Transcripts
1. Introduction: Hi everyone, My name is Mia and today I'm going
to show you how I paint these thumbprint cookies with a jar of jam on the side. In this class, I'll
be taking you through all the process of how I
created this painting. Right from the very beginning, I'll show you my
thumbnail sketches that I create for the
ideation process. And then I'll take you through the reference images that
I took inspiration from. After that, I'm going to show you how I sketch
it from scratch. Then of course, I'll
take you through the painting method
step-by-step. If you don't feel like
sketching out the outline and you want to jump
straight into painting. I will leave the
outline for you to download in the projects
and resources section. I've divided this class into very short lessons in the hopes that it's much less intimidating
to follow along to. This way. I feel like it's a bit easier to go back
into painting if you decided to do this over a
couple of days or even more. So you can really fit this
into your own schedule. This painting, despite
the details and how it looks as actually
quite simple to paint. However, because
there are a lot of elements going on in
this one painting, it will take a fair amount
of time to complete. In terms of levels, I would say that this is more in the hard side
if you're a beginner. But if you're an
intermediate painter, I would say this
is quite simple. But just to be on the safe side, I would just classify this officially as for
intermediate levels. If you're a beginner though, and if you would like
to give this a go, I will be taking you
through the steps slowly. So hopefully you guys will still have a good time painting along. Just like all my other classes. I will be speeding through
the footage very slowly. And I will also make
cuts along the way if my hand is either inactive or off the cameras just
to get the class going. If you've never taken
any of my class before, I would suggest for you to watch the whole class just to see the flow of things and
you know what to expect. And if you're ready
to follow along, I would suggest for you to watch each lesson prior to painting
along with those steps. So you know what's going to
happen within those lessons. And you can pause
in-between each step. This way you can paint at your own pace without the
feeling of being rushed. So if this sounds like something you would like to
paint a long tube, come join me in this
class and let's begin.
2. Supplies: Here are the tools
that I'll be using for this painting in this class. Firstly, this is the paper
that I'll be using this as a Strathmore 500 hot pressed. I have mine cut
down to this size, which comes down to be 16
centimeters by 19 centimeters. And because I've cut it down, I will have a scrap
piece of paper here. And I'm going to be using
that to swatch my colors. If I need to check the
colors that I have on my brush before applying
it on my actual painting. When your swatching your colors, it's always best to use the exact same paper that you're using for the final painting. Because different paper reacts differently and when
your swatching, you do want to get the most accurate visualization
of the color that you're going to apply to
your actual painting. Next here are the brushes
that I'll be using. I'll be using two brushes. One is a size two George yarn, and the other one is
by an expression, and it's a size 0. They're both synthetic
nylon brushes. And like I always say, synthetic brushes are more
or less the same across different brands
because it's made out of the same material. The thing that would vary across different brands are probably the length of the bristles
and also the size. So depending on the
brands that you get, size two might be bigger
or smaller than this, which is why I always
recommend for you to find the right brush size according to the size
of your final painting. Now, depending on
where you live, you will have access
to different brands. These two brands are easily
available where I am, which is in Indonesia. And I basically just got
these from an online shop. Depending on where you're from, these brands might be hard to find or might be a
bit more costly. And the same goes for me
if I buy brands which are quite rare to
find where I reside. I've also used brands
like Reeves and lira, which I think is a bit
more international. And they work just fine. They have the same
feel and snap to them. So just as a tip, there's really no need to go
out of your way and spend more money to get the exact same brand as
what I'm using here, unless you really want to. The best thing is to always work with what
you have on hand. Next, here are the colors
that I'll be using, but I will go into
more detail at the end of this
video so I can show you the exact same
colors and brands. Like all my other paintings. I always use this old
plastic watercolor palette that I got from Die ISO. People always ask
me why my paint doesn't bead on my plastic
watercolor palette. And the answer to that
is just simply because it's old and I've used
it for a long time. So it probably has really
small micro scratches on the surface which
keeps the paint in place. If beating really
bothers you though, I would recommend for you
to use a porcelain palette or just a white porcelain plate free to mix your colors in. But anyway, moving on, I will also be using this
clean jar to hold my water. And of course, this
is very important, but I always have tissue
right next to me. So I can dab the
excess paint or water off my brush and order for me
to control the brush load. For the sketching portion, I'll be using two pencils, one HB and this
other one to six B. I'll use the HB to plan out the rough placement of each element that I'm
going to include. Then I'll go over
the light sketch using a soft dark pencil to make a cleaner outline with more details
with the six B. I'm only using six B because
this is what I have on hand. But a to B I find would
be a bit easier to use because it is a bit
lighter and easier to erase. For the eraser,
I'll be using boxy. This is my favorite eraser. It raises really
well and easily. I know some people like to use kneadable eraser
is too personally, I don't like them because
I haven't found one which can erase and clean
the pencil marks wall. But it's completely up to you. Use whatever you're comfortable with and what you have on hand. You resize my paper. I will use a box cutter
or utility knife. You can also use scissors
if you would like, but I just prefer the knife
because it's more accurate. And of course, in order to
measure out your paper, you will also need a ruler. Lastly, I'll also be
using a hairdryer. This is optional, but I
personally like to make the drying process much quicker so I can layer
on more paint quickly. Now onto the colors,
I'll be using. Permanent yellow
deep by Holbein, titanium gold ocher
by sphincter, Quinn's sienna by Daniel Smith. Quinn read by Daniel Smith. Crimson lake by Holbein. Paints gray bluish by Schwinger, ultramarine deep by Holbein, Buff Titanium by Daniel Smith. And I'll also be using bleed proof white by Dr. Ph Martin's. So those are the tools. I'll also leave a list here for you to screenshot
if you need to.
3. Planning: This is my pH of
ideation where I look at different references and I tried to draw out
my own version. I made thumbnail
sketches and try to figure out which one is
suitable for the class. After I've chosen one, then I tried to develop
the idea further. I had an idea of maybe using an antique spoon as a secondary decorative
element instead of the jar. And I thought that
it would just be fun to incorporate different styles
of design for the spoon. So I actually tried this
out on procreate so I can play with the layers and
see which one works better. Personally in terms
of composition, I feel like the spoon
would look better because it'll have more of a
triangular composition. But once I tried out
the color on Procreate, the jar of jam looks
more interesting with the glow effect that
I was planning on to do. This is why I just stuck
with the original idea. I also had the idea of
maybe combining the two. However, I feel like the
class would be too long. And I just felt like the
drawing portion will also be a little bit
too complicated. So I kept it simple
for this one. Once I finalize this idea, I made a quick and loose
painting to figure out the colors and mixes I want
to use for this painting. I also tried to figure out
the lighting and values. I didn't really like how the cast shadows underneath
the cookies ended up looking. And I also felt like the
bottom needs something more. So I was thinking of adding a napkin or
something like that. Adding the element
of a napkin is something that I'm
quite comfortable with. So I'm just going to go
straight to sketching.
4. References: Before we start, let me just show you the reference images which inspired me to
create this composition. Firstly, is the stack
of thumbprint cookies. I really like how the
light reflects on the jam. And I also like the composition, but I want to make my
cookies a bit fatter. So I'm not going
to do for stacks instead I'm going to do three
stacks with one standing. Next is this image. I love how the gem
looks on this one. And I love the fact that it
has acute cover for the lid. So I'm going to try
to pair this up with the thumbprint cookies with
these two images in mind, I'm still going to try to
create my own composition. And I'm also not going
to copy it straight off, but I'm going to create
my own shapes instead. I'm going to leave
these references along with the outline
and the projects and resources section for
you to download in case you want to print it out and
have it right next to you. I will also leave the
original links with images.
5. Base Sketch: So let's begin sketch. I'm going to start by
using my HB pencil. And I want to sort
of visualize in my mind first where I want
to place the elements. I first started out by
painting one of the cookies. This is the very top one. I'm using this as sort of like an anchor point for the
rest of the composition. And I know I want the jam to be placed slightly higher
in relation to the cookie. And I'm just going to
see how this develops. Meanwhile, before continuing on, I also want to
figure out the space on the left side and right
side of this composition. I'm keeping in mind
that the jar of jam will be circular and the longest diameter will reach further than the lid that I
just sketched out earlier. Before continuing
on with the sketch, I want to visualize
it in my head. And if I feel like I've placed
the cookie too far left, the top of the lid to far right. This is the time to shift it before drawing
anything further. I'm taking such a long time just to sketch these two shapes because these will
be the factors which helps the
illustration stay center. And by being mindful now and not continuing
with the sketch, reduces time wastage because we're not drawing out
the full composition. Then realizing
afterwards, we need to shift everything to the
left or to the right. So from here on, I'm just going to continue because I'm pretty happy
with the placement. I'm starting with the lid. I'm just bringing
it downwards into this sort of like around
the trapezium shape. While doing this, I'm imagining the actual
shape of the lid, which is more cylindrical
or a flat cylinder. But because I want to place
this material over it, I still want to have
that cylindrical form to give weight and body
to this flat sketch. Notice that I'm also keeping the shapes very
simple at this point. And I'm also sketching
very lightly. So I don't dig into my paper. Before I draw the jar, I want to make sure it's
connected to the lid. So I'm still imagining
where the neck of the jar is before
during out the circle. And because this is supposed
to stand flat on a surface, I want to make sure
that the bottom of the circle is fairly flat. When I'm drawing out the jar, I make sure that the
curved lines go over the cookie this way the curves
all align with each other. I'm also going to use this
exact same trick by going over the line and drawing out the full shape for
the next cookie, I'm just making another
oval right underneath. This way the base shape
won't be wonky and it will keep its
weight and form. Drawing it out
straight underneath. I want a shifted more to
the left just to make the composition look a little bit more organic and imperfect. So here I'm just slowly
nudging the shape. When I'm doing corrections, I always make sure to erase. After I've made the corrections. This way, I won't draw
on the exact same place. I'm going to move on
to the third cookie now following the same method, I'm drawing over all the lines that I've previously drawn out. And for this one,
I'm going to shift the position slightly
to the right. Once I have the cookie stack, I just want to make sure I
like how the ovals look. For this one, I'm
just going to correct the shapes so the left edge
doesn't look too chunky. Then I'm going to move on to
draw out the fourth cookie, which is going to
be standing and leaning on the stack of cookies. I'm going to stick
with the oval shape. But this time I
tried to visualize that leaning sort of diagonally. If this is a bit difficult
for you to draw, you can rotate your paper
in order for you to create a straight
oval diagonally. Or you can draw a diagonal line and the angle where
you want the cookie to lean and use that diagonal line as the center point
of your oval. Here, I was still trying to salvage the original
composition, so I tried drawing out the
placement of the cast shadow. But this is something
that I'm going to change in the next lesson. Anyway, getting back
to the sketch now, I'm just going to erase all
the unwanted lines so I can draw on where the well-off
gem is going to be placed. Once the space is clean, I'm going to draw
the curved lines to create the wells
on these cookies. I like to create a double
curved line for the top section because I want to
create some depth for the wells and
asked for the bottom. I'm going to draw
the curve lines slightly larger than
the one at the top. So it looks more
three-dimensional. I'm going to do the same for
the cookies at the bottom, but only a slight bit of the
well as peeking through. I'm going to do the same for the leaning cookie
where the curved line closer to us as wider than
the curve further away. But this time it will look
a bit more circular in comparison to the ones which are stacked on
top of each other, because the top of the cookie is now facing closer towards us. From here on, I'm
going to adjust the size of each feature so it has better relation with
the rest of the composition. Like here I feel like
the wells need to be smaller so the
cookies look thicker. At the same time, I also tried to create imperfections
on the cookies. So some parts of the
cookies might be thicker than other parts
and things like that. This is just to help make the
cookies look more handmade. Next, I want to draw
out a wiggly lines for the material
covering the lid. And this can be quite random. I like to play
with the height as well as how much curvature
there is to this. And then I'm going to direct those curved lines towards the lid to create the
folks on the material.
6. Cleaning Outline: Now that we have a pretty good
base sketch to work with, I'm going to use this to
create the actual outline. I'm using my six B pencil here. I want to make sure that my pencil is
not completely dull, as long as it's relatively
sharp, It's okay. This really helps
with the accuracy. Personally, I would
actually prefer to use my usual mechanical
Tooby pencil. But since this is
the only one that I have access to at this moment, I'm sticking with this one. So here as you can see, I'm just following
the base sketch to create textures
around the cookie. I'm also making
intentional deep cracks, but I'm going to limit this so the cookie doesn't
look too dry. Notice that when I'm
drawing out the cracks, I am following the contour
lines and this will help create the round
form of the cookie. Now, let me just elaborate on what a cross contour line is. It's basically
imaginary lines which follows the form of
the subject itself. Those are the lines which
will help with the form. And you want to
always have that in mind while painting
something three-dimensional. So to bring this
across your painting, I personally like
to create cracks or additional texture following
the cross contour lines. To keep the sketch and the
painting looking organic, I also want to vary
the shape and the size of the cracks and
the types of cracks. So if this is something
that you find a little bit difficult to imagine or
you're running out of ideas. You can also go back to the
original reference image or even look for your
own reference images to help you with some ideas. And some cases, if you're
only thinking about the cross contour lines in mind while creating this cracks. It can sort of look like a pattern and it no
longer looks organic. So as an example here, the shape is a little
bit too obvious, so I erased it and I decided to create a diagonal crack instead. Here I'm just going to sketch out the final outline
for this cookie. This is where I will
start to draw the napkin. I'm switching back to my HB pencil again just so I
can map out the placement. And here I'm just drawing out the napkin at a slight angle. This way, the composition becomes longer on the left side, which I intend to do, because I want to exaggerate the overall diagonal composition while drawing out the napkin. I also want to take into
consideration how it folds. So I'm just making a
couple of folded layers. At the same time, I want to
create weight to the cookies. So here you can see me adding creases to
the napkin as well. Once I'm done with
the base sketch, I'm just going to outline
it using my six B pencil. I'm just going to
clean up the lines and also define more off the
creases on the fault. So it's easier for
me to paint on. Here. I decided to just draw
another napkin underneath. I already knew what the draw, so I just did a straight
with my six feet pencil. And this is to basically
complement the color and the design of the firstname
for the painting later on. Next, I'm going to
draw the creases for the material on the limb. Just like the faults
that I created earlier, I made this quite randomly. But you can also use
the reference image to help you with the type of
shape it might present. The ideas more or less the same as how I made the creases. For the bottom part of the
material under the lid. I just made random
curved or wavy lines. And then I follow
it up by creating lines directed towards
the tightest part of the material or the lid. Those lines sometimes
I like to create loops as well as more
triangular lines. This way you create
different types of faults that will
look more organic. I want to create some form
of thickness to the jar, which is why I'm doubling
up on the line here. Next, I'm going to draw
on the cast shadows. This is just to
indicate the placement. As I paint later on, I find that I easily get
overboard with cash shadow. Sometimes I paint on
more than I should. So it really helps me out sketch the outline of the cast shadow. Just like the base sketch. Once I'm done, I want to look at the overall outline and
fix certain areas again, just to clean up
the shapes further. Before I start painting, I also want to make sure that
the lines are quite light. So I'm going to be tapping on the dark lines with my
eraser to lighten the lines. This is where a
lot of people like to use kneadable erasers. But for me I find that
using this regular eraser, especially the specific one, is enough for me because the kneadable
eraser is that I've used so far always end up
smudging my sketches instead. This is personal, but
if you're used to using a kneadable eraser
and it works for you. Then you can go
ahead and do that. In the next lesson,
we'll start to paint. But you might notice that my outline is
slightly different. That's because when I started painting using this outline, I forgot to press
the record button. I started again. I just basically traced from
this outlines of paint, but that's something that
you don't need to do. But I need to dress it in case any of you are wondering
why they're different. I need to also mention
that the outline will be available in the projects
and resources section for you to download. If you don't want to
sketch your own outline.
7. Cookie Stack: Base Colour: We're finally ready to paint. I'm going to start by painting
the cookie stack first. I'm going to paint
the base color by using a mix of titanium, gold, ocher, permanent yellow deep, and a little bit
of Quincy Hannah, I want to mix quite a bit of
paint on my palette so I can get easy access since
there's going to be a lot to paint using this color. I'm using a medium
and watery load here to paint the top section
of the cookie first. And as you can see, I've left out a portion
right at the bottom. That's where I'm going
to use the Quinn sienna. I want a bit of light source
which comes from the back. So this part right here
would be in slight shadow, which is why I'm painting it using a slightly darker color. And I'm doing this while the top section is still
a little bit damp. I'm just going to let the
paint travel naturally. And as for the rest
of the base color, I'm just going to use
the first mixture from permanent yellow deep
and titanium gold ocher. As I'm painting the base, I'm already thinking off the
texture that I'm creating. As you can see, I'm
not doing big washes. Instead I'm using the tip of my brush to create
small brushstrokes. Even though the wet areas
will blend into each other. By using the tip of my brush, I'm leaving out small
white negative space. And that will help with the overall texture
of this painting. While doing this, of course, I still want to keep in mind the cross contour lines
as I'm painting this. So even the small brush strokes
that I'm making sort of more or less follow the
curvature of the cookies. The bottom here, as you can see, I just use the Quinn sienna. This is because I want the
bottom to be slightly darker. And as I move upwards, I'm going to shift to the
initial base color again. And I'm going to do the same
for this last section here. Next, I'm going to create a
mute shadow color for this, I use Quinn sienna
with ultramarine deep, and I'm going to add a bit of titanium
gold ocher as well. Well, the surface is still cool to the touch
and slightly damp. I'm just going to add on
this color very lightly for some of the cracks and the bottom section
of the cookie. Because this color
is quite muted, I also want to increase
the saturation so I add more Quincy Anna, if some part of the base
color has already dried out, like this part that I'm
painting right here. I would then follow
it up with a clean, damp brush to blend it with
the rest off the base color. But while doing this, I would still follow
the brush strokes that I'm making to
create the texture. Here, I'm just going
to mix a bit more of that darker color
for easy access. But to start out, I'm
going to begin with the first mix from permanent yellow deep
and titanium gold ocher. And because I want to darken
the second cookie slightly, I added a bit more Quincy hana. On the right-hand side here, I use a slightly thicker
consistency mix. And I also use the mixture with a bit more Quinn sienna
and the ratio because I want this area to be
darker since it's slightly covered by the cookie which
is leaning towards them. For some of the cracks, I decided to use the
muted brown mix and I'm just going to dot it on while the surface is
still slightly damp. So this is just going
to be a subtle change. Next I'm going to add
more Quinn sienna into the yellow mixture. And I'm going to
use this to paint the bottom part because the base color has already
dried off completely, I'm going to use a clean, damp brush to soften the blend. So the change will
be much more subtle than this and the color will
also be slightly lighter. Over on the right-hand side, I want to add more
Quincy piano into the dark mixture to make the
color a bit more saturated. I'm going to place this
on the top right corner, as well as the side which is facing towards us for
that middle cookie. I'm just going to repeat the
steps for the third cookie. So here I'm using the same mix from permanent yellow,
deep titanium, gold ocher with a little
bit of Quincy Anna, as you can see on my palette
as I'm mixing my paints, there are areas with
different ratios. So at the bottom you'll see the paint mixture with
more Quincy Anna, where's the top has more of the titanium gold ocher with
the permanent yellow deep. Though at the same time,
somewhere in the middle, I've mixed those two colors. This way I have easy access
to the different ratios. Just like the previous cookie. On this right-hand side, I use a bit more of the Quincy
Anna to darken the color. Once I have a pretty
good coverage, I'm going to start adding
the darker browns. So this is the dark brown mix. But if I ever want to make the color a
bit more saturated, I would add more Quincy
Anna in the mix. Here I'm adding the darker brown on top of the cookies
because I feel like the top section would
be somewhat covered by the cookie directly
on top of them. However, I'm going
to do less of this for the middle cookie
because the cookie at the top is shifted
slightly to the right and comparison to the
cookie at the bottom, which is a bit more covered
by the cookie in the middle. It's not too visible now, but this is something
that I'm going to slowly build up as I paint
the jam later on too.
8. Cookie Stack: Texture: In this lesson, I'll be
adding on the textures on top of the cookies that
we already painted. I'm starting out with the
top cookie where I use the yellow mixture from permanent yellow deep
and titanium gold ocher. And to increase the value
four parts off the cracks. I'd like to also add on a
little bit of Quincy piano. As for the cookie at the bottom, because this will
be a slight shadow. I'm using the dark brown mix. This is from Quinn, sienna and ultramarine deep with a tiny bit off
titanium gold ocher. For some of the
more subtle cracks, I like to paint it very delicately with the
tip of my brush. I'm also going to
do the same for the last cookie at
the bottom here. I don't know if you've noticed, but if I make larger
cracks or larger textures, I tend to use a slightly
thinner consistency. So the cracks are, the textures does not
look as distinct. Here since I made a few cracks, I decided to go over the colors again by using the yellow mix, but in a very thin
consistency as sort of like a glaze to soften the cracks
that I initially painted. Generally I love painting on details like
cracks and textures. But if you overdo them in food, especially in baked goods, it can make them
look a bit more dry than you want them
to and unappetizing. So I try to still be
subtle about them. At the top here I
decided to increase the saturation for
the lighter area. I glazed over the yellow mix from permanent yellow deep
with titanium gold ocher. This time without any
Quincy Anna at all. After the light glaze on
the bottom cookie is dry. I'm going to go back in to add more of the
textures again. You can see that the color
I'm placing here is quite dark in comparison to
the rest of the cookie. But it's okay because
I'm going to smudge the rest of the paint as
additional shadow as well.
9. Standing Cookie: Base Colour: In this lesson,
I'm going to paint the base color of
the standing cookie. I'm starting with a
light yellow mix here. And as you can see
as I'm painting, I'm still thinking about
the cross contour lines. For some of the larger cracks. Sometimes I like to add a bit
of Quincy Anna in the mix. And I painted on with
the darker color. You can see a very
exaggerated contrast here. But to soften it, I like to take the excess
paint and I spread it around that area so it
softens the blend slightly. If the darker colors sort
of scares you because the difference in contrast
can be quite jarring. Sometimes you can also use a slightly thicker consistency off the same exact base color, which is what I'm doing here. And the cracks can be
larger this way because the color difference is
quite subtle. This way. It also gives me a guideline
and more space for mistakes because I can always layer on
the darker colors later on. If not, I'll leave it as is and it won't be too distracting. So here I'm just going
to basically continue painting the rest off the
base color of the cookie.
10. Standing Cookie: Texture: Now I'm going to work
on the darker colors or the darker values like here
underneath the cookie. And at the same time, I'm also going to
add small textures and parts that I've
already indicated earlier. After layering on the yellow, I want to start to build
the value up slowly. Here I'm adding a
very thin consistency off the dark brown mixture. I'm slowly building up
on subtle textures, as well as increasing the
saturation and color. Though here after applying a
thin consistency of paint, I went on and clean my
brush and then use a clean, damp brush to soften the blend while still creating
the same brush strokes. So I can get those
light, subtle textures. On top of the jam here
where the well is. I'm also going to add
the yellow color, since it's slightly hidden
from direct light source. While the yellow surface
is still slightly damp, I'm going to slowly
build up the value by using the mix
with added sienna. It's completely up to
you which parts of the cracks you want to
paint lighter or darker? Personally, I like to
think parts which are in shadows would have darker cracks because the overall
surrounding would be darker to this also applies to
how deep the cracks are. Deeper cracks would be darker. Basically, what you have
to keep in mind though, is the relation between the surroundings and
the cracks themselves. Something that looks
dark might not be as dark depending
on the surrounding. So everything works relatively according to the
surrounding color as well. As an example, if the
surrounding color is light, but I use like a mid-tone brown, it will look dark because
the base color is light. However, if I paint the cracks using the same dark
midtone color, but the surrounding colors also mid-value or something
close to the color, and the crack would
no longer look dark. Everything works in relation and also how much value is
contrast each other. This is something to
think about as you paint, and this is also why I
like to slowly build up my layers so I can adjust the colors and
the values as I go. If you ever make mistakes as you go and you create a crack, but you don't like
the look of it. You can always take it off
like what I'm doing here. So either before
the paint dries, you can take it off with
tissue or after it dries. You can put water to
reactivate the paint. And once the paint
is reactivated, you can take off the
reactivated paint with tissue. This would also work
if you want to make certain cracks a
bit more subtle. So if you've put too much paint, you can take off the excess
using tissue as well.
11. Jam Base: In this lesson, we'll
be painting the jam. And on my palette
here I have quinn, red, crimson lake,
and ultramarine deep. I'm going to start by
activating my paint first. Firstly at the top, I'm going to have quite a bit of quinn red. And at the bottom,
I'm going to mix crimson lake with a bit
of ultramarine deep. After I have my colors, I'm just going to clean
my brush first because I'm going to use
Quinn read by itself. I'm going to use this
to paint the sides of the Well Tempered cookies
are usually filled with jam, which is the ones that
were painting now. And when jam is
baked, it reduces. The size of the cookies will
have dried up or reduce jam, which is what I'm painting now. I'm using a medium consistency
of quinn red here. And as you can see, I'm trying to follow the texture of the cookie
still when I'm painting this and I tried to
make the uneven here, I'm using a very
thin consistency of the second mixture from Crimson Lake and
ultramarine deep. And I'm just going to
do a fairly light wash. I decided to add a
thicker consistency of crimson lake and
the previous mixture. And I'm going to use this dark red to paint over
the purple areas, which is still a tiny bit damp. And I'm also filling up
some of the cracks or the larger cracks with a
little bit of this jam color. As for the well itself, I'm doing this horizontal
movement and I'm leaving out some negative space
which is horizontal in shape because that's the movement that
we're painting with. While the surface is still cool to the touch
or a tiny bit damp, I'm going to follow it up with a thick consistency of
crimson lake to just paint the edge or the border off the well for the
sides of the well. On the next cookie, I want this to be a bit darker, so I use a mix of crimson lake and a little
bit off Quinn read, as for the base
color of the jam, I'm going to use the same mixture from Crimson
Lake and ultramarine deep. But I decided to use
more crimson lake and the mixture so it doesn't
look too purplish. While the surface is still damp, I'm going to add a
darker value with the same mixture but with
more ultramarine deep. And I'm painting this at the
top section of the weld, right underneath the
top of the cookies. So now there's a
slight gradation. As for the cookie at the
bottom, at the edge, you can see a little bit
of the side of the well, so I use the same mix as before. And as for the jam itself, because it's mostly covered
by the cookie on top of it. I just went straight in with the previous mix from the ultramarine deep
and crimson lake, but in a thicker
consistency and with a little bit more ultramarine
deep to darken the value. Well, the surface of the bottom two cookies
are still a bit damp. I'm also adding on a
thicker consistency of the mix just to slowly
build up the color further. After painting the jam, I can see that I
need to increase the value for the darker
areas on the cookie. This is something that
I'm going to keep on doing as I paint. Because as you add more colors or more
values to certain areas, you need to balance it out
with the rest of the painting. Here, I'm going to go back
in with the dark brown, which is from a mix of ultramarine deep
with Quincy, Anna. And I'm just going to paint the edges right
underneath each cookie. After I paint on the dark brown, I always wanted to build
more off the value closer to where the
cookie is being covered. For the even darker areas to increase the
value of the brown, I would add more ultramarine
deep and the ratio, this dark brown might be
a little bit too dark. So to blend it with the
rest of the cookie, I like to glaze on a bit
off the mid-tone brown, which is from a mix
of permanent yellow, deep titanium gold
ocher with when Santa
12. Jam Texture: In this lesson I'll be
painting the jam texture. So I'm going to be
painting on top of this dry surface
from the base. I'm using a mix of crimson
lake with paints gray bluish, and I'm going to use
a medium consistency to paint wavy horizontal lines. While doing this,
I want to leave out some negative space. So parts of the base color
is still peeking through. And because of the way I'm moving my brush with the
wavy horizontal lines, the negative space
should also look like wavy horizontal
lines, but very thin. Once the paint has
slightly settled, but it's still somewhat cold to the touch, so
it's still a bit damp. I'm just going to dot
in the same color and slightly thicker
consistency randomly. But I still want the color of the previous layer
to show through. So this is just building up
on the different values. For the second cookie, I decided to switch to my smaller brush because I will be painting on a smaller area. And I also decided to use a
slightly thicker consistency. So this part will be
darker than the cookie on top because I want this
to be in part shadow. I'm still going to paint it
in a similar manner though, so I will still leave out a little bit of negative space
from the previous layer. However, I'm limiting
it this time because I don't want too much
highlight to show through. After I painted the
dark color of the jam. Now, the side of the
weld looks very light. So I decided to add on
another layer of quinn red, but this time mixed
with a dark jam color. As for the cookie at the bottom, I'm just going to
do the same thing, but I decided to use an
even darker mixture. So with a bit more Payne's gray bluish and in a
thicker consistency.
13. Standing Cookie: Jam Base: Moving on to the leaning cookie, I'm going to do the same
for the base color. I'm starting out with Quinn red to paint the sides
of the weld first. While painting this part,
I want the edges to be uneven and as
organic as possible. As for the larger area, I'm going to use a
mix of crimson lake, Quinn red, and ultramarine deep. I'm going to create a
light to medium wash off this and I'm just going to
spread it all around the area. It doesn't matter too much if the paint is evenly spread out. After I'm done in
the next lesson, I will be painting
right on top of this, so I want it to be
completely dry. And to make the process quicker, I just use the hairdryer.
14. Standing Cookie: Jam Texture: In this lesson,
I'll be painting on the texture on the dry surface. I'm going to start
from a mixture of crimson lake with
Payne's gray bluish and a medium consistency. I like to start out by just
lining the edges first. This way I can be
a little bit more flexible when I'm
painting the inside part. So I won't be too worried about the paint going over the edge. I'm still trying to
create the same texture. I'm making wiggly
lines with the tip of my brush while leaving
out some negative space. So the initial base color
kind of peaks through. But this time instead of
making it horizontal, I'm making it vertical. Once I cover up the whole
area with the textures, I'm going to add on
the darker color. I'm using the same mixture
but in a thicker consistency. And I'm just starting at, around randomly while the surface
is still a bit damp. So some parts might spread
and some parts might not. And this will just create an organic unevenness
to the texture.
15. Cookies Details: In this lesson, I'll be painting the additional details and
texture on the cookies. I'm using a mixture of all
the colors here basically. But in the ratio, I have
mostly Quincy Anna, permanent yellow deep
with titanium gold ocher. And it has a tiny bit of ultramarine deep to mute and
darken the color slightly. At the bottom of
the palette you'll see a darker brown mix, and that's from Queens
sienna and ultramarine deep. And on the right-hand side, I added additional
ultramarine deep. This is so I have easy
access to the darker values. And whenever I feel like
darkening the color slightly, I will take a little
bit of that darker mix or just take a bit
of the ultramarine deep and mix it with the main
color that I'm using here. I'm basically applying
the colors here, like how I painted
the texture before. I don't know if you
can see it clearly, but what I'm trying
to do here is basically to separate the faces. So there's a top
face of the cookie. And what I'm painting
in suicide face, which I want to somewhat
dark and especially near the cookie which is leaning
on the tower of cookies. Moving on to the
second cookie now, because this part is covered by the top cookie as well
as the one leaning. I want to use the dark brown mix from Quinn sienna and
ultramarine deep. And I'm finishing it
off with this sort of curvature to follow the cross
contour line of the cookie. After that, I follow this up
with the lighter brown mix, and then I soften the blend until it
reaches the transition of the base color by
just adding water and using a clean damp brush
to soften the edge. I'm going to do the same thing for this bottom cookie as well. And for this part, because the top
face of the cookie is mostly covered by the
cookie in the middle. I'm going to extend
the darker brown here. Even when I'm softening
the blend and using my damp brush to
pull the excess color. I'm still trying to follow the same texture that I
created for the cookie. For this one, I
also want to darken the bottom portion of
this cookie as shadows, but I'm using the
lighter brown mix here. So that's the gist of it
for the tower of cookies. And here I'm just going
to balance out the color. So if I feel certain
parts needs to be darkened or need to be
a bit more saturated. I would just layer
on a bit more color. Here I'm going to add
additional cracks and tiny textures. I'm using the medium tone brown. I'm using the tip of my
brush to create bots, but I tried to make these what's different in shape anyway
and different sizes. And I'm just trying to make
it as random as possible. Let's move on to
the last cookie. I'm going to start by
using the mid-tone brown. And I'm going to paint it in the middle portion of the cookie using the same texture or a brush marks that
I used before. I'm doing this in a medium
to light consistency just to get a little
bit more coverage. Here, I'm just adding additional small cracks
with the light brown. Then I go back in with a
darker brown to darken a certain spot just to make it look more three-dimensional. And here I'm adding a bit
of texture on the side. But if I feel like it's
not subtle enough, I would just take off
the excess paint with tissue by dabbing it on to
lighten and soften the color. Now I'm going to
build the color on the bottom portion for
additional shadows. For this, I use
the dark brown mix and I'm placing it right at the bottom here because the side is mostly
facing downwards. I want this to be the
darkest area of this cookie. And for the front face
to be slightly lighter. I'm going to enhance
the saturation here by using the first
yellow mix of titanium, gold, ocher, and
permanent yellow deep. What I'm trying to do here. To slightly increase the value, but I want to make a
very subtle gradation. So for this bottom part, even if it's the front
face to be slightly darker in comparison to the front
face of the top portion. Now that I've
increased the value of the bottom part
of this cookie, I've also less than the
contrast at the same time. So what I'm trying
to do here is to build the darker
color further by using the same dark mix of ultramarine deep
and Quincy Anna, this is what I
mentioned before in one of the lessons in the
beginning of this class, that values are
relative to each other, even if I painted a
darker value before, but because I've
increased the value for another area that's
right next to it. Now, it has less
than the contrast, and therefore I need to bring up the contrast and value again. This is why you need to keep
on going back and forth with the layering and to check the balance of the
whole painting. Same dose with a jam that I'm painting here on the
side of the wall because I've increased the value and detail for all
of the cookies. Now, this area lacks the detail. So I went back in
with crimson lake just to add more dots and
to darken certain areas. But I still want the base
lighter red to show through. This is to give a bit
more texture and to make the jam look less flat if we're talking
over the previous step. But what I did here
was reactivate the paint on the top
part of this jam. So I did this by putting clean water to
reactivate the paint. And then with the paint
always reactivated, I take it off with tissue. This is to lighten that
area again because I felt the texture look a
bit too dark and chunky. And here I'm repainting some of the textures using
my small brush. In terms of the color, I used the exact same mixture of crimson lake with
Payne's gray bluish. I'm also going to do the
same for this area here. So I'm just going to take off the excess paint and then I'm adding on more of the textures to make it look a little
bit more delicate. I'm going to add more of those tiny little details
with my small brush. I'm just going to dot it
and all of the cookies. And in random places, I like to do them in bunches. So sometimes four or five
dots, sometimes three dots. And if some of the dots
look a little bit too dark, I would then just
soften it with a clean, damp brush or dab off the
excess paint with tissue. Here I'm going to
go back to the gym. I'm adding the
same color mixture just to increase the value, especially around the edges.
16. Jam Jar Base: Moving on to the next element, I'm going to paint the
jam inside of the jar. I just use a medium to thin consistency
of quinn red here. And I'm using quite
a heavy brush load. I like to paint it on
by tapping my brush. This way I create an uneven
surface of the color. Over here. I need a
bit of a mistake. I shouldn't have
gone over my line, but it was quite
light in that area, so I accidentally went over it. If that happens, problem, I just take off the
excess using tissue. I'm just going to continue
on with this color. I want to paint a bit more than 1 third of
the way on the jar of jam. At the bottom, I felt like it
needs to be a bit lighter. So I also took off
the wet paint. Before moving on with
the darker color, I decided to add
highlights spots. Here. I just made a square following the
cross contour line and also a distorted triangular
shape with soft edge. But you can make your highlight
any shape that you want. Moving on to the next
color here I'm using a medium consistency
of crimson lake. I'm applying the paint in the same way by tapping my brush to get an uneven
distribution of color. And also don't
forget to leave out that space that you've already drawn out
for the highlight. Once I'm close to
the top section, I'm going to move on
to a darker color, which is a crimson lake with a mix of
Payne's gray bluish. To paint this on,
I like to usually outline the edges first to make it easier for me
to fill in the color. I feel like the edges of the darker color was a
little bit too sharp, so I'm just softening it
with a clean, damp brush. While doing this, I'm
still trying to keep the unevenness off the
color by tapping my brush. I felt like the white highlights
were a bit too glaring, so I decided to use a clean, damp brush and pull some
of the colors surrounding it while adding a little
bit more of that green red.
17. Napkin Base: I'm going to wait for
the jam to dry now. So I'm going to move on to
paint a napkin in this lesson. I want the napkin to be
like a cool gray color. So I use a mixture of buff
titanium, Payne's gray, bluish, ultramarine deep, and a little bit of
titanium gold ocher. I'm just going to
apply this two part off the bottom napkin first. While the surface is still damp, I added more paint in certain areas where I feel it would be a
little bit darker. This is going to be
very subtle though, because the paint will just sort of spread
naturally as it dries. For the larger napkin on top. I'm going to use
the same mixture, but I added more titanium, gold ocher and buff titanium to create this muted creamy color. And I'm just going to
distribute this color along the top side
of the napkin first. After I've covered
the whole surface, I'm going to create the folds
on parts of this napkin. And for this, I'm going
to create a darker color. I use the same mixture, but I added more buff titanium, titanium gold ocher, and a little bit of
Payne's gray bluish. While the surface is still
slightly cool to the touch, so it's not overly damp. I'm going to add on
this color to add the shadows underneath
parts of the cookies. I'm adding it mostly
underneath the cookie which is leaned over
the stack cookie, underneath the parts
of the stack cookie. And I'm also going
to place this for the spine where the
napkin as being folded. You can also use this color
to add additional folds. And you can draw this
out as random lines. You can make it as crinkled
as you would like. My plan is to make main folds, but I'm going to make the rest
of the folds more subtle. So there's a bit more
dimension to the napkins. I'm also using this
darker color to line the edge slightly and give it
a little bit of thickness. For the more subtle folds, I like to use a thin
consistency of this color. Then I'm going to
follow this up by adding cost shadow
from the cookies. For this, I use the same mix, but I want to darken the value. So I added more Payne's
gray bluish and the ratio with a little bit
more titanium gold ocher. I don't want the shadows
to be too harsh though. So after applying
the darker value, I always like to soften the edge using a
clean, damp brush. I want the color to be fairly light because I
don't want to start difference between the two hues often napkin and the shadows. So it's best to work slowly with a thin consistency and
slowly build up the color.
18. Lid Base: In this lesson,
we'll be painting the base for the lid cover. I want the lid cover to have the same design as
the large napkin. So I'm going to use
the same color mixture I'm just taking from
whatever I have left on my palette and then adjusting the colors so it matches
the color of the napkin. Here I'm using a very
heavy brush load in order to spread out the color because I want a
pretty even coverage for now. And I want the whole
surface to stay quite damp. Once I've covered
the whole area, I want to take off the wet
paint on top of the lip. So the top portion is slightly lighter in
comparison to the sides. If you're painting has already
dried in this section, you can also
reactivate the paint just by wetting the area again, then waiting for the
paint to reactivate. And then you can take off the reactivated
paint with tissue.
19. Lid Folds: Next I'll be painting on the
faults and I'm going to use the exact same color
mixture this time in a slightly
thicker consistency. And I'm just painting it on the sections
that I've already drawn out just to darken
certain areas of the folds. And if I feel like
certain values of bit too strong in comparison to
the surrounding color, I would soften the edge, so one part would be
darker and it will soften as it transitions to the base color with
a clean, damp brush. For the inner folds.
I'm also going to use the same color and mediums
or thick consistency. And I'm painting
this first because sometimes after
painting a few layers, we might miss certain
pencil works. So I want to make sure I marked down all the folds for now. I'm not sure if you can see, but sometimes the ratio changes. Some of the cream
mixes that I use has a bit more off the
titanium gold ocher. And I actually liked this
slight shift in hue because it gives us subtlety in a bit more interest
to the painting. And I'll actually be introducing different subtle hues as well
to the folds of the lid. In the middle here
there are parts of the sketch which were two lights and has now
disappeared and to the painting. So I'm just going to add
some folds freehand and I'm just painting it in
very lightly so I can find the placement
that I like. And once I do like
the placement, I'm going to slowly build up the shadow color by
layering on darker values. For the darker value, you can use a thicker
consistency of the same mix. But to build it up further, I like to add Payne's
gray bluish in color. Next, I want this creamy
color to be bit more yellow, so I add a titanium
gold ocher and then I moved it upwards so it doesn't get contaminated with
the Payne's gray bluish. And I also added buff
titanium with a softer color. I like to add subtle folds, dislike what I did
with a napkin. And here as you can see, I'm also making larger
folds on top of the napkin as well just
for a bit of dimension. Next, I want to darken
the inner folds once I've placed down
all the other folds. Now the inner folds look
quite light in comparison. So here I'm adding the same mixture with a bit
more Payne's gray bluish.
20. Napkin Folds and Additional Shadows: Now that the napkins
are completely dry, I'm going to go back to
paint on the folds now. I'm going to use
the same mixture as the lid as well as the
top part of the napkin, which is from buff titanium, titanium, gold ocher,
and ultramarine deep. If I want the tone to be a
bit more grayish and dark, then I would add Payne's gray
bluish in the mix as well. Here I'm trying to color in the layers that I've
drawn out with my pencil. As you can see, I'm painting one layer of napkin at a time. And what I'm trying to
do here is to basically create somewhat of a gradation or where the space
is a bit smaller. I would imagine that
it would be more in shadow because the light
can't reach that area, so I use a darker color there. And for the larger
layers that you can see, I would use a lighter color. For the darker color. I used a bit more peace green, bluish, and ultramarine
deep in the mix. But because he was
a bit too blue, I ended up using some of this purple mixture from the gem earlier to
create the purple, you can use a mix of ultramarine
deep and crimson lake. Then to neutralize that color, I add in the mixture from the
base color of the napkin. As for the next few layers, I try to vary the tone of color slightly just so you can
differentiate each layer. Two layers underneath what I initially painted
are a bit larger. So I ended up using a
slightly lighter color. I ended up using the base color, but I changed up the ratio so the tonality is
slightly different. And then I use the ratio with a bit more
Payne's gray bluish to paint on the sides of the
layers to separate them. Because I haven't introduced the purple hue and
to the napkin, I decided to use some of
the purple mixed with the base color to
create a bit of those subtle faults and
a very thin consistency. And I'm also going
to bring this color across for the lid as well. Next I'm going to paint
the other napkin, which is a bit more gray blue. So this is from the same mix
but with more Payne's gray, bluish and ultramarine deep. And the ratio, this mixture is a little bit darker
in comparison to the napkin on top of
it because I want it to be in shadow and while
the surface is still wet, I'm going to add a bit more
pigment for the shadow. For this, I use the same mix, but I added a bit of crimson lake to create
more of a purple tone. And I just feel like this would make the temperature of the hue a little bit more consistent with the other napkins as well. Here I'm using a
thin consistency of whatever I have
left on my brush. And this is just to paint on a little bit off cast shadow
from the napkin on top.
21. Napkin and Lid Design: Next we're going to be
putting on the design for the lid as well
as the napkin. This is one of my favorite
parts to paint for the design, I want to create a
pattern of berries. And for the mixture, I use Crimson lake with red, and I start by using a medium to thin consistency
of this color. What I'm trying to paint here
are just tiny little dots. I tried to vary
them in size and I tried to place them as
randomly as possible. If I'm painting on a slanted surface than I do try to make the
circle a little bit more centered by
angling them slightly differently and making the
circle look more like an oval. I personally like the parrot
up in twos or threes, but sometimes I also like to
paint single ones as well. So here I'm just going
to keep on painting the barriers until I get
a pretty good coverage. The lid as well as the napkin. Next for the napkin
because we can see the direction of where the napkin is and where
the cross contour line is. I tried to paint on the berries according to
the cross contour lines, especially on the flat
surface of the napkin, I tried to make the berries
less circular and more oval. This way the design can
stay flat on the napkin. But it's always a good idea to picture the cross contour line whenever you're doing this. So you can follow it even on the surfaces
which are not flat. For example, the spine or
the fold of the napkin. After I got a good
coverage of berries, I'm going to paint on the leaves to pair
it with the berries. For this, I use a mixture of permanent yellow deep
with ultramarine deep. The leaves and the stem of the
leaves are quite delicate. So here you'll see
me switching to my small brush here so I can
create really thin lines. It's always best when you're painting something so small to use a very light load on your brush so the paint
doesn't puddle up. For the design of the leaf, It's completely up to you. You can change this
up if you want. I was just painting
something that is easy to do with my brush. And I naturally painted something that is
shaped like this, which are tiny, rounded leaves. However, if you want to
customize your painting, you can also change
it to more point to your leaves or longer leaves if you want or shaped
as something else. For the design, if they're extra space in between
berries and the leaves, sometimes I paint the leaves as is also without the berries. I just want to fill
in the space until it has a good even distribution
for the pattern. If you want, you can
be a little bit more meticulous and
accurate with this. Like painting the exact same
shape of berries and leaves. Personally though I just want an even distribution
as I mentioned before. So as you can see, some berries might have
four or five leaves, some might only have two. And it doesn't
really matter to me. In fact, I personally quite like the randomness
of this pattern. So from here I'm
just going to keep filling the space
with more leaves. Sometimes if I feel there
are too many leaves, I would add more berries also. But that's pretty much
it for this step. You can keep watching
till the end of this lesson or you can
skip to the next one.
22. Jam Texture and Glass Jar: At the moment the
jar looks flat, so I'm going to add on
highlights by using a clean damp brush to reactivate the paint and taking the
paint off with tissue. For those highlights,
I still follow the cross contour lines to give their own form of the jar. And as for the highlights, though we left out earlier, I added some lines to act as reflections from
the surrounding area. And I also darken
parts of the edge. Just to define the shape
of the highlights. I'm going to add textures
to the jam by adding dots. I use the same color from
Crimson lake with Quinn red. And I'm using a
medium consistency to create different shapes
and different sized dots. If some of the dots are but
too big or the colors are. But through strong sometimes
I like to take off the excess paint with tissue and depending on
the drying stage, it can erase it or make what you painted
earlier a bit lighter. So I'm happy with the amount
of texture though now I'm going to move on to
paint the actual jar. For this, I'm going to use structure of
Payne's gray bluish, ultramarine deep
and the tiniest bit of permanent yellow deep. I'm going to first
start out by aligning the edge of the jar
using this color. And of course, I use my
small brush to make it much easier for me
to draw the line. Once I'm done, I'm going to use a clean damp brush to soften one side of the line and pull some of the
colors and words. Now I'm going to go back to
the jam color mixture again. And this is from Quinn
red, crimson lake. And I'm going to
drop broken lines overlapping each other
with this color. Sometimes I like to also
overlay the jam mixture on parts off the blue line that we painted for the
edges off the jar. I like to go over parts off the broken line to
darken certain areas, as well as outlined in
jam inside the jar. And this will basically act as the reflection of the jam
color on the glass jar. For the leg of the jar
because the glass is thicker. I'd like to go back in to the blue-green mix from
Payne's gray bluish, ultramarine deep
and a little bit of permanent yellow deep. And as I gradually move upwards, I want to introduce the
jam color in the mix.
23. Redefinition: So after I finished painting on the berries and the leaves, you can see that the
folds themselves have taken a backseat and
it looks flat again. So in this lesson, I'll be redefining the
pattern as well as the folds just to balance everything and bring up
the dimension again. Here you'll see me using the same mixture but with a
lot of Payne's gray bluish because I really want that
dark value to come back. Separate those folds again
after placing on these lines, the color, as you can
see, is very strong. So I'm going to go
back in with a clean, damp brush and soften parts
of the edge just to get a little bit of variation for the softer and harder edges. After I've soften the edges, you can see that the Payne's
gray bluish is still a bit too strong in comparison
to the base colors. So I'm going to
blend and soften it further by using the same
mixture from buff titanium, titanium, gold, ocher, and a little bit of
Payne's gray bluish that was already on my palette. And I'm going to
continue on to soften the edge this further and
paint on top of the blue. So it becomes a bit lighter as I glaze on a darker version
of the base color. This is where I start to introduce different
hues as well. I'm using the same
color mixture, but here I'm adding a
little bit off Quinn red. So now the creamy
color becomes a little bit more pink and warmer. I want to make sure
that the colors of the folds are well
balanced with each other. So I'm going to apply this
for the top portion as well. After painting on those layers. Now some of the pattern
has disappeared. So here I'm just going
to paint on the berries again and also some
of the leaves. Because the base color is
a lot darker than before, I need to increase the value of the green
mixture as well. So this is the same mix from permanent yellow deep
with ultramarine deep, but I increase
ultramarine deepen the ratio to create
a darker green.
24. String Tie: In this lesson,
I'm just going to add the string tight on the lid, which I'm going to
paint freehand. You can also draw this
out with pencil first. If you're uncomfortable painting
freehand for the colors, you can use a dark brown, but here I just have a mix
of titanium, gold, ocher, Crimson lake,
Payne's gray bluish, and a little bit of
permanent yellow deep. I want to keep the selection
of color fairly simple, which is why I
didn't add a brown just for the specific element. But if you want, you can also pick out a brown that you have, like burnt umber or CPR. For the Thai here I just made a few curved lines
following the lid. And then I want to
finish this off with a couple of layers
of both strings. I forgot to mention that I use a very thick consistency of this color because I want it to stand out against what
we've painted underneath.
25. Second Napkin Design: In this lesson, I'll be painting the second sign for
the napkin underneath. But before that, as you can see, I'm just going to define some of the shadows on the first napkin. For this, I use some of the
brown from the string before, and I mixed it with
the base color off the napkin with a bit
more Payne's gray bluish. This will create a
neutral grayish tone with quite a dark value. And then I just soften the
edge with a clean, damp brush. After I painted on the values, I just want to balance out the rest of the
values for the novel. I also wants her to find
some of the folds that I painted earlier
using the same mix. Using the same mix, I'm also going to outline heart off the spine
for the napkin. This is just to separate
the two napkins. Once I'm done, I'm going to
work on the second napkin. I first start with a thick consistency
of Payne's gray bluish with ultramarine deep. And this is just to
darken the edges for the cast shadow and to
also separate the folds. I just want to make
sure that the lines are clear and four parts
of the transition, if it's a bit too rough, I just want to soften that part. Then before we paint
on the design, I want to make sure this
is completely dry first, I just use a hairdryer
to make it fast. Once everything is
completely dry, I use the same mix and a
very thick consistency. I'm just going to paint on lines using my small brush here. While I'm painting this design, I want to always keep in mind off the cross
contour lines.
26. Cast Shadow: In this lesson, I'll be
painting the cast shadow. For the cast shadow,
I decided to pick this purple mixture with just similar to the
color of the jam. For this, I use a mix of crimson lake with
Payne's gray bluish. And I'm using a
medium consistency here to paint right
underneath the napkin. And because this is fairly dark, I'm going to soften it
with a clean, damp brush. And as you can see,
it reactivates the paint and it
softens the edges. I'm going to pull it further to lighten the color, but more. So after the first round, I clean my brush again
and use a clean, damp brush to pull
from the paint. Here, I'm just doing the same
thing for a napkin on top. Here I decided to
bring the color across to the folds
off the top napkin. I just feel this gives a bit more consistency
to the shadow color. Moving on to the cast
shadow of the jar, I'm using the same mix here, and I'm just going to outline the shape of the jar
for the cast shadow. This is just to give me an estimation of where
the edges should end. Then after that, I use a clean, damp brush to pull
some of the color from the outline and
painted on inwards. If you don't have enough
paint and then feel free to use a thin consistency
of this color as well. Then I want to make sure that the edges are nice and soft. After this, I'm going
to follow it up with a slightly thicker
consistency to paint on some of the reflective
details off the jar as well. As you can see, I drew
this out and diagonally because I want to
follow the position of the cast shadow
from the napkin. And I'm keeping in mind that it should be a little
bit distorted because I want it to lay
flat on the surface of the table or wherever
this is standing. What I painted earlier was
for the color to slowly gradate from darker to lighter
as the shadow dissipates. And here I'm painting
on more of the details using the same mix just to indicate the
thickness of the jar.
27. Highlights: Next I'll be painting
on the highlights here. I'm going to use
bleed proof white. And because this is very opaque, I'm going to water
it down until I have a medium consistency, so the color is a
little bit transparent. I'm going to paint on
the highlights for the jam to give it a
little bit more body. I'm painting on lines
and I'm curving it slightly and creating sort of like a wavy texture in a way. But I want the lines
to be fairly short to create an uneven surface. Here. I'm going back and to
create thinner lines just to vary the
thickness of the lines. And I'm using the tip
of my brush here, but you can also use
your small brush. You're fairly happy with
the highlights for the jam. Now I'm going to
move on to the jar. Here I use an even thinner
consistency and I'm using the sides of my brush
to create reflections.
28. Final Adjustment: Here you are. Painting
should pretty much be done. But before I finish off, I always like to look
at the whole painting and see if I need to
add some final touches. So here you'll see me adding some additional textures
just very lightly. I use the same mixture
from Quinn, sienna, titanium, gold ocher,
and Payne's gray bluish. And I'm just nodding
some extra texture. But if you feel like your cookie has enough textures already, you don't have to do this. The final adjustment
is literally just that everything will be very personal and it will depend on the stage
of your painting. Here I decided to add the same color mixture
on the napkin. Initially I thought off
adding some crumbs, but on second thought, the napkin actually look
kind of busy already. So I changed my mind and I ended up smudging the
crops that I painted. And then I took the
excess off with tissue. When I took the excess
off with tissue, it didn't erase everything, but I'm just going
to keep it there. In fact, I'm going to add a bit more of this color because I feel like this brightens
up the napkin slightly. And I'm going to call
this one finished.
29. Closing and Class Project: Congratulations for
completing this class. I hope you guys enjoyed watching the paint
through with me. For the class project, I would love for you
to follow along to the lessons and create your
own version of this painting, right from this sketch to
the finished composition. However, if you want to jump
into painting straight away, you can also download the
outline and trace a straight into your watercolor paper using the preferred
tracing method. Once you're done creating your own version
of this painting, I would love to see it posted
in the project section. This way, you're
painting will be displayed for everyone,
including me. I personally really love seeing your different approaches
and it's really exciting for me to
look through them. After you finish this class, I would really appreciate
it if you guys leave a review of the class, if you enjoyed it
or if you didn't. It really updates me on the things that
you guys enjoy so I can keep uploading the classes that you guys are interested in. If you guys enjoyed
this class and would like to see more
tutorials by me. I do have a YouTube
channel called Neon Yani, where I post weekly
painting tutorials and other art related things. Or if you would like
to see more art by me, you can also follow me on my Instagram at IG
underscoring young yummy. So that's pretty much
it for this class. If you guys are still here, I'd like to thank you for
sticking right to the very end all the best for your
works and happy painting.
Nianiani, Watercolorist and Graphic Designer
