves, the very simple ones. For the leaves, primarily, you will need two or three different sits of the green. Here are all the sites of the green that is available with the llori oil pastel. You can use whatever greens you have with your oil pastel. It all depends upon your choice. Mostly, we'll be using two to three sits of the green. Primarily, a lighter set and a darker set, as well as a mid tone of the green. Generally, we will start with a darker tone of the green to draw the outline, as well as the mid ram and the veins for the leaf. Then we'll be going in with the lighter side of the green to fill the rest of the leaf, as well as blending a little bit of the green with the darker one. Or we'll be overlaying the lighter set on top of the darker set, and then blend those two colors a little bit. Apart from the green, you can use a little bit of yellow and the olives to. With this st of 48 color, I have six to eight green apart from the green, I'll be using a little bit of white and a few variations of the yellow. I'll also be using olive. So we have grass green, lemon green, jet green, turquoise green, dark green, yellow green, and a few more variations of the green. You don't need this much of green, can use two or three sets of the green to make the leaves. Also, for our main project, we'll not be making this much detailed leave. They will be simple and easy. No tiny or minute details as a shape in the sizes of the leaf will be comparatively smaller as compared to this demonstration video. Now, let's start with the first simple live sage. For this time, I'm using variation of the olives. So this is just a simple demonstration for the first leaf. Mostly the leaves will be multi layered and multicolor. We may have to go two or three times to get the color consistency right as well as til we get the desired effect. Filling a little bit of color inside the leaf. Now, going in with a lighter side of the green to fill the rest of the empty area, as well as to blend it with the earlier color. I'm applying medium pressure for the blending. And finally, going in with a darker side, adding a little bit of darker side for the bottom region. Now going back once again with a lighter green to blend the colors, applying medium to heavy pressure with it, to blend it with a darker side of the green. Redefining the shape of the leaf a little bit. Finally, going back once again with a dark green to add the mid rips and the veins for the leaf. I'll be keeping the shape and the structure of the leaf very simple, a simple shape, consisting of mid rip veins, and the stem for the leaf. We'll be only practicing single leaf or a pair of leaf. Here goes our second leaf, starting with the basic sketch for the leaf. This time, I'm using darker variation of the green, adding the mid rib and the veins. Going in with lighter side of the green. Filling this green in between the mid ribs. I'm applying medium pressure with this green to fill the color. Don't outate the darker side of the green while using this lighter side. Gradually blending the color with the lighter green. You are more than welcome to experiment with different sap and the sides, as well as the number of the leaf. But I'll be keeping the things simple here, a single leaf and a pair of two leaves. Finally, to give it more detail, adding a little bit of light green. Going back once again with a lighter variation of the green to blend all the colors. Finally, once again, going back with a dark green where we started and overlaying it on top of all the other color, as well as redefining the shape of the leaf and adding the mid rapes and the veins once again. Because of the lighter side of the green, we use and a little bit of more blending that smudged the veins and the mid rapes of the leaf and that made it not that clearly visible. To the third example. Once again, I'm using a side of olive defining the shape of the leaf as well as filling the inside. Choosing correct color for your project plays an important role. One tip I did like to give you. Mr. Alwy taste out the color on a scrap piece of paper. Here, I did not taste out the color, and some of the project, and some of the leaves did not turn out that well because I practice it on the white set. Now going in with a darker set of green to add the mid and the vein. But here, I use the black set. The texture of this black set is a little bit different from the white that I use. Some of the leaves did not turn out that well. You will see later on. No defining the seat of the leaf. If you prefer, you can add more details to it, but I'm leaving it as it is. Here's another variation of the leaf. For this leaf, I'll be using a scratching technique. Scratching a technique in which you use two or more layer, and you remove upper layer of the color. I am applying a thick layer of turquoise green for this layer. This is my base layer, turquoise green. Now going in with darker set of the olive overlaying it on top of this perquise green. I'm applying medium pressure to overlay it. You don't have to focus that much on the leaf, because in compared to the cakes in the slices, the leaves will be very small, so that much detail will not be visible. We'll be only making small leaves and the cherries and the berries for the cakes in the slices. All the tiny details will not be that visible. I would suggest to experiment a little bit of the leaves because the leaf that I've drawn here did not turn out that well. Going in once again with the turquoise to create the mid rifts in the veins. I said earlier that we'll be using the scratching technique, but you can make do with overlaying the color on top of it instead of using the scratching tools. Moving on to our fifth example, another variation of another variation of the leaf. So as I mentioned earlier, that for the leaf, I'll be using scratching technique, but I did not use. Here, I'll be using the scratching technique. For the scratching technique, you need two or three layers of the color. So starting with the primary layer. I decided to create a gradient with the primary layer. So I'll be using two or three color for this primary layer. And on top of that, I'll be adding another layer, and then on and then I'll be using a scratching tool to remove the upper layer of the color. For the gradient, I have already used the other color, a variation of the olive. Finally, going in with the lighter side of the green for the base layer, overlaying a little bit of this light green on top of the other colors. Now going in with darker side of the green. For this gleaf, I'm creating the gradient. That's why. I'm applying a little bit of more dark green. Now overlaying this dark green on top of all the other colors. To make this gradient for the base lier more smooth and consistent, you can use blending tool to blend the colors, or you can apply heavy pressure with the color to blend them together. But to keep things simple, I'm not blending them. I'm keeping the texture a little bit of. Lastly, adding a very dark side of the green for the bottom. Adding a little bit more dark green on the other side. Here we have mostly covered all the leaf with a dark green. Now, let's scratch the color to get the mid apes in the veins. You can use toothpick coin or any carts to create the scratching. Here I'm using a small blade to create the scratching in the form of med drips in the veins for the leaf. One mistake that I made here with the thickness of the med drops in the vein is that these are not that much thick. When you are making your med drops in the veins for the leaf, make it a little bit more thicker. The colors are not that visible because the gradient I created with the base layer is overpowered by the dark green I use on top of it. This was a mistake on my part. Now moving on to the last two example. For the last two example, I'll be creating a pair of leaves. I'll be following the same steps as I owed earlier with the other four leaves. Since I made a mistake with the earlier leaf, I decided to rectify it to make a better gradient with the base layer of the leave. One more point to keep in mind when you are using two or more contrasting color, pay attention if one color is overpowering other color. If that happens, if that happens, use the lighter side of the color for the darker one, and for the darker side of the color, if they are overpowering it, use a lighter sent to balance those two colors. It all comes to balancing and what you prefer. Experiment a bit with different tones. Now, going in with the darker shape of the green, to redefine the shape of the leaf, as well as to create the mid drip in the veins on top of the other colors. For the leaves, you may have to redefine the whole shape of the leaf, as well as to re add the mid drips in the vein a few time till you are satisfied with the desired outcome. This is our last example of the leaf, starting with drawing the skage for the leaf. For the leaves, you can aim for rough texture as well as smooth texture. You can make it small, big, you can create single leaf, a pair of leaf or more leaves. It all depends upon your choice. Play with the leaf and side of the leaf. You can create variation and gradient with the leaves. Also, you can play with the highlight in the sidos for the leaves. The combination of the leaves are endless. Try more variation of the leaf on your own. On tip I did like to give you. Always use a scrap paper to taste your color before adding it on the paper. As you can see, the second and the fourth leave did not turn out that well. But when I use this color combination on the white paper with a little bit different variation of the color, it turned out well. But here, the second, the third and the fourth leaves turned out a little bit bad. It's advisable for you to always use a scrap paper to taste your color. Now I'm going in with the turquoise green to add it over the lighter side of the all green. I did not cover the whole leaf, only a little bit on the lower portion. Now, adding a little bit of a darker side of the green, not overpowering the turquoise green, but only a little bit on top of it. For this second leaf, I'm adding a little bit more dark green. Add more green if you prefer. And with these, I'm done with the darker side of the green. Now, going in with the lighter side of the green to blend all these colors together, as well as to create med rips and the veins. Refining the seafood the leave with this lighter side of the yellow. Now, finally, adding the mid dips and the veins. Now, this is optional. I am going in with the blending system to rectify the leave a bit. Blending the dark green with the lighter side of the green to create a little bit of transition in between the colors. I'm applying pressure to blend the colors. Second, you can always use pencil to make the outline more Sark. As well as you can always use blending stem and other blending tools to create a beautiful gradient and color blending for your leaves or any other elements. Of all the leaves this wanted to be the worst. For the oil pastel, if you have not applied heavy crecer with it, there is always a possibility that you can rectify any mistakes. For the lighter side of the color, you can use the darker side of the color on top of it to make it less obvious, and for the darker side, you can add lighter side on top of it. In some cases, you can use blending tools to blend the colors. You can use pencil to make the outline more crisp and obvious. As for a little bit of mistake, you can use eraser. If you have not applied a thick layer of the oil pistil, Eason can remove a little bit of the oil pastel easily. Also to avoid smudging of the color, always use tissue paper under your palm and try to use brush to remove the oil pastel, also to avoid the smudging of the colors. With these, we are done with the leaves. See you in the next video. 20. Two Green Slices of Cake - Day 9: Welcome to the D nine. This is our second project of the Part third. Let's start with the basic pencil sketch for the sap of the slices. There will be two simple slices for this project. Now adding the sits in the base. For this project we'll be mainly using the lighter sits of the green. Moving on to sketching the other slice. Adding the sits in the bees for this one. For this project, I'll be only using five sides of the green, the light olive, the moss green, the grass green, the yellow green, and the lime green. You are more than welcome to experiment with other sides of the green or other variations of the colors. With these, we are done with the slices. Now moving on to the leaves. For this one we'll be not be eating any cherries or the berries. S f payer of leaves on and beside the slices. This project will be fairly simple and easy. To keep the protect simple and easy, I'm not making the leaves and the layers of the cake details, and just keeping it simple with a single layer cake and few pair of the leaves. Also, the sap and the side of the leaf are comparatively smaller and easy. With these, we are done with the basic pencil sketch, Lightening the pencil sketch. As I said earlier, I'm keeping this product simple, but you are more than welcome to experiment with vari pcs of the slices. Also, you can play with variations of the leaf. You can add other aliment cherries and the blue berries and the black marries. Now let's paint, starting with the light olive. For this product, I'll be mainly using variation of the olives and lighter state of the green. Starting with the light olive. Using the light lip to create a small and larger random dot for the sides of the slice. On top of the smaller and larger dots of light live, I'll be adding moss green dots. I'll be adding those moss green on top of this light live to create depth for the layers of the cake. Moving onto the other side with the light olive. Here we are using a stippling technique. You can always play with the shape in the site as well as the placement of the dots. The closer the dots are, the denser the color appear, the farther apart they are, the less denser the color appear. You are free to use any other color combination for this one. Adding a few more dots here and there wherever they. With this, we add with the light olive. Now going in with the mass green. Adding this mass green for the center. Adding this small screen for the center of the light lip dots, carefully creating small and medium sized dots with this small screen. As I mentioned earlier, this small screen dots on top of the light lap is to create a sns of depth for the layers. On top of these two dots, I'll be adding another st of light green, and I'll be blending this color in such a way that these two colors will be a little bit visible under that light side of the green. With these, we are done with the mask screen. Now, going in with the lime green. Starting with defining the sap of the slice by going over the pencil outline. Carefully defining the sap of the slice. Now, I'll be feeling the entire slice with the lime green. Starting with feeling the entire side with the lime green, partially blending the lime green with the light and the moss green. Apply low to medium pressure for the blending. Now moving onto the other side with the lime green. So as you can see, as I mentioned earlier, I am blending this lime green with the light green and the mass green. I am blending it in such a way that the other two colors that are underneath it clearly visible, creating a sense of depth, as well as a contrast in between the colors. And with these, we are done with this slice. Moving on to the front slice. Doing the same, that is, I'll be filling the entire slice with this lime green, applying medium clo pressure to blend the lime green with the light live in the mask green. Also, one more thing to pay attention, I'm blending the two colors in the circular motion, so as to avoid smudging of the colors further. I'm applying medium clo presser with it to blend the color so as to keep the two colors that are below it, the light live and the mask green intact and to create a sense of depth as well as a variation for the colors in the layers of the slice. Gradually moving towards the right and blending the colors. As you can see, even when I'm overlaying the colors on top of each other, the other colors that are below it is somewhat visible. This creating a unique texture for the slices. Gradually moving towards the right while failing and blending the colors with the lime green. I'm adding the colors in the circular motion so as to avoid further sumerging of the colors that are below it. To add the color variable required if you are not satisfied. With these, we are done with the sides of both the slices. Going back with the mas green for the top. Starting with filling the top lightly with there, applying low to medium pressure with this screen. With these who at with the ma screen for this slice, defining the outline with the screen. Adding the ma screen for the other slice. Defining the outline with the ma screen. Adding a little bit of more screen wherever required. I am adding this moss green in less quantity as it is a darker side of the color, and when I'll be adding other color on top of it, it will be clearly visible. With these, we add with the moss green. Going back with the light olive. Using this light olive to part blended the moss green for the top, applying medium placid to blend the two colors together. As to preserve the rough texture of the cake. As I mentioned earlier, the mos of darker sd and when blending with a light lif, the texture that is created by the combination of those two creates a very unique combination of the color. Also, the intensity of the moss green is somewhat visible. And with these we're almost done with the first slice. Moving on to the second slice. Doing the same, applying medium pressure to blend the two colors. For this slice, I'm aiming for a rough texture. If you prefer, you can apply heavy pressure with it to get a smooth and glossy texture. But here I'm applying medium plow pressure so as to get a ur. And with these, we are done with the light or live. Now going back with a mow screen to redefine the edges and the outline a little bit. Blending the edges a little bit with a lime green. With these, we are done with the slices, moving onto the leaves, starting with the grass green, using grass green to define the sap of the leaves. Defining the sap of all the pairs of the leave with this grass green. Oh. I decided to add two more leaves at the front. It is optional. If you prefer you can add it, or if you don't prefer, you can leave as it is. Also the leaf in the side as well as the color for the leaf is optional, whatever you prefer. If you want, you can add few more leaves, payer of leaf, single leaves, or other variations of the leaf. Also, as I mentioned earlier, you're free to experiment with all the project. You can add more elements like cherries, berries, blueberries, raspberries, or other elements. Here I am adding a few more leaves. As you can see, I'm keeping the leaf in the side of the leaf simple. Also, as compared to the demonstration video, the sizes of the leaf, as well as the details are much easier. Here I'm adding another two pair of extra leaves. Now, adding the mid rates and the veins for the leaves. And with these we're almost done here. Finally, going in with the yellow green for the insides of the leave. While lending the color for the inside of the leaf, they reach two way. First, you can blend the color with the meds, the veins, as well as the outlines of the leaf. The other is not to blend the colors at all. Here, I am blending a little bit of the colors with the outlines, as well as the mid drips in the veins. Later on, as the color will be blended, I have to redo the mid rapes in the vein, as well as redefine the side of the leaf. Filling the insides of this leave with this yellow creen, as well as blending it a little bit with the grass green. Don't worry if it becomes messy. As we will go back once again with the grass green. To redefine the shape as well as the mid rapes and the veins for the leaf. Gradually pining this yellow green for the rest of the leaf. To make thing more interesting, you can use a lighter state of the yellow for the leaves instead of this grass green instead of this yellow green. You can add a little bit. Also, you can add berries beside the leaves to make it more beautiful and more appealing. Continuing on with the rest of the leaf. Adding the green for the last pair of the leaves. With these, we are done with a yellow green. Now going back with a grass green, to redefine the edges and outline for the leaves. To get a smooth texture for the leave, we can use blending tools and blending techniques to blend the colors together. Then later on at the grass green or another variation of the darker side of the green for the mids and the veins, as well as the outlining of the leaves. With these, we are done with this project. You can add sad dose and the bees. These are optional. I'm keeping these projects simple and easy. That's why I'm not adding the sad dos bees or highlights. But if you prefer, you are more than welcome to add them. This one was fairly simple and easy project. See you in the next project. Hay painting. Oh. 21. Three Slices of Cake with Berries - Day 10: Welcome to the Tins project. This is the third video of the third part. We are progressing from one slice of the cake to the four slices of cake. In this one, we have three slices of the cake. Here I have already started with the basic pencil cake for the first slice. For this product, all the three slices will be narrow, one after the other. The s in the side of all the three slices will be the same. Now moving on to sketching the second slice of cake. The three slices of the cake will be in alignment one after the other, trying to skate the three slices of the cake in the same sap and the sage. You are free to experiment with the placement, as well as sap in the side of the slices of the cake. I'll be keeping the sap and size of the slices simple, as well as using simple color and simple technique for this project. Here, we'll be having three colored varies on top of each slices. So moving on to sketching the last slice. Starting the sketch with the top of the slice. Always use pencil lightly so that it will be easy to erase it. Here I made a little bit of mistake with the placement of the slice. Now going back once again to rectify it. Lightening the pencil mark. If you pay attention to the slices, the top of each slice is parallel to each other. It will help in sketching the slices, a little bit. Also make your attachment to your own painting wherever required. One easy way to draw the slices is to divide your paper into nine equal ves. The top left, the middle e, and the bottom right will contain the slices. It will become easier to sketch the slices in that manner. Now, that since the side of the first slice was a little bit small comparing to the other 21, so I'm going to increase the side a little bit. Also make your attachment to your own painting, wherever required. Increase or decrease the c or size of the slices, wherever required. Now I've almost done with the basic pencil skage for this project. Now, let's lighten the pencil skage. For this painting, we'll be using overlaying technique a lot for different layering and we'll be applying thick layer of colors to achieve smooth and glossy texture. Since this project will be multi colored and multi laid, one tip I did like to give you is to try the colors on your scrap paper so as to avoid mismatching of the color. If you are using the same colored paper, then it's okay. If you're using different colored paper, always use a scrap piece of paper to try out your colors. With these, we're almost done with lightening the pencil marks. Always try to use brush to remove the oil pastel or sits so as to avoid smudging of pencil or oil pastel colors. Now, let's paint. I'm starting with the blue for the blueberries. Since I am keeping this project simple, I'll be drawing the berries in a simpler way. I'll be using only two to three variations of the colt to draw and paint the blue berries and other different varies. So here's a simple outline of the blue berries, the darker variation of the blue colored. Here I have one, two, three, four, five, six, seven, and eight blueberries. If you prefer, you can add more blueberries. I'll be keeping it simple, more simpler than SI demonstrated in the example video. Now going in with lighter sad of blue for the blueberries, filling the entire blue berry with color. I'm applying heavy presser and blending a little bit of the outer edges with it. With the application of heavy presser with this lighter variation of the blue color. I am blending a little bit of color from the outlines of the blueberry, along with the inner dot that I created with the darker variation of the blue with this lighter variation of the blue. With this, we are done with the basic coloring for the blueberries. Moving on to the top of the slice. For this, I'm starting with a darker variation of the purple. Defining the edge of the slice. Adding a little bit of purple near the side, as well as some purple in between the blue berries. Now moving on to the base with the purple, outlining the base with this purple. Now, continuing forward with the Previnkle blue. Adding the prev blue for the base. I'm applying a thick layer of prevencle blue for the base, and I'm using heavy present to fill the color. Here I have added a thick layer of prevencle blue, now moving on to the top with the pernkle blue. Doing a same, applying a thick layer of Previnkle blue for the side. Apply heavy present with the perivenle blue. Now finally, adding the prevle blue for the top. Carefully adding the perivencle blue in between the blue berries. Apply. Have we proceed with the perivencal blue to get a smooth and uniform consistency for the top? And with this, you had done with the perinca blue for the top and the base. Now, going back with the lic to redefine the outlines a little bit. Using the to create some random dots for the middle layer. The seep in the side of the cerrandom dots are totally random. And with these, we had done with the lilac for the dots. Finally, going in with the salmon for the middle layer, starting with filling the salmon for the middle layer as well as blending it with the lilac from the earlier. Covering the entire middle of the slice with the salmon and applying medium to heavy pres with it to blend it with the lilac dots. Gradually moving towards the right with the salmon. Once again, I would like to remind the color and the choice for the text depends upon you. You're more than welcome to experiment on your own with different color combination, sinus, as well as various element for the ski and the slices. With these, we are done with the first lines. All the other slices, the second and the third one will be as easy as this first one. Were we going to the second one. For this one, we'll be having red berries. Choosing a scarlet to draw the outline for the red berries. Again, a Simonson, I'm keeping the berries simpler, far different from a side demonstrated in the example video, simple circular shape for the berries, and two or three different variation of the color to fill the inside. As for the number of berries on top of the slices, it will vary 7-9 or maybe 11. It also depend upon you. If you want to add more, you can add more. Now going in with the vermilion to fill the insides. Once again, as you can see, these are simpler berries as we learned from the example videos. Here, I'm using two to three color for the berries. You are more than welcome to experiment with a different color combination, or you can create more detailed and vibrant berries. Since both the variation of the red appear exactly like the same, so I decided to add a little bit of brown to it. We are done with the berries. Now going with the car mine for outlining the top, the side, and the base. Instead of using this carmine to do the outlining, you can use other variation of the brown bond Cana or bound number two, so as to avoid all the colors looking exactly like the same. Outlining the base with the carmine. With these, we are done with the carmine for outlining. Now going in with a scarlet. Now going in with the scarlet to fill the inside of the carmine outlines of the base. Now moving on to the side with this car mine. Applying a thick layer of car mine by applying heavy placer to get a smooth and uniform consistency of the colors. Now for that top, since all color will look exactly same, so I decided to add a little bit of variation by using brown. Adding a little bit of brown by applying medium pressure. Adding a little bit of brown for the side as well. The moving on to the top with the scarlet. Blending it with the brown. The reason why I use brown is to create differentiation between the top as well as the red berries. Otherwise, they will all look the same. Now you can clearly see. There is a bit of differentiation in between the berries as well as the top of the slice. But that variation is still very subtle, so I decided to add a little bit more brown for the berries to make it more bold. And with these, we are almost done with the red berries. With these, we are done with the top in the piece. Now going into the carmine for the middle, adding the random strokes of carmine in the middle, just like we did earlier, for the first one. This time, I'm creating again the random strokes. But this time I'm using the carmine. Going in with the salmon for the middle. For all the three slices and the common part is, the middle one, for all of them, I'll be using salmon for the middle part. Doing exactly the same, applying heavy presser with the salmon to blend the color, as well as gradually moving toward the right while filling the rest of the middle layer. Applying heavy pressure with the salment, to blend it with the car mine. Using this salment to fill the middle layer as well as to blend it gradually moving towards the right with the salment. S. And with these, we are done with the second slice. Moving on to the third one. For this one, we'll be having green berries. Starting with the mas green for outlining the berries. Adding a little bit of mass green for the insights as well. Now going in with the yellow for the insides. Filling the li ello for the inside as well as blending it with the mass green ale bit. I'm applying heavy pressure with it to blend it with the outline of the berries as well as to blender dot that I created earlier with it. Going in with emeral create more contrast for the green berries, starting with outlining the top of the slide. To create more contrast in between the green berries and the rest of the slice. Filling a little bit of emerald green for the top, outlining the base with an emerald green. Adding a little bit of emerald green for the base as well. Now let's fill the insides. Filling the insides with the olive yellow, starting with the bees, applying a thick layer of live to blend it with emerald green and to get a uniform and thick consistency of the color for the smooth and glossy like texture. Moving on to the top with the olive yellow. Applying heavy placer to blend the two colors. Olive yellow for the top, carefully adding it in between the green berries. Try to avoid blending this color with the outline of the berries, carefully adding a thickly air of the color near the sides. Now adding another layer of color on top of it wherever required so as to get a smooth and uniform consistency of the color for the top. And with these, we are done with the top and the base with this olive yellow. Now for the middle layer, like the earlier two, I'll be creating random dots. This time, I'm using light olive to create those random strokes or random dots. Creating random dots with this light lif, and finally, going in with the salmon. As I said earlier, the common part for all these three slices of the case, the middle one, for all of these, using salmon to blend the colors in the middle. Using this salment to fill the middle layer as well as to blend it with the light olive. Plying heavy pressure with the salmon to blend it with the light olive. And with this, we are done with the third slice. Now going with the white to add the highlight for the berries, adding the highlight for the blue berries. Moving onto the red berries. A simple dot with the white will do the work for the highlight. And now adding the highlight for the green berries. Since we are keeping this project simple, only a simple tt will do the work for the highlight. And with these, we are done with the white for the highlights. Now going in with the brown for the base. This is optional. If you prefer, you can leave it as it is, or you can use gray or any other color to create shadows instead of the base. Adding the brown beside the beast and the edges of the slice. You can leave as it is, but I am going in with my finger to blend the color. Now going in with my finger to blend the color. I'm using my finger to create the blurring effect with this brown for the wise of the slices. Once again, I would like to remind in case of blurring, we apply heavy pressure with the finger to blur the color. The heat from our finger to blurs the color. With this, we are almost done with the blurring the color for the base of the slices. If you're not satisfied with it, you can add base or other layer of the color to make it more satisfying. And with these, we are done with a tenth to check. I was not satisfied with the pase, so I decided to add a little bit of green and white for the base and then blended it with my finger. Here's the final painting. See you in the next video with the fourth and the final part of the th part. Where we'll be having four slices of the cake. 22. Four Slices of Cake with Berries - Day 11: Welcome to the day and the 11th project. This is the fourth in the final painting of the third part. Were we'll be painting four slices of the cake. So far, we have progressed from one slice of the cake to the two slice, then to the three slice, and here, finally, we have four slices of the cake. Since here we'll be having four slices, this will take more time as compared to all the other one, as well as it is more detailed as compared to the other ones, so it will be more time consuming. So here I have already started with the basic pencil sge. These are the front two slices. I'll be adding the other two slices just behind these. This project consists of four slices of the cake with four different berries. Blue berries, green colored berries, red berries, and yellow colored berries. To keep it more simple, I'll be only using nine colors for it. Since we are aiming for simplicity of this project, the berries will be simpler also for the berries, I'll be mainly using two to three colors, and add a little dot for the high lights. As for the top, I'll be using a combination of white along with the gray. As for the texture of the top, I'll be creating smooth and glossy like texture and create a gradient in between the gray and the white. Apart from the top and the bottom, there will be three layers in the middle. And as for the texture of the layers, there will be rough in the texture. For the upper two layers of the middle layer, I using the same color combination, and for the middle layer, I'll be using the color that I used for outlining the berries. Now moving on to sketching the two slices at the back. To make the sketch simple, I decided to draw a semicircular arc. There is a one mistake that I did, which I did not recognize until later. As you can see, the slices that I have created in here, the sizes of the slices are a little bit different. Aim for the identical spin side for the slices. As you can see the four slices somewhat meager as compared to all the other three. To rectify it later on, I added more berries on top of it. When you are sketching, pick close attention to the sizes of the slices. Oh. With these, we are done with a up skate for this force slices. You can make adjustment with the safe and side of the slices. Now let's lighten the pencil marks. Always use pencil lightly so that it will be easier to erase. Lightly erasing the pencil marks. To make it easier to lighten the pencil mark instead of the normal eraser, you can use needed eraser. Now let's clear that dust. I always tried to use the brut to remove the oil pastel dust or the pencil raised dust, as to avoid, as to avoid smudging of the color or the pencil marks. Now let's paint. Starting with the grain, to go over the outlines. Adding the outline for the side. Adding the outline for the base. Basically, I'll be going over the outline of the top and the base with this gray. Now moving on to the base with a gray, to go over the outline. Adding a little bit of gray for the side. Now moving on to the top with the grain to add a little bit of gray. Doing the same for the base, a little bit of gray. Now, let's fill the color. For this, I'm going in in the white to blend it with the gray. Applying heavy pressure with the white to uniformly blend it with the gray. I'm applying heavy pressure with this white to blend it with the gray to create a gradiation in between the white and the gray. This part will remain the same for all the three slices, the combination of the gray and white for the top and the base. Since we are aiming for glossy taxi uniformity is required, that's why you're applying heavy pressure with the white to blend it with the cream. Also, you can see, I'm adding the color in the circular motion so as to get a greater blending. I fully adding the white near the edge of the slice, Ping onto the side in the white, doing the same, applying heavy to medium pressure with the white, to blend it with a gray, so as to get a uniform and smooth consistency of the color, completely filling the side with this white. As sequence, the outline from the gray is clearly visible. That was the main aim for using the gray for the outlining. Finally, moving to the base with the white, doing the same, applying heavy pressed with the white to blend it to the gray, and to create a gradient in between those two colors, as well as to get a smooth and uniform consistency of the color. This part will remain the same for all the three slices, the combination of the gray and the white for the top and the base. Now, let's add the ries. For the berries, I'm starting with the spire blue for the blueberries. Starting with defining the outline for the blueberries. As I mentioned earlier, that I'll be keeping this project simple. That's why I'm going in with a simpler way to create the berries. For the berries, I'll be only using two to three colors to create the berries. If you prefer you can make it more detailed. Now going into the light purple. Filling the inside of the blue berry with the slight purple. Blending the light purple a little bit with the spire blue. I am filling the slight purple inside the blue berry in the circular motion, so as to get a uniform consistency of the color by applying thick and heavy pressure. What I mean to say is I'm applying heavy pressure with the slight purple in the circular motion, so as to get a uniform consistency of the color as well as to blend it to the perimeter of the blue berries. By blending this color in the circular motion, the color from the outlines of the blue beery is also blended with the color in the inside. Us creating a little bit of gradient in between the outline as well as the inside of the blue beery. Going over once again with a light purpo get a thick consistency of the color. With this, we are done with the light purple. Going back with the ceph blue to redefine some sections of the outlines and to make the outline more crisp and detailed. Now moving onto the middle layer, it will consist of three layers. The upper and the bottom layer will be the same. Adding the cephal blue random dots for both the upper and the bottom layer. The dots are barely small inside. You're more than welcome to play with the site as well as the placement of the dots. Now, going in with the salmon pink, to blend it with the cepile blue. I'm applying heavy pressure with the salmon pink to bland it with the cephal blue. The aim is to get a smooth and uniform consistency of the color. Gradually moving towards the right with the salmon pink. Moving on to the fourth layer with the salmon pink, doing the same, applying heavy pressure with it to blend it with the spire blue dots from the earlier. Gradually moving towards the right with the salmon pink. Now let's color the middle layer, starting with the ceph blue dots. This time, the side of the dot are a little bit bigger and they are farther away from each other. Now going in with the light purple. Once again, I'm applying heavy pressure with the s light purple to blend it with the cephal blue. For the middle layer, I'm aiming for rough texture. I'm using a sip technique. With this, we are almost done with our first slice. Go over once again with the light purple. Adding a little bit of light purple where they are required, and with this, we are done with our first simple slice. Now moving on to the second slice. All the slices in this project will be just like this. Now, once again, starting with a grain to go over the outline. Now adding a little bit of gray for the top. Adding the gray for the base layer. With this, we are done with the gray. Now going in with the white, doing the same, applying heavy present with the white to blend it with the gray, to get a smooth and uniform consistency, as well as to get a gradient from the white to the gray and once again to the white. What I mean to say from gray to white, and then once again to the gray. The dal layer for the second and third slices are not that visible. Later on, I'll be adding a combination of the salmon pink along with the outline color of the berry for the second and the third slice. Carefully applying heavy pressure with the white near the edge so as to maintain the sartness of the edge. Adding the white for the side. No adding more white ever required, til I am satisfied with the consistency of the color. Moving onto the base, overlaying this white on top of the gray. And with the qua done with the top and the base. Now, let's add the berries. For this one, we'll be having green berries. Starting with the olive to outline this green berries. For this green berries, I am using pastel sates. If you prefer, you can use another sets of the green to create the berries. For most of the slices, I'll be adding seven to nine berries. The same side in the number of the berries depends upon you. If you prefer, you can add more berries or less berries. Here we have one, two, three, four, five, six. Let's add one more berries. Now we have one, two, three, four, five, six, and seven berries. If you prefer, you can add more. Adding a litle bit of olive for the inside of the berry as well. Now going in with the paler side of the green to fill the inside of the green berries. I am adding this green in the circular motion so as to blend it with the outline of the olive. Carefully filling the inside with this pale version of the green. I am applying heavy present to get a smooth and uniform consistency for this green berries. And we are almost done with the insides. With this, we are done with the green varies. As you can see, I have not added the color for the middle layer, I'll be adding the colors later on. Here I have already started with the third one. Like the earlier one, I have already outlined the top with a gray. For the side, I am only adding in this much of gray as it will be hidden behind the fourth slice. Adding the gray for the base. Now let at the white. Go in with the white, starting with the top, applying heavy pressure with the white to blended with the gray. The aim is to achieve a smooth and uniform consistency, as well as to create a gradient in between the gray and the white, the gradient from the gray to white. Then once again from white to the gray. Adding the white carefully for the other side. And finally, moving on with the white for the base. Removing the oil past dust, always remove the oil past dust so as to avoid smug. Lastly, adding the white for the base layer. Let's add the berries. For this one, we'll be having red berries. Starting with the outlines. To make it more interesting and appealing, you can add leaps to the marries. This is optional. I'm not adding the leap so as to keep the project simple. Adding a little bit of brown for the insides. Now going into the vermin to fill the insides. Filling the ariman for the insides and blending it with the brown and a little bit of the carbine from the outlines. Once again, I'm filling the color in the circular way, so as to blend it with the outline. Applying heavy pressure with the color so as to get smooth and uniform and consistent blending. Adding the color for the last berry. And with these, we are run with the red berries for the third slice. Finally, moving on to the fourth slice. Now, here we are with a mistake slice. As you can see, the side is comparatively bigger compared to the other three slices. Continuing with the gray to add the outline for the base layer. Adding a little bit of gray for the side. Adding the gray for the base layer. Finally, going back once again with the white to create the gradient and to get a smooth and uniform consistency for the top. Gradually moving downward with this white by applying press to get a smooth and uniform consistency of the color for the top. With this, we are done with the top with the white, now moving on to the side with the white, doing exactly the same, applying heavy pressed with the white for blending. Go over the outline of the gray with the white, so as to subdue the gray a bit. Now lastly, moving on to the base layer with the white. Once again, applying heavy press, so as to get a uniform and consistent blending of the colors. With this, we are done with the top and the base layer now for the berries. Starting with the orange for the outlines. For this one, since the side is a little bit bigger, we have one, two, three, four, five, six, seven, eight, and nine berries. Let's add one more. Adding a little bit of orange for the inside. God in with the yellow. Adding the yellow for the insides of the berries. Once again, I'm filling the yellow in circular mozin, so as to blend it with the outline of the berries. In this way, I'm blending this yellow with the circular.in the inside of the berry, as well as the orange from the outlines. Filling the last two berries with this yellow. With these, we are done with a yellow. Like the first one, the slices will also consist of three layers. Removing the past. Now let's add the layers, starting with the orange. The first and the third layer will be the same. For this, I'm using orange dots. Now, using the same color, the salmon to blend it with the orange. Here I'm aiming for the rough texture, so I'm using a stippling technique with the salmon to blend it with the orange. Here I'm partially blending it with the org. We are not aiming for the complete blending of the color, only partial blending so as to retain the rough texture of the colors. With these, we are done with the top layer now moving onto the base layer. Doing exactly the same, using the sipling technique to blend it with the orne by using the salmon pink. Add more salmon pink wherever required. If you are not satisfied, like here, I am not satisfied, so I'm adding a little bit more salmon pink. With these, we are done with the salmon pink for the top and the base. Now for the middle layer. Once again, using the same org, the dots are a little bit bigger and more far apart. Like the berries, I'm using the same yellow. Using the stripling technique to blend it with orange. This time the stippling dots are a little bit bigger. Gradually, moving towards the right with this yellow and partially blending it. Sorry, I was unable to record this part, but it's clear what I did. I just kept on partially blending the yellow with the rest of the orange dot. And for the base, I used brown and used blurring technique with my finger to get the base. And for the middle layer for the second and the third one, I add a little bit of green and red for the middle layer and then blended it with the salmon pink. Here, I am using white to add the highlights, and with these, you had done with our fourth project of the third part. Now let's unmask our final painting. See you in the next video with the P four. 23. Part 4 Ice-cream : Welcome to the Pat four. Here we have two painting. On top of those two, there will be ice cream. Let's start with our four part ice cream. So in this demonstration video, I'll be showing you two examples of the ice cream that you can draw easily with the oil pastel. Let's start. This time, I'm using brown colored paper for the drawing. Always use a scrap paper to taste out your color before before applying it on the paper. So the basic safe for the ice cream will be simple, a circular or an oval safe for the ice cream, and a little bit of ice cream drippings. This demonstration will be a little bit tricker as compared to our main project, for our main project we'll be drawing simpler variations of the ice cream. But here, I'm making it a little bit advanced and a little bit more complex. For this one, I'll be creating a blue colored ice cream. With these, we are done with our first sketch, a simpler variation for the ice cream. Here I'm starting with a darker variation of the blue to do the outlining of the ice cream. For the ice cream, I'll be using two or three variations of the color to create it. I'll be starting basically with a darker variation of the color or a darker side of the color to do the outlining, and then add a little bit of the color for the insides to create regions of shadow and darkness. For this one, I'll be using two variation of the blue to create the ice cream. This one is a darker variation that I started with. Now going in with a lighter side of the blue. I'm adding this just beside the darker variation of the blue and overlaying a little bit of this color on top of it. The reason I'm using two variation of the blue is to create gradient for the ice cream, as there will be variation in between the lightness and the darkness for the ice cream. Now, adding this lighter variation of the blue for the ice cream drippings, doing exactly the same, a little bit on top of the darker variation of the blue, as well as a little bit here and there. You are free to experiment with different variation of the color or different states of the blue. But for this one, I'm using the blue. And now going in with a white. Applying heavy pressure with the white to blend the two colors together. Here, I'm applying heavy pressure in the circular mousel so as to get a better blending of the color and to get a smooth and uniform consistency of the colors. Now this looks more like ice cream. Now you can clearly see the gradient is created in between the darker variation of the blue and the lighter variation along with the white. Gradually covering the entire upper part of the ice cream with the white. The places where I added a little bit more blue is more darker in tone as compared to other places. Also, since I'm applying the color and circular motion, the shape of the ice cream is not that, but it appears a little bit of three. It's providing depth for the ice cream. Now let's add the white for the ice cream drippings, carefully adding the white for it. Applying medium to heavy pressure with the white to blend all three colors together. Now this looks more like ice cream. Gradually filling rest of the ice cream with the white. I always prefer to blend the colors using circular mose so as to get a greater blending for the colors. This is just the first layer of the coloring, so we'll be multilate and multicolored ice cream, so we may have to go back and forth a few times. Now, add the white wherever required. When we apply heavy pressure with the oil pastel, a lot of oil pastel dust are generated. Always remove the oil past adt so as to avoid smudging of the colors. Removing the oil pastel d. Always remove the oil past adt so as to avoid smudging of the colors. Now going in in the white to add the highlight for the ice cream drippings here and there. I am mainly focusing on the sidelines of the ice cream to add the highlights with the white. Going back with a darker variation of the blue to create some darker regions for the ice cream. Go back with the white to subdue the blue a little bit and to make the ice cream more consistent. With these, we are almost done with the ice cream at the colors where they required. Here, once again, I'm going back with the blue to redefine the shape of the ice cream a little bit. You can always use pencil or blending stem to get a definite and crisp outline for your paintings. Going back once again with a white to subdue the intensity of the blue a bit for the outlines. And with these, we are done with our first example for the blue ice cream. Now, moving on to the second example. For this one, I decided to create three ice cream. So you can say three different flavor of the ice cream. Adding the last ice cream ball beside this two. Now let's sketch the ice cream drippings. Adding the piece for the ice cream. Make adjustment wherever required with your sketch. With these, I'm almost done with the basic sketch for this painting. Oh. Once again, always use pencil lightly so that it will be easier to remove it. Now let's paint the ice creams. For this first one, I'll be using variation of pink and magenta. Go over the outline with this magenta, adding a little bit for the inside in the form in the form of jag streaks. Now moving on to the second one. How about green color. I'm starting with a turquoise green, going over the outline. Now adding the three ji jag streaks for it. Lastly, let's do a chocolate flavor ice cream. Go with the burnt timber. Instead of this burnt timber, you can use burned Siana or even darker variation of the olive. Sketching out the guideline for that drippings. Oh, I forgot to add the ice cream drippings for the second one. Creating the ice cream drippings with the turquoise green. Go over the outline with the turquoise green. Now let's paint our ice creams. Go in with the lighter variation of the pink for the first one. For this one, I'm using technique for now. Here I'm applying medium to heavy pressure with it to blend these two colors. Here I'm aiming for Du texture. That's why I'm applying medium to heavy pressure and using a stifling technique to create the rough texter for the ice cream. As you can see, the darker variation of the color that we used earlier is quite visible underneath the secondary layer of the color for the ice cream. I'll be doing the same for the other two ice creams. Now moving on to the second one, I decided the amount of turquoise green that I use was not spent, adding a bit more turquoise green to increase its intensity. Now, going in with a jet green. Once again, I'm applying medium to heavy pressure with it and using the sling technique to cover it to cover the turquoise green as well as to do a partial blending of the colors. By overlaying this jet green on top of the turquoise green from the earlier. Now moving on to the ice cream drippings. Carefully adding this inside the ice cream drippings, as well as partially blending it with the turquoise green from earlier. With these, we are almost done with a dead green. At the colorway required. With these, we are finished with our second one. Now moving on to the third and the last one, the chocolate flavored ice cream. I decided to increase the intensity of the dark brown. Adding a little bit of more dark brown streaks here and there for the ice cream. You can add more if you prefer. Now, now going in with the burn Cana. Once again, I'm applying medium to heavy pressure with it and overlaying it on top of the dark brown that we used earlier. A Sally blending these two colors together by using a stripling technique. This burn Cana is overpowering the dark brown that we used earlier. If you prefer, you can add a little bit of more dark brown. If you're not satisfied, you can add a little bit of dark brown to compensate for it. Now let's finish our ice cream. Now going in with a darker variation of the olive for the second ice cream, adding a little bit of live here and there spacey on top of the turquoise green that we used earlier. This is to create more variation for the ice cream, as well as to create a contrasting view for it. Now let's finish our ice cream. For the first one, once again, I am going back with the darker variation of the pink, that is mesent adding a little bit on the top right side. And for the chocolate flavored one, I'm going back with a darker variation of the brown and adding it here and there a little bit, pasily near the ice cream drippings. Adding a little bit for the top side with this dark brown. Now let's complete our painting. For the first one, I'm going back with a pink to blend the color, a little bit more. And with these we had done with our pink ice cream. Going in with the jet green to blend the live, and the turquoise a little bit by using the stipl technique and applying heavy to medium pressure to overlay it and partially blend those two colors. Finally, moving on to the third and the final one, going in with the bn sana to blend us two colors. And with these we're done with the basic coloring of our three flavored ice cream. Now going in with the white to add the highlights. I'll be adding the highlight specially on the ice cream drippings, and a little bit on the top side, starting with the chocolate clad one, carefully overlaying this white on top of the burnt senna to create the highlight for the ice cream. Now moving on to the second one, doing the same, overlaying this white on top of the green to create the highlight. Adding few more streaks of white on top of the brown to create the highlight. Apply heavy press with the white to create the highlight. Lastly, moving on to the pink ice cream with the white. With these, we are done with the second example for the ice cream. This is optional. I am going to create the base for the ice cream. For this first one, I decided to create a brown and cer colored base, starting with a darker variation of the brown, creating a bit of random dots with it. Adding a few more dots here and there. The side is small and they are closer to each other. Now going in with a skin tone. Sorry, I didn't occur earlier, but this is a skin tone, using the stippling. Once again, using a stippling technique to create the bees for this ice cream. This time the dots are comparatively bigger, as well as we are very closer to each other, overlaying it on top of the brown and covering the brown with it. You can clearly see a little bit of a resemblance of the brown creating variation for the base. Add the color wherever required. With these, we had done with the skin tone. Now for the bottom, going back with the brown and adding the bottom with this brown. Carefully adding it in between the ice cream drippings, I decided it to thicken the bottom a little bit. Once again, going back with a skin tone to blend these two colors together, so as to create a little bit of gradient in between them too. As to create a little bit of gradient. With these we had done with the base for this blow ice cream. Now let's add the sado going in with the gray to create the sado applying medium to heavy pressure with the gray to create the cado for it. And with these, our first Ice cream is fin is for the second one, I decided to create a cream colored base for it, starting with the burn Siena. Adding redo stock to burn Siena for the base. The side is comparably bigger. You can add more streaks if you prefer. Now going in with the darker side of the brown, overlaying it on top of the brown. No covering the entire burned siana. Only overlaying a little bit of brown on top of it. Now going in with another variation of the skin tone. Once again, I'm using a stil technique, and I'll be overlaying this skin tone on top of the burned siana, as well as the brown we used earlier. Carefully adding it in between the ice cream drippings. I'm applying medium to heavy presser with it to cover both the color by overlaying this skin tone on top of the burned CN and the brown. With these you are done with the skin tone under the green ice cream, now moving on to the chocolate. Now moving on to the chocolate flavored ice cream with this sch tone. Blending these two colors together by overlaying it on top of the burned CN and the brown, applying medium to heavy presser with it. Defining the outline for the bees with a little bit. Carefully adding it in between the ice cream drippings, overlaying this on top of the burned Can and the brown by applying medium to heavy pressure it. With these, we're almost done with the skin tone. Now, add the skin tone variable required. A variable the intensity of the burned CN and the brown is a bit. And with these, we are almost done with it. Now, let's add the sados for it, going in with the grade to create the sados. Applying medium to heavy pressure with the grade to create the sados. And with the, we are done with the example for the ice cream. Let's unmask cover painting. See you in the next video, Happy painting. 24. Blueberry and Cherry Ice-cream cake - Day 12: Welcome to the date 12 and a 12th project. Here we have another project with the ice cream. This is another simple project with the ice cream. This time, there are two scoops of the ice cream, one on the top and the other on the side. The one on the top is with a single theory, and the other on the side is with few blue berries. The slice itself is quite simple, adding the site for the slice. Make adjustment whereever required. You can experiment with the stop in the side of the slice, as well as you can make it smaller, if you think it's too big. And with this, we are almost in with the basic pencil sketch for the slice. This time, the side of the slice is comparatively bigger as compared to the other slices that we have painted earlier. Now let's sketch the guidelines for the ice cream, the one on the top. Starting with the pencil sk for the one on the top. Starting with a rough overal s for the icecream. Later on, we'll be sketching out the guidelines for the ice cream drippings. With this, we are done with a rough pencil ska for the top. Now moving on to the side. Srting with a rough sap for the ice cream and val scape. With this, we are almost with a rough ska for the second ice cream. Now moving on to the first one once again. Make adjustment required. To add the cherries on the top, a small circle for the cherry. Adding the stem for the cherry. Now moving on to one at the base, adding few sketches for the blue berries. Make adjustment whereever required. With this, we are done with the basic pencil sketch. Now let's lighten the pencil sketch. Go over the pencil sketch with the eraser to lighten it. Now, let's paint, starting with a gray. Going over the outline of the ice scream with a gray Go over the outline of the ice cream with the gray following the sep of the ice cream. Adding few strokes of gray inside the ice cream drippings. I'm using this gray to create variation for the ice cream. As on top of it, I'll be adding white. You can add more strokes of the gray if you prefer. This is to create a gradient in between the white and the gray as well as to create regions of highlight and s for the ice cream. Going over the cherries outlined with this mine. Back with the grid to surround the R mine. Adding a little bit of random strokes of the grid the inside of the ice screen. With these, I'm almost in with the gre for now. Now going in with the white, applying heavy pressure with the white to blend it carefully. Applying heavy pressure with the white to blend it with a gray. Once again, I am blending these two colors in circular mosle, so as to get a better blending of the color, as well as to provide depth and dimension to the painting. Blending in this way, provide depth and dimension to the painting, as it provides a little bit of third dimension to the painting. Ply adding the white near the ice cream drippings, so as to avoid going over the outlines. Carefully adding the white near the cherry. Oh. Fully heading the white near the ice cream drippings, so as to avoid going over the outlines. Carefully defining the outline for the ice cream drippings with this white. Now going over the top in the white to redefine the outline, for the ice cream a. Now going in with the brush to remove the excess oil past dust. Once again, going back with the white, to go over the outline and to better define the outline for the ice cream. Carefully defining the outline for the ice cream drippings with this white. Now going over the top in the white, to redefine the outline for the ice cream ale bit. And the white required till you are satisfied with the consistency and uniformity of the color, as well as the gradient in between the grey and the white. I'm adding more white, so as to get better uniform, so as to get better consistency and the uniformity of the color for the ice cream. Now going in with the brush to remove the excess oil past dust. And with these, you had done with the basic coloring for this ice cream. Going back with the gray to go over the outline of the top of the slice. I'm applying medium pressure with the gray to do the outline. Adding a little bit of gray beside the ice cream, filling some more gray for the corner of the slice. Now let's color the top. For this, I'm starting with the sky blue. I am applying heavy pressure with the sky blue to fill the top. Once again, I'm using circular motion to blend the color. Blending the sky blue with agree from the earlier in the circular motion. I'm applying heavy pressure with the sky blue to blend these two colors together. Careful carefully adding the sky blue near the ice scream drippings as well as the ice scream. Now moving onto the other side of the sky blue, carefully adding it near the ice cream. Moving onto the corner and applying heavy pressure with the sky blue to blend it with a gray from earlier. Carefully filling the blue for this side. Now redefining the shape of the slice with the sky blue. And with these, we are done with the sky blue for now. As you can see the places where I used gray, there is a gradient in between the sky blue and the gray. Going back with the white to redefine the shape of the ice cream a bit as it was blended a bit with the sky blue from the earlier. Moving onto the second ice cream scoop, starting with the cobalt blue, going over the pencil outline. Leaving this spice untouched for the blue berries. This is the place where I'll be adding the blue berries. T on with going over the outline with this cobalt blue. Now let's add a little bit of cobalt blue. For the inside of the ice cream, the reason is same. This C blue will create variation for the ice cream as well as it will help in creating gradient. With this, we add with the Cobe blue, going back with the sky blue or the ice cream. Adding the sky blue for the inside. Overlaying the sky blue on top of the cobalt blue a bit. Ilying medium to heavy pressure with it to blend it a little bit on top of the cobalt blue from earlier. Overlaying it on top of the covet blue strokes from earlier. Now going over the outline with this sky blue, giving more definite shape to the ice cream with this sky blue. With these, we are done with the sky blue. Finally, going in with the white to blend all these colors together. Blending the white in circular motion so as to get a better blending of the color as well as to give depth and dimension to the painting. Gradually moving towards the right with the white while blending the two colors together. Gradually moving towards the right with the white while blending the two colors together. Carefully adding the white near the region where I'll be adding blue berries later on. Moving onto the other side with the white, adding the white at the base. Applying heavy pressure with the white to blend it with the covet blue and the sky blue. You can see we have creative very beautiful regions of the white in between the blues, and with the with the white. Now let's move on to the blueberries. Starting with the procin blue to define the shape of the blueberry. I decened to add one blue berry here adding Cbt blue for the inside. Now continuing for with the light purple. Adding the light purple for the inside, blending the slight purple with the protein blue from the earlier. Once again, I'm blending this two color in a circular motion so as to blend the protein blue from the outline a little bit with the slight purple. Adding the purple for the inside and blending it with a Cbt blue dot. With this, we are done with the light purple. Now going back with a little bit of cobalt blue, finally redefining the shape of the blue berries with this prosen blue. Go over the light purple with this bin to redefine the outline for the blue berry as well as to give a depth to the painting. Now continuing followed with the light purple, adding the light purple for the inside, the slight purple with the procin blue from the earlier. With these, we are done with a light purple. Adding a little bit of procin blue again for the outline. With these, we had done with the blue berries. Now moving onto the cherry, starting with a golden yellow, now blending this yellow, with the mion, going in the ermion. I'll adding more colors for the cherry. Later on, give it more definite shape in side, as well as dimension to the cherry. Moving onto the rest of the slice, now let's color the slice, starting with a brown, going over the outline with this brown, defining the layers with the brown. Now for the bottom layer, adding random strokes of brown near at the bottom. With this, we had with the brown, now going in with the oranges yellow. This is the same orange yellow that we used earlier. Applying heavy pressure with the orange yellow to blend it with the brown. This time, I'm not aiming for uniform smooth texture. Here, I'm trying to create a little bit of gradient in between the orange yellow and the brown from the earlier. Gradually moving towards the right with this nous yellow, applying heavy pressure to blend it with the brown. W these were almost t with the renos yellow, add more neo yellow where required till you are satisfied with the result. With this, we are done with the nous yellow. Now moving on to the upper layer. This time, I'm starting with a cobalt blue, adding medium sized random strokes with this cobalt blue throughout this layer. I'm applying heavy pressure with this cobalt blue to create this strokes. You can play with the sap and side of the strokes. Instead of this random strokes, you can create random dots. With this, we are done with the cobalt blue strokes. Now going in with the salment to blend it with a cobalt blue. I'm applying heavy pressure with the salmon to blend it with a cobalt blue. Carefully adding it near the ice stream. Filling the rest of the layer with the salmon. Applying heavy pressed with the salmon to blend it with them blue. Carefully adding the salmon near the ice scream. Applying heavy presses with the salmon to blend it with the blue. Moving onto the other side of the salmon. Once again, carefully adding it near the ice cream, as well as try to preserve the difference in between the layer. Applying heavy pressure with the salmon to blend it with the blue. Adding a little bit of more salmon vary we required, and with this, we are almost done with the salmon. Maintaining the sep of the slice with the salmon. With this, we are done with this layer. Moving back to the cherry, adding the stem with the moss stream, blending the base a little bit. Adding a little bit of light olive for the stem to give it more variation. Since we applied heavy pressure with all these colors, a lot of oil piston dt was accumulated, removing the oil past dust. Adding a little bit of more salmon to redefine the shape of the slice, as well as adding a little bit near the ice cream. And with this b with the salmon, now let's add the base. I'm starting with a brown. Adding a little bit of brown near the base of the slice. Now I'm going in with my finger to blur the brown. Applying heavy pressor with my finger to blur this brown and to create blurring effect. And with these, we are done here. Carefully adding this down near the base of the ice cream. I decided to cover the entire base with a brown, so adding more brown here. Adding more brown near the base of the ice cream. Now let's blur the color. Applying heavy pressure with my finger to blur the color for the base. Moving onto the other side. Once again, applying heavy presse with my finger to blood the color. With these, we are almost done with a brown for the base. With this, we are done with the base, adding final touches for the cherries. Go in with a little bit of olive brown for the stem, a little bit of or the outline, with these, we are done with this project. I forgot to add the highlight for the cherry. Later on, I added white for the highlight for the cherries, and with these, we are done with this project, Sam in the next part. Happy painting. 25. Red Velvet Ice-cream Slice - Day 13: Welcome to the date 12th. And the 12th project. Here we have ice cream red velvet cake. This is another simple one. Let's start with the basic pencil sketch for this project. Starting with the basic rectangular s for the front of the slice. Now, sketching the triangular scape for the top of the slice. Once again, I would like to remind you you are free to experiment with the sp and the side of the slice. I decided to increase the size of the slice a little bit. Always use your pencil lightly so that it will be easier to lighten the pencil marks. With this, we are done with the basic pencil skch for the slice. Now let's lighten the pencil marks. Go in with the breast to remove the erase so as to avoid the smudging of the little bit of the pencil sketch that is still visible. Now, let's sketch the guidelines for the ice cream, starting with the val save for the top of the ice cream. Now roughly sketching the ice cream drippings. This one is a fairly easy one. We'll be using smooth lending for the ice cream. The rest of the slice is fairly easy. F the ice cream on the top, we'll be using salmon pink and white only. With this, we are done with the rough sketch for the ice cream. Let's lighten the pencil marks. Since this is a multiclored and multi lad project, we'll have to go back and forth a few times. And with this, we are done with a basic pencil sketch. Now let's paint, starting with the white. Go over the pencil outline of the ice cream with this white. I'm applying heavy prec with the white to go over the pencil outline. Defining the rest of the outline with the white. And with these, we are done with the white foot outlining. Now going over the outline of the slice with the white. Once again, once again, I'm applying heavy pressure with the white. Defining the rest of the outline with the white. With this, we are done with a white foot outlining. Now going in with the brown, adding a little bit of brown for the top. Using this brown to create by reason for the top, carefully adding it at the ice cream. With this, we are done with a brown, going in with a scarlet, completely filling the top with the scarlet. I'm applying heavy pressure with the scarlet and I'm blending it with a brown. Overlaying this scarlet on top of the brown and applying heavy pressure with this, I'm blending it. Redefining the shape of the slice a little bit with this scarlet. Carefully adding it in between the ice cream droppings. Adding a thick layer of m on top of the brown. Redefining the shape of the slice a little bit with this scarlet. With this, we are done with the scarlet for the top. Moving onto the side, starting with a gray, I'm using a lighter variation of the gray, creating a little bit of random streaks of the gray for the top, creating more random strokes with the gray near the top, and with this, we are done with the gray. Now going in with the orange yellow. I'm applying medium to heavy presser with this orange yellow, overlaying this orange yellow on top of the gray to blend it. Defining the outline for the layer with this orne yellow. Now filling this entire layer with this oranges yellow. I'm applying medium to heavy pressure with this oranges yellow and using stippling technique to fill this layer, overlaying this orange yellow on top of the g to blend it to blend it pars. Carefully adding this oranges yellow near the ice cream drippings. Partially overlaying and blending the orange yellow with the gray. Now moving on to the base layer. For the base layer, I'm starting with the brown, going over the outline with the brown, as well as creating random strokes for the layer. These are random strokes. I am adding a little bit of more strokes near the edges. I'm using this brown to create a variation for the base layer of the slice. Adding a little bit of more brown near the corner of the base. This brown will be used to create a gradient later on. With these, we are done with the brown for now. Now going in the car mine. Overlaying this car mine on top of the brown, but overlaying this on top of the brown, I am blending it a bit with the brown, as well as creating a little bit of gradient in between the colors. Since this is red velvet cake, that's why I'm using variation of the as well as the brown. Overlaying this car mine on top of them brown. So I'm applying medium to heavy pressure with this car mine to overlay it on top of them brown. With these, we are done with a scarlet for the base layer. Finally, going in with the scarlet to fill the entire layer. Partially overlaying this on top of the carmine and the brown. Applying medium to heavy pressure with this to blend it with the other two colors and to create a gradient in between those two colors. As you can see, we have preserved the rough for the slice. If you prefer you can apply heavy pressure with it to blend the colors. Also, you can use blending tools to blend the colors to get a smooth and consistent uniform consistency for the base layers and other layers too. And with these, we had done with the basic coloring for the slice. Let's move on to the ice cream, starting with adding random streaks of salmon pink near the outline and a little bit for the center. Adding more strokes of salmon pink for the bottom. Now carefully adding the random strokes of salmon pink for the ice cream drippings. R Moving on to the ice cream drippings with the salmon pink. Going over the outline of the white with the salmon pink. With these, we are done with the salmon pink for now. Now going in with the white. Blending the white with the salmon pink. I'm applying heavy pressure with the white to blend it with the salmon pink. Carefully blending the white at the outlines of the ice cream. Once again, I'm blending the colors in the circular moz so as to get a bitter blending as well as to get depth and dimension to this ice cream. Now moving onto the ice cream drippings with the white, applying heavy pressure with it to blend it with a salmon pink. Once again, I am blending these two colors in the circular motions so as to get a better blending of the color, as well as to get depth and dimension to these ice cream drippings also. Removing the oil paste d so as to avoid smudging of the color. Try to use tissue paper below your palm to avoid smudging of the color. I always forget to use the tissue paper beneath my palm to avoid smudging of the color. Now, going back once again with the white over the top axon to create more fluffiness for the ice cream, applying heavy pressure with white once again to blend the colors. This region was a little bit light, so I decided to add a little bit of more salmon. Going back with the white once again to add more highlight for the ice cream drippings, as well as adding some more white for the upper section of the ice cream. Adding the highlight for the top with the white. Blending the ice cream a little bit with the scar late. Carefully adding a thick layer of this red color in between the ice cream drippings, as well as defining the seat of the ice cream dripping with the alp of this red color. Adding this red color on the other side as well. I'm overlaying a little bit of this light on top of the ice cream. Go back with a white to add more highlight. Adding a little bit of white for the ice cream. To increase the contrast in between the ice cream and the rest of the slice, I decided to add a little bit of more white. Now adding the final touches for the slice. Adding a little bit of oranges yellow for the side. Now adding a little bit of a scarlet for the base to get a good definition for the base of the slice. Now moving on to the base, starting with a gray. D Now, going into the brown, adding a little bit of it and overlaying it on top of the gray. Finally, going into the white, doing the same thing, overlaying a little bit of white on top of the brown. Now let's blend the colors together to get the base for the ice cream flies. I'm using my finger to blend the color also to get blurring effect for the base. The heat from your fingertips blend the color, as well as provide blurring effect. Gradually moving from left to right to blend the color. Now moving downward to blend the color to c a blurring effect for the base. And with the, you are done with the base for the slide. At the color pear required for the finishing touches. I'm adding a little bit of or in s for the upper layer. At the color v required until you are satisfied with your painting. And with this, we are done with this project. Let's unmask our red velvet slides with the ice scream. See you in the next video. Happy painting.