Food Illustration: Drawing to Painting Raspberry Cake Slice

1. Introduction: Hi everyone, My name is Yan. Today, I'll be showing you how I paint the slice off raspberry cake. In this class, I will start off by showing you the supplies that I'll be using to complete this painting. Then I'll show you the reference image that I chose and my thought process behind why I chose it. Then I will show you how I sketch out the outline. And then of course, the step-by-step painting process, including how I mix my colors and how I create. Like all my other classes, I will be providing you with the outline off my drawing in case you want to jump straight into painting and you can download it. Just for this particular class though, I will be providing you with two outlines. One outline has the detail of the hollow area off the raspberry, whereas the other one doesn't. I know that when you're tracing, it can get a little bit confusing when there's a lot of detail. And you can use whichever one you're comfortable with working. In terms of the tracing or the transfer, you can use any method that you're used to. For this particular painting, I have chosen a square cake slice. This is so it's much easier for beginners to paint along to, since you don't have to worry so much about the cross contour lines to create a round volume. But if you're not new to watercolors and you're not new to food illustration. You can also customize this painting because I find that cylindrical shape or even the traditional wedge kick slice, would look nice with this type of painting. The trickiest part of this painting I would have to say are the raspberries. But I will be explaining my thought process on how I create the form off the raspberries and how I layer on the color to create that form. But if you want, you can also customize the garnish or the fruits that you want to include in this painting and paint on whatever you've had experienced with and you find comfortable painting. So just because of the raspberries alone, I would classify this class for intermediate students. However, I find that the rest of the painting itself, like the cake and the other garnishes, are actually a good starting point for people who would like to start painting food illustration realistically. But if you're new to food illustration and you would like to give this a go. I would welcome you to try since I will be trying my best to guide you through step-by-step along the way for you to complete this painting. If this is the first class that you've taken off mine. Just as a disclaimer, I would like to mention that I speed through or skip through parts of the painting if my hand is either inactive or off the camera. This way it's a bit easier for you to process the steps. But when you are painting along, I will be painting and a faster speed. So I usually tell my students to watch the class or the lesson prior to painting along, just so you know what to expect when you are ready to paint along, to pause in-between each step so there's no rush and you can paint to add your own pace. However, a student of mine mentioned earlier that she likes to watch my class and 0.5 speed and this is an option that's available on Skillshare. She finds that at that speed, she's able to paint comfortably right next to me. So find the option that you're most comfortable with so you can work comfortably at your own pace. So if you're interested in this painting and you would like to paint along with me. Feel free to join me in this class and let's begin. 2. List of Supplies: In this lesson, I'll be going over the supplies I'll be using in this class. Firstly, let me go over the paper that we'll be using. This is Strathmore 500. This is 300 GSM in terms of thickness. And it's hot press, which means it has a smooth surface. For this specific painting, I've cut down this paper into 18 cm by 14 cm. The height is 18 cm and the width is 14 cm. I'm going to use the other half of my paper for scrap paper where I can test out the colors before I put it on my painting, is preferable to do this with the same paper. This way, the paint will react the same way. Of course, you can pop this down into a smaller piece or use a scrap paper that is the same that you're going to use for the painting. For me, I'm just going to use this big one, but I'm going to reuse it for other paintings as well. So don't throw it away if you still have a lot of space. Moving on to the brushes, I'll be using these tools. 3. Reference and Base Sketch: Before I start to sketch, let me just show you the reference image that inspired me to paint this. I took the overall idea of the layers of the cake because I like the color combination of the deep red with a light color of the cluster cream and cake. However, I didn't really want to copy straight out from the image. So I made my own interpretation for the shapes of the cake filling garnish, as well as the colors that I chose for this painting. I also wanted to turn this into a strawberry cake initially, but I felt like I've done a lot of strawberry kicks in the past, though I do miss it. So I started the raspberry garnish instead and added some red currants for extra texture and height to the garnish. Let's begin to sketch for this particular painting, I intentionally made the shape of the cake simple. This way, the values would be simpler to paint as well. So here I'm just starting out by drawing the lines of the cube. As you can see, I'm erasing a lot trying to figure out the size as well as how I can angle it and center it at the same time, I personally find it a bit easier to draw the vertical lines first. This way I can somewhat visualize the height along the way. And notice how I'm holding my pencil at the top as I sketch instead of the middle or the bottom. This is so my lines are a bit more loose and I can also draw with less pressure. Initially, when I was sketching this out, I wasn't quite sure of the height I want the cake to have. So I made this flat one in the beginning and I realized that I didn't really like it, so I decided to extend all the lines downwards whenever I make mistakes like this, as well as when I was trying to just figure out the center point of this drawing at the beginning, you'll notice that I don't erase the wrong line first. This is something that I trained myself to do and sometimes forget to do this. But it's actually really useful because I find that whenever I erased the wrong lines first, I have the tendency of redrawing that exact same line close to the place or maybe even on the exact same space. So if I don't erase the mistake, I use the mistake as an extra guideline instead to at least know the area to avoid drawing on or to use it to measure certain spaces a little bit better. Here you'll see me drawing on the filling. Just like the reference image, I like to create a clustered layer as well as the jelly or a jam layer. So here, as you can see, lacking in height. So I'm just going to extend the sheep downwards to make the last piece of cake cohesive with the rest of the layers. As you can see, the angle, as well as the lines of the cake, is slightly different to the original image. And this is completely up to you as long as you understand the basic form of the cake, which is fairly simple, it's just a cube. You can actually angle it however you would like to. You can also see that the jam or jelly layers are a bit thicker. This is, so I can add a bit more detail to the painting because I want them to look a bit more transparent and glowy for the final painting. For the raspberries, I intentionally made mine a little bit more plump. So it looks cuter and puff year. I know that real raspberries are not really this plump, but since it isn't illustration, you can adjust it however you would like to according to your style. Hopefully from this you can see how I interpret pictures that I use as inspiration to still make the painting my own. So hopefully you can do the same as long as you understand the basic form of the object you're painting here, I tried to simplify the shape of the raspberry. Hopefully this is a bit clearer for you to see. Notice the separate phases of the raspberries, which will come in handy as we paint it later on. At the top of the raspberries, as I mentioned before, I want to make the garnish look a bit taller. So I decided to add red currents because they're also fairly simple to paint for the red cards, I just drew a couple of circles. You can add as many as you would like to or even add blueberries and strawberries for your garnish. And after that, I just wanted to fill the rest of the space with leaves for a little bit of green, since there's going to be a lot of Fred's from the current and the raspberry already. As you can see, I'm erasing and adjusting the placement as I go until I like the overall balance and the composition. Once I'm happy with the placement of the garnish, this is when I'll start sketching the detail of the texture for the raspberries. You will see me sectioning out the top part of the raspberry. And while I do this, I want to make sure that those spaces are fairly even all throughout and not too long and thin. So it gives more of a puffy texture. And I want to connect the sections and words so we can add on the details as we paint later on. This doesn't have to be so accurate because this part will be mostly in shadow anyway. Also notice how I finish off the sections. It was all just a circle before, which is sectioned out into smaller areas. But don't forget to add on the curve lines around the edges or the outline because this will add on to the puffy affect the curvier. Each section is the puffier. It'll look. Since the second one is a side view, you'll see a bit more of the texture from the sides. As you can see, I'm drawing it out per section, following the section that I drew out earlier and aligning them mostly together. I kinda drew them out like corn kernels, but not as flat. Since I drew the outline very lightly, it's easy for me to take off scratchy pencil marks. I don't have to put too much pressure, rub it off. Instead, I just tap it using my eraser to lighten the line and redraw it cleanly. I'm also going to do the same thing for the lines on the cake. I'm tapping my eraser to take off or lighten the pencil marks at the moment and the cake look like a really clean cube. And that's not exactly realistic since Kc would have the texture, and that is actually the fun thing to paint it later on. So here I'm just drawing on really light jagged lines to represent the cake texture. As I mentioned in the previous lesson, I will have this outline available in the projects and resources section. So you don't actually have to draw this out if you want to get straight to painting. Just be sure to trace it very lightly onto your watercolor paper using your preferred method. So the pencil marks won't show through the painting later on. 4. Cake Base: Let's begin to paint. The first mixture that I'm going to make is from titanium gold ocher with John, Brilliant dark. And I want to create this really light creamy color for the light area of the cake on the right-hand side. To paint on the texture of the cake. I want to use the tip of my brush and I tap it really lightly. I also use a really light load on my brush. So each area that I'm painting here dries off quite quickly. I tried to jump from place to place and then go back to the specific area that I've already painted earlier. So if that part has dried, I'm painting on top of it again, creating an uneven texture. You can try to practice this on the scrap piece of paper that you have before applying it on your actual painting. And you can take your time doing this until you feel comfortable with creating this texture. Once you're comfortable, you can apply it to your own painting. And as you can see, I'm just coloring it and placing that exact same texture on the right-hand side of the cake layers. The most important thing to create this texture is the load on your brush. Make sure your brush comes to a very fine point. In this way, each area that you're painting or tapping your brush on, it'll dry off really quickly. I'm also using quite a light consistency as you can see here. This is so I can layer on more color if I feel the need to. But I don't want to overwork this part since this is going to be the lighter area in comparison to the left side of the cake. Like I always mentioned, as so much easier for you to Layer and pile on more colors on top while you're using watercolors. This is why if you're unsure about certain area, It's always best to work with much lighter consistency and build on it in comparison to painting too much and then having to take it off because There's a limit to how much you can take off with watercolors. So it's always best to work in a lighter consistency to avoid that mistake. Now moving on to the left side of the cake layers, I'm going to use a mix of titanium gold ocher with tiny bit of sepia to create a slightly muted, darker cream color. I'm also going to use a thin consistency to paint on the exact same texture using the same motion on my brush, the color difference will be quite subtle, which is why when you're trying it out, try to paint it right next to the trial that you painted earlier with a lighter color. When it comes to color mixing, you can always adjust the ratio depending on the tone that you're looking for. And yours might look a little bit different to mine since we're always trying to work in relation with whatever we've already painted earlier. You might also notice that when I mix my colors, I never mix them completely. This way I have easy access for the different tones and I find that this brings out a bit more life to the painting. If you're using the exact same color mixtures all the time for a textured flat surface, it might end up making your painting look even flatter. However, it's okay to do this for a base coat that you can still build on. But it's something to keep in mind. You're trying to create somewhat of a realistic illustration. I forgot to also mentioned earlier that it's okay to leave out some white negative space. You don't have to cover them all straight away. However, this one that I just painted, it looks a little bit harsh for the base coat. So here I went back in with a clean, damp brush after the whole surface has completely dried. And I just try to blur and smudge everything together to soften the texture. There's just a tendency of making a flat surface instead of it being textured. If you cover the whole area straight away, since what paints will just blend with each other. This is why sometimes I intentionally leave out that white negative space that you can always bring back and tone down later on with a clean, damp brush. I'm just going to keep doing this until I cover all three layers off the cake. You can continue on to paint with me or move on to the next lesson. 5. Cake Crust: In this lesson, I'll paint on the thin layer of cake crust on top and the bottom of each layer of the cake. For the color mixture, I'm going to be using titanium gold ocher with sienna and a little bit of sepia to darken the color slightly. And as you can see, the darker brown is on the left versus on the right-hand side, I have a lot of titanium gold ocher. This way I have access to both color mixtures. And I can also mix the two together depending on the tone that I'm looking for. To paint on the crust, I'm using a really light load on my brush so the paint doesn't put a lock and a medium consistency off the color. I tried to make the line as jagged as I can make it to be. And I also tried to make the line imperfect to give it more of a realistic look. Once I finished painting on the line, then I go back in with a clean, damp brush and soften one side of the crust so there's a better blend to the base texture of the cake. Notice that along the way, sometimes I like to add a bit more sepia or a little bit more Quincy and and depending on the tone of brown that I'm looking for, this is something that you can experiment with depending on the look that you're going for. The darker the crust, the more burnt or the more contrast is going to have, the lighter it is, the more golden brown it looks. So this just depends completely on your taste. As you can see for the top layer here, I use more Quinn sienna and the titanium gold ocher, which is why the color is a bit more yellow and golden. And this is something that you can play around with. The subtle differences won't actually make too much of a difference. So I don't mind playing around and experimenting on my actual painting. You can even make one line which has more sepia and another part of the exact same line have more Quincy Anna, if you would like to. So as you can see, this one has a lot of Quincy Anna, but I bought in a slightly darker brown in some areas as well. Whenever you're unsure of a certain method or technique, you can always go back to your scrap piece of paper to try out the method beforehand. If you've already painted the texture of the cake as trial, you can even try to paint on this color mixture on top of that texture that you painted earlier to have a better understanding of the color relation and what you're looking for. You can also try the blending technique using your clean damp brush to soften one side, just like on the actual painting. Then once you get a better feeling and understanding, you can be more comfortable painting it onto your final painting. If you're a beginner, it's best to do this so you don't have to feel intimidated and he can practice at your own pace. It's always best to be patient and work slowly to get a better feeling and understanding when you're trying to learn something new. If you're fairly new to watercolors, be aware that they tend to dry, paler or lighter in comparison to what they look like on wet. So after the crust dried off, you can see that some areas settled and flattened. So I like to go back and using the same color and mixture to layer on the darkest parts of the crust again, to give it a bit more detail. Here, I can see that the edge coming together and needs to have more contrast and value. So I'm using the same mix as the cross before, but with a lot of titanium gold ocher in the mix, which is probably around 90% of the maximum, 95%. And I'm using a light consistency to layer on more of the texture on the right-hand side. For the darker side of the cake layers, making sure that I blend it nicely with the rest of the base color using a clean, damp brush. Moving on to the lighter part of the cake for the k cross, you can see that I'm still using the same color mixture, but this time it has very little CPR. And mostly when sienna with a lot of titanium gold ocher, I'm using a medium consistency to paint on the crust the same way as I did for the darker part of the cake. You may notice that I've been using more or less the same color mixture and vastly different ratios to create different tones. There are really no rules when it comes to the ratio. Everything works in relation to each other. A lot of times it's about your own visual awareness. And the more you paint, the more sensitive you become two colors and how they react to each other. It's something that I personally still work on myself. And it's something that will keep getting better the more you paint, as long as you're being aware of the choices you're making. Getting back to the painting after I've painted the individual lines, then I go back in with a clean, damp brush to soften one part of the edge. It's a bit easier to blend this one because the colors are lighter. Once the paint dries and the areas have flattened, I then go back in with a medium consistency to add on a little bit more detail. Lastly here using the same color mixture again, you'll see me rid of finding and cleaning out some of the edges. Whenever you finish one step of a painting, I always recommend for you to look at the painting as a whole again and not just get caught up in certain areas of your painting. This way you can balance everything out and clean up certain areas. 6. Dark Cake Texture: In this lesson, I'll be painting on the additional texture. I'm just going to add sepia to the previous mix, which had Quincy Anna and titanium gold ocher. Here. I just want to try it out the c, and I felt like the brown was a bit too muted and dark, so I decided to add more Quinn sienna. I'm using a medium consistency of this color in a very light load on my brush. And I'm trying to apply it just by using the tip of my brush. And I tried to scatter them in different shapes and sizes. Sometimes I make larger specs, sometimes I add dots. As you can see, the color lays flat without a paddling up. This is because of the light load on my brush. If yours is pedaling up, you might want to take off the excess paint on your brush by dabbing it off onto your tissue. Just like in the previous lessons, you can see that I don't mix my colors completely this way. I have access to different tones. And here I have picked up more of the color which has more sepia or a darker tone. So I can vary the textures that I'm painting on. Sometimes I like to add the darker brown on top of the larger holes that I've already painted. This way it gives more depth to the host that you painted earlier. After that, I'm going to clean my brush and use a clean, damp brush to soften parts of the texture so they don't look overly defined because this can make the cake look a little bit dry. So just try to find the right balance for your own taste. Make sure to also limit the amount of texture you paint on. Don't paint too many larger ones, but instead mix it with a lot of tiny dots and a thin consistency so the texture is become more subtle. I personally love to eat, which is why I love painting food. So when you're painting, tried to apply the things that you like to eat and projected onto your painting. Personally, I find that cakes with finer cramps tend to be softer. So I tried to not overwork the larger cramps. And I like to always think about whether what you're painting or what I'm painting is like a soft chiffon cake or dense butter cake. And then try to apply those representation of certain cakes or food onto your painting. At the top, I found that the Brown was a bit too muted and doesn't bring up the brightness of the overall Kc. For this second layer here, I decided to add Quince Yana and titanium gold ocher to make the colors a bit more golden and softer. These are just very subtle changes and it won't affect too much of your painting. So you can always make adjustments along the way. When it comes to painting, there's no specific rules of what you should paint first is just whatever is comfortable for you. Here, I felt like I have enough textures painted on already. So I soften the edges of parts of the texture that I've already painted using a clean, damp brush. However, after that, I felt like I need to add on more of the texture, soften parts of the other textures again. And I even use whatever I picked up to soften those edges and place it onto the painting again, as finer textures, feel free to always go back and forth when you're painting, even if you feel like you've finished painting a certain area beforehand. Here you'll even see me painting on parts of the crust again, which was supposed to be in the previous lesson. But the key is to always look at your painting as a whole instead of getting caught up in one specific area all the time. Because there's always a chance of causing imbalance when you don't pay attention to the whole picture. Now that I've painted all three layers off the crimes, you can stop here if that's what you're looking for. But I want to define some of the larger cramps only. I'm going back to the same mixture of CPR, Quinn sienna and titanium gold ocher. But this time I added a bit more Quinn sienna and CPR into the mixture so the tone is slightly darker. I use this color to paint on a certain small area of the larger holes to deepen the holes and create more depth. But try to not overwork this because there's a chance of making the cake look to dry. If you accidentally put on too much paint, you can always take it off by dabbing the excess paint off with tissue. Now of course, you can use your clean damp brush to soften and blur out certain edges to make them look less defined. 7. Cake Texture Light: In this lesson, I'll be painting the texture for the light part of the kick on the right-hand side. I first begin by using a mix of titanium gold ocher with John Brilliant dark as the base. Then I add the previous mix of quinn, sienna and sepia just to darken the mixture slightly, the color may seem quite light in comparison to what we used earlier for the dark part off the texture. But color is always work in relativity. Here as I'm switching, you can see that it's dark enough for me to put on the light area of the cake. The mixture sort of looks like a yellow ocher with more of a pastel tone. And I'm going to apply this in a medium to light consistency in the same way as how I painted the left side of the cake. However, I'm going to paint on less texture on this area because the detail is usually not as prominent. Unlike areas as you can study from photos, as it's slightly blown out with lower contrast. With this in mind, I will also intentionally paint less textures with less definition. I'm painting the textures in a similar manner as you can see. I'm spacing them out a little bit more. And after that, I'm going to go back in with a clean damp brush to reactivate and soften some of the blend. As you're reactivating and blending some of the colors, your brush will naturally pick up some of those pigments at the same time. But it's going to be very light. What I'm going to do is to use whatever I pick up on my brush and use it to paint dots for extra fine textures. If he's still need to add more of those extra fine textures. But you don't have any load left on your brush. Of course, you can use the exact same color mixture as before, but just in a very light consistency. And of course, as you're applying, it makes sure to use a very light load on your brush so those textures doesn't puddle up. I'm just going to keep repeating this method until I cover all the layers of the cake. If you feel like you have a good understanding of it, you can move on to the next lesson or watch the rest of the lesson to see how much texture I add for the overall cake, especially for the right side of the cake in comparison to the left side. So you can compare and try to apply something similar for your own painting if you would like to. Okay. 8. Custard and Jam: I'm fairly happy with the cake texture. So now I'm going to move on to paint the custard as well as the jam. I'm going to start out by painting the clustered first. I use the same base color mix as the light part of the cake, which is from titanium, gold, ocher and John, Brilliant dark. But I don't want the color to be overly similar to separate those sections. So I decided to mute the color slightly by adding gray of gray. The color difference will be very subtle. But the crust that we've painted at the top and the bottom of each layer of cake will help separate those areas. I also use a very light consistency and I painted really flatly in comparison to how we painted the textures earlier for the cake. Well, the surface of the cluster cream is still a bit damp. Sometimes I like to repaint a bit off the crust for the cake layers, which touches the wet edge off the custard cream. So there's a slight wet on wet effects, which makes a very subtle blend off the crust to the custard. This is only very light though, and I just find that this will make the overall painting just look a little bit more delicate. Next, I want to paint on the jam. I'm going to use a mix of Windsor red, which is a primary red with Quinn red, which is a bit more rosy. I intentionally want to paint this on a wet surface, but I didn't think of it before. So I actually rewarded the area of the clustered as well as the jam. So as I'm applying the color of the jam, you will see a slight move and the paint's going upwards. The movement is very slow and subtle. If you wet the surface with too much water though, the paint will travel too far. So make sure to only dampen the surface. And very likely if you want to go the what Andre route, you can also do that. At the bottom here you can see the edges are a bit cleaner than I just use a clean damp brush to soften parts of the edges. Moving onto the left side of the cake, I want the color of the custard cream to be slightly darker and meet it since it's in shadow. So I use a mix of titanium gold ocher with a tiny bit of sepia to mute it and also a bit of gray of gray. Just like before I'm applying the paint horizontally using the side of my brush to cover a lot of area. And I make sure to be very careful with the edges. I don't want to make the color of the customer to flat. So I'm going back in with the exact same color mixture and I tried to make this area a little bit streaky, especially where the coronary come together. After I finished painting the clustered and then I use a clean damp brush to dampen the surface where the jam is going to be placed. Then I go back and using the same red mixture to paint on the wet surface. As you can see, I'm trying to make the jam look a bit uneven. Some areas are a bit thicker, some are a bit thinner. And I also made the lines a bit wobbly in certain areas. While I'm painting the bottom layer, you can see a white space between the jam and the custard cream at the top. So I'm just going to go back over that area again to fill in the whitespace. And of course I'm going to apply the red color the same way for the bottom layer as well. If the color is not traveling as far as you would like them to. Here you'll see me going back in with a clean, damp brush, poor and blend certain areas of the gym to the posterior. I'm also going to slightly blur out the edges where the jam is touching the cake. Just to loosen up the painting slightly. If parts of the red is a bit too light though, I would just add on a bit more paint and then soften the blend downwards. Here I want to separate the two sides further. So I'm going back in with the same red mixture and a slightly thicker consistency just on the right-hand side of this part of the jam, as well as the middle part of the jam on the right-hand side of the cake, while leaving the left and the right as the base color. You may wonder why I use the same red for both the left side and the right side. Well now I'm going to add the darker red. For this. I'm going to use the same base mixture for the base layer of the jab. This time though, I'm going to darken it by adding crimson lake and sepia into the mixture. Just like any other time, I never mix the colors completely. So here you'll see me using a slightly darker red. But now I'm layering on more of the red with more crimson lake and CPR in the mixture to make it even darker. I'm going to apply this to the middle part of the jam, the left and the right side. It looks like it's lighter and this will give a glowing effect. By layering on more for the red. I can see that some of the edges are a little bit too defined for my liking. So here I'm going back in with a clean damp brush and just to blur out and mess up some of the edges for certain areas, you can pull it a bit further than others. I just find by doing this, it loosens the painting to not make it look so stiff. 9. Cake Adjustments: In this lesson, I'll be looking at the cake that I've painted so far along with the jam and the custard cream. Just to balance out everything, if I feel like I need to adjust certain areas. Here, I'm creating a mix of titanium, gold ocher with Quincy and a little bit of sepia, but mostly Quincy on it to make sure that the brown is a little bit warmer. And I'm going to use this color to layer on parts of the crust that I painted earlier. On the left side, I felt like most of the brands and look a little bit too muted and dark, and it makes the cake look less appetizing and a bit burnt on the cross. So here I'm layering on the warmer mix just to give more of a golden look. I also felt at the same time that the textures on the left side of the cake still looks a bit too defined for my liking. So I use the clean damp brush just to smudge the edges of the textures that I've painted so far. Then I realized that the overall color also looks a bit dull. So here I'm placing on a thin consistency of titanium gold ocher for the cake layers on the left side. And I'm applying it very lightly by tapping my brush and still trying to create an uneven surface while covering parts of the detail that I've painted earlier so it doesn't look too defined. I feel like I need to darken the clustered layer on the left side of the cake. But since I don't want to mute the color further, I just use a mixture of John Brilliant dark with titanium gold ocher. And I'm applying it horizontally and trying to create a streaky texture. I'm going to apply a thinner consistency on the top part of the custard cream on the right-hand side, where it's connected to the crust off the cake, right? Also layered on a bit of that warmer color for parts of the crust, just to smudge it slightly with the custard. Then lastly, for the jam to give it more of a three-dimensional look, I decided to use the dark red to paint it right under the clustered at the top part of the jam. And this will create a slight shadow where the custard is touching the jam. I'm only doing this in certain areas though to make it look more natural. As for the right hand side, I don't really want to put much of this dark red. Instead, I want to use a light consistency for the lighter part of the jam and a thicker consistency of the Winsor red and Quinn red for the shadows. 10. Jelly Icing: In this lesson, I'm going to be painting the jelly layer on top of the cage. And for this, I want to use the same color as the jam, but I don't want it to look as dark considering the jelly is right at the top, whereas the jam as covered mostly by the custard and the cake, I'm going to start out with the same red color mixture, which is from Winsor red and Quinn red. And I'm going to paint the sides of the jelly first. As I'm painting the left side, notice how I directed my brush horizontally so the tip is facing the left and this way I can just pull my brush across. And once it reaches the corner, I just want to round it off. It's okay if the paint looks tricky. In fact, that is what I want it to look like. So it's not completely flat, but it's a bit textured instead. Here I'm creating a darker red using the same mix as before, which is from Winsor, Red Queen, red, crimson lake, and the tiniest bit of sepia this time. I'm going to apply this to the top part of the area that I've painted earlier. Just like before, I don't want the edges to look too sharp, so I'm just going to soften it using a clean damp brush. The reason why I've coordinate one of the edge is because I want to leave out a bit off white negative space in-between the corners. So here I'm actually just going to draw it out to make it a bit easier on myself so I know which area to avoid. So again here I just want to run the coronary using the same red. This time I use a slightly thinner consistency to make sure that the value is slightly lighter than the left-hand side. Well, the surface is still damp. I picked up a bit more pigment and I just want to make the surface look a bit more streaky. Next here I'm going to mix crimson lake with mineral violet and a very light consistency to create this reddish purple. I'm using this to paint the top part of the jelly. And this is to create the light glare effect, which is reflected at the top of the jelly. As you can see, I'm using a really light load on my brush as well as a very thin consistency. And I tried to paint it horizontally across while leaving out some white negative space. Next, I use the base red color, which I'm mixed into the slightly darker red. And I'm still using a thin and watery consistency here, still trying to paint horizontally across while leaving out small negative space in this time in different areas. Parts of lighter purple color shows through. This part I felt like the initial basal layer of the light purple is completely dry. I'm using a slightly thicker consistency of that red to paint horizontal lines. While painting this though, I felt like there was too much contrast and the edges look a bit too sharp. So I use a clean, damp brush to soften the edges and smudge parts of the color. Here on the right-hand side, I used the previous red base, which is from Winsor red and Quinn read to paint some areas while leaving out some negative spaces. So you can still see a bit of the base color peeking through. On the right-hand side, I felt like the jelly was protruding too much, so I ended up taking off the excess using tissue to make that area but lighter. Still using the same red. I'm also going to paint in the left side. And for this, I still left out a little bit of negative space from the base color. I also added a slightly darker red at the very top of the jam. I'm also going to do this on the right-hand side, especially along the top part of the site face. And what this addition of contrast will do is to separate all the faces. Welcome back to the top part of the jelly. Now I'm using the same red to add horizontal lines. This is to add a slight unevenness to the surface, but I left out a large area as the base color and this will give the glossy effect along the corners. I decided to also add really thin lines for added detail to the reflection. Everything after this is just finer details. If the paint that you've applied earlier faded too much, you can always add a slightly thicker consistency on top, just on smaller areas. After this, I'm going to look at the whole painting again. And I felt like the corner coming together of the cake looks like it's blending too much with each other. So I want to make the edges a bit more defined and uneven. 11. Raspberry Base: In this lesson, I'm going to be painting the raspberries as the base color of the raspberry. I'm going to use the same mix as the jam, which is from Quinn read and Winsor red. When I sketch this out, I didn't know what these little sections interest-free school. So I went ahead and search the anatomy of raspberry. Apparently these little small sections are called droplets. So that's what I'm going to be referring to for this whole lesson. So here I use a medium consistency of the mix to outline each of the droplets. Then I'm going to go back and using the same mixture again in a medium consistency to fill the whitespace on the bottom half off the raspberry. I also reshaped some of the white negative space that I left out so they don't look as big. After this, I'm going to create a dark red mix, which is from CPM mineral Violet and both of the reds. I'm going to use this color to paint and the droplets inside of the raspberry. And this time I'm not going to leave any white negative space because I want this area to be in shadow. So I'm filling the whole droplet one by one. I'm going to add another layer. But because the paint is still fairly wet, I want to leave out a bit of white negative space in between. It will somewhat blurred out together, but those white negative spaces will still be good enough to indicate the little droplets at this point. As for the rest of the space, I'm just going to use the base red mixture. Now this hollow areas quite wet, so I'm just going to make sure I dry it off completely so I can layer on more detail. Once it's dry, I'm going to work on the hollow area. Again, I added more off the dark red mixture. I'm using a thick consistency this time to fill it in the exact same way. While doing this, I want to make sure I have clear edges in between the outer part off the raspberry and the hollow inside. After this, instead of making another layer using the dark red instead, I'm just going to fill it in with the lighter red. And I'm just going to let the colors somewhat blend together while also clearing out the edges again. Now I'm going to redefine the triplets and by using a medium consistency of the base red, I tried to just suction them out together by first creating a line in between those sections. Then I tried to fill in the top and the bottom while leaving out the middle with the base color. This way, the base color will create a really subtle highlight, and this will make each of the triplets look more plump and juicy. Once I'm done, I'm going to use the same base red mix again. And this time I'm going to fill in the droplets at the side of the raspberries. And for this one I'm just going to fill in the whole area, but I tried to leave out a bit of white negative space in between. For the droplets at the top, I tried to leave out what negative space at the center of each triplets to create a bit of gloss or highlight. After this, I want to find the sections again using the dark red mixtures. So I do want to make sure that the area that I've painted earlier is mostly dry. Lastly, for this raspberry, I'm going to paint the bottom section using the dark red mix. And this is just a dark and where the raspberry is touching the cage. I'm going to move on to the next raspberry for this one, I'm going to work from the back. So I'm starting with a dark red mix and I'm just filling in each of the triplets while leaving out a bit of negative space in-between. I'm going to leave that area to dry now and reload my brush with the lighter red. I'm going to paint the outer portion of the droplets. I'm going to outline every single one of them while leaving a bit of white negative space at the center, I'm only outlining whatever is facing the right hand side though, the triplet area which are facing the side. I'm just going to fill it in like the rest that I painted at the back. I'm not sure if what I'm painting here is clear enough for you to see, but it's actually the side part of the droplets that I painted facing the right-hand side, which has the highlights there, the same one. They're not separate, but this is just the side view. After that, I'm going to follow it up by painting the hollow area of the raspberry. I'm painting the shadow differently to the first raspberry along the edges. I use a thick consistency of the base red mix. Then I follow it up with the dark red mixture for the deeper area. After this, I want to paint the rest of the droplets for this raspberry. I just use the same base red mix. And here I'm painting underneath the droplets that I've already painted. But I'm also going to fill in the rest of the droplets by painting them per section and leaving out really thin negative spaces in-between to keep those triplets separated from each other. Once I filled all the triplets and I'm going to use the same base red mix again to layer on more detail by painting underneath and the triplets that I've already painted earlier. I'm also going to fix the area of the highlights of the raspberry facing to the right hand side. And also layer on a bit more shadow underneath the first raspberry that I painted earlier. 12. Red Currant Base: Next we're going to paint the right currents. This is going to also be read, but I'm going to change the tone of red this time. I'm going to use a mix of Windsor red with a little bit of Hansa yellow, so the red is warmer. Let's start out by painting the base color. I'm going to use the mixture and a medium to thin consistency. I have first outlined the red current so I can trap the paint in and it's a bit easier to fill in the rest of the color while filling in the rest of the current though, I do want to leave out a bit off white negative space on the top left corner as highlights. You can also leave out more white negative space if you would like to, to make it look more glossy. You can dry off the first card, or you can also go straight in and treat the second current in the same way, but leave out a little bit of space in-between to keep those areas separated from each other. The paint shouldn't be pedaling up. But if it is, I would try it off completely first before painting on the second layer. Mine is not too wet, is just slightly damped still, so I'm just going to layer on the exact same color and a thicker consistency while doing this, I'm also leaving out a bit of negative space to show the white area that I left out earlier, as well as some of the base color peeking through whenever you leave out some white negative space, no matter what your painting, please follow the cross contour lines to help with the round form or whatever form your painting of the object. If you feel like you paint it too much here, you can always take off a little bit of paint. I just reactivated the area using a clean damp brush and then I pick up the reactivated paint using tissue. After that, I'm just going to use the same method to paint the second red car. 13. Leaves: Next I want to paint the leaves, but because I don't have any space left on my palette, I'm just going to clear out a section using a wet tissue so I can mix up paint and a different hue. Main green color that I'm going to use here is hooker screen by Cotman. And I want to start with a light green tones. So I added Hansa yellow and to the hooker screen. If you don't have this color though, you can use different types of green as well. I'm pretty sure it will go well with the reds. I don't want the light green to be overly yellow. So here I decided to add a bit more Hooker's green and the ratio, this is completely up to you though, it depends on the tone of green that you're looking for. I'm just going to start out by using this color mixture to paint the base for all the leaves. I want to paint a couple of leaves at the same time. Because I'm going to use the wet on wet technique where I'm going to add the darker green on the wet surface that I've already painted. And this is why I don't want to work on too many leaves at the same time because you'll risk certain areas drying off already. The mixture of a darker green is exactly the same. I'm just adding more Hooker's green and the ratio to darken the tone. Since the next three leaves are larger. And I can also see more of the front face of the leaf. I'm going to start out with a lighter consistency so I can build up on the layers more to add a bit more detail in comparison to the previous leaves that I painted earlier. Like a lot of my older desert paintings, I like to use mint leaves as the garnish. For mint leaves. I want to make the edges a little bit jagged, which is what I'm doing here with the tip of my paintbrush. While the surface is still damp, I'm going to use a slightly thicker consistency of the exact same color to paint on a bit of detail. I'm going to paint the midrib as well as the veins of the leaves, but I'm not going to connect it straightaway to the edge. Instead, I want to define the edge by outlining it to make sure that the jacket lines are a little bit more visible after I finish outlining and painting some of the veins, that's when I'll start connecting them all together. It doesn't matter if some lines are a bit thicker and some are thinner. I'm going to do the same for the rest of the leaves. You can also approach this a different way by trying to paint the individual veins thickly and then connecting it to the side. So one by one, It's completely up to you which method you'd like to try out. This method will give you need or lines. However, I'm not sure if that's something that you want to look for. You might want something that looks a little bit more loose, unnatural. I'm going to layer on more green this time I added more Hooker's green and the ratio. And again, I'm going to start out by painting the midrib. Then here I start placing the shadows as well as the veins. As I'm painting. If I feel like any edges look a bit too sharp, I would just soften them to loosen the placement of colors at the same time using a clean damp brush at the same time. If feel like you overwork an area and would like to take off the excess paint. You can always reactivate the paint using a clean damp brush and then pick up the excess reactivated pigments using tissue. Got it. Initially, when I painted this, I actually really liked the dark leaves from the reference image. So I'm going to fill layer on a slightly darker green on top of this to paint on the shadows this time. And for the darker green, I use CPM mixed with hookers green. After re-watching this, as I'm voiceover, I did realize that I don't really like the dark green anymore because I found that it looks more bulky this way. Add a lighter green. We'll just make the overall composition look a little bit more light and fresh. This is just my opinion though. I didn't actually mind the dark green when I was in the middle of painting. But sometimes my opinions can change along the way. And it's completely up to you what route you would like to take when it comes to the color of the leaves and your painting. Hopefully from this demonstration though, you can get a better idea of how I layer on the colors. As I get to the darker color, I cover less and less areas so I can still see the layers that I painted underneath. If you prefer a lighter color for your leaves, you can still use the same technique that I'm using here. But I wouldn't add the final dark green mix at the end. And I would paint and the previous layers with a lighter consistency so you have less contrast in value. But since I've already painted it using this green, I'm just going to finish it off. Lastly, I use this dark green mix to just redefine some of the edges again. And also makes sure that the tip looks nice and clean. 14. Red Currant Details: In this lesson, I'm going to go back to the red cards. I'm now going to use the same dark red mixture, which is from all of the reds plus mineral Violet and CPR. This time though I'm going to add a little bit off Hansa yellow to make sure that the dark red is warm, which is the same tone as the red current stem cells. I'm just going to add a little bit of this color at the bottom of each of the red currents. That's pretty much it. I then just want to soften the edges using a clean, damp brush to make sure the edges are not too harsh. Since the reds are quite dark for the ends off the currents, I'm going to just use a very thick consistency of sepia and just use a small circle. You can place this anywhere you would like to on the red cards. 15. Raspberry Detail: Now that I've finished painting all the elements for this slice of cake, I want to make sure that all the details are bounced all throughout. Here. I'm going to go back to the raspberries again just to redefine some of the details, I'm just using the same risk that I've already used in the previous lessons to paint the raspberries. But since everything is completely dry now, even if you're using the same color, the color will still show on top of the colors that I used earlier. Here I'm just going to redefine the droplets again by painting the darker color at the bottom as well as some of the lighter ones. But for the lighter areas of the droplets, I made sure that the details are a bit finer. For the outer part of the raspberries, I tend to just use the red mixed from Winsor red and Quinn read and a slightly thicker consistency so the values are still a bit darker than the previous layers. As for the droplets inside off the raspberries, since it has been painted with a darker red, I'm going to use a thick consistency of the dark red mixture, which is from Winsor Red Queen read CPR and mineral Violet. Initially I just outlined the individual droplets inside off the raspberries. And then I just darken some areas if the lines look a little bit too defined, like on this first raspberry, then I'm going to fix some of the outer parts of the raspberry again using the Winsor red and Quinn red, just to make sure that the triplets look more juicy and round. To do this, I add a bit of shadow at the bottom portion. And if the colors end up blending together again, I would just redefine the sections of the droplets again using a slightly thicker consistency of darker red. I'm also going to do the same thing for the second raspberry as well. For the area of the raspberry which is closest to the leaves, I don't really want to redefine the droplets too much. Instead, I just fill the color off the triplets completely. Then I tried to add a bit more detail as I get to the right hand side. After that, since a huge area off the raspberry sweats, I just want to make sure that everything is completely dry first before layering on more colors. Just like the first raspberry, I don't want the highlights to be overly defined for the bottom part of the second raspberry. So here I'm just using a clean damp brush to soften all the edge and pull the colors inwards. So those white areas are now a little bit pinkish instead of completely white. However, I'm going to leave the white highlights for the top section of this raspberry. I brought down the highlights. Now, the raspberry look a little bit flat because it's lacking and the contrast. So I'm going to go back in with a dark red to define some of the droplets again, especially at the bottom of the raspberry, just use the same dark red mixture but in slightly thicker consistency. And I'm also going to apply this on top of the leaf, where the raspberry is covering a little bit of that leaf area as well, has on top of the jelly as a slight shadow from the Raspberry. There's a little bit of space under the red current that is left white. So for that I'm just going to use the dark red current mixture, which is from basically the same dark red mix as the raspberry plus a bit of Hansa yellow. However, if you still have the same dark red mixture from the previous lesson, you just want to make sure that the value is very dark. So use the dark red mixture and a very thick consistency. That's pretty much it. I just wanted to show you the full process though. So here I'm still trying to layer on the details little by little. Since colors always fade after it has dried, I want to wait and make sure that when it is dry, it's at the amount of detail. I want it to have. 16. Leaf Adjustments: This lesson is optional, but I just had to look at the whole painting again and I realized that I didn't like the amount of detail I've painted for the leaves. Here, I'm using a clean, damp brush to just reactivate and blur out all the details. However, for one of the leaves, I've taken off a bit too much paint, so it's too light for my liking. So here I just want to slightly dry it off even though the surface is still slightly damp. And paint on more details. I don't want to work on a dry surface. If not the details or the edges would be too sharp again, and your eyes would be drawn into the leafs instead of the other details of this painting. Adjustments like there should only be made if you feel like you need to make the adjustments. However, if you feel like you'd like the amount of detail you have, you can completely skip this step of the painting. I just wanted to include this in this class so you know what to do if something like this happen. And for you to feel comfortable to always go back to certain areas that you've already painted earlier. 17. Cast Shadow: You can leave the painting here. But personally, I always like to add a cast shadow underneath and the foods that I paint so it doesn't look like it's floating. For the cast shadow, I'm going to use a mixture of moon glow with sepia. And I'm first using a very thin consistency, just indicate the placement first. I also soften the edges by using a clean damp brush. I want to bring a bit of the cast shadow towards the back so the whole composition doesn't look too long. And then I'm going to go back in with a thicker consistency to paint on top of the damp surface, especially right underneath the cage. As the paint slowly travels, I want to make sure it's directed diagonally as the placement of the cast shadow. So here I'm just helping move the paint using my brush. Since I want the shadow on the right hand side to be painted thinly, I want to paint on a dry surface so the paint doesn't travel anywhere else. Then I just manually soften the edges using a clean, damp brush. After that, I just want to dry everything off so I can slowly builds on the layers to create more contrast and value. Once the surface is dry, I'm going to layer on and the same mixture and a slightly thicker consistency. And I make sure to place them right underneath the cake. I bring it across until I touched the right-hand side. And I want to soften the edges again using a clean, damp brush. That's pretty much it. I'm just going to slowly build it up layer by layer by trying and then adding another layer of paint until I reach the value that I'm looking for. For me, I think it took around three coats for this one, but this depends on the consistency of your paint as you are applying each layer. And I just want to make sure that the value closest to the cake is the darkest and slowly correlates to the color of the paper as it's further away. This means each time I layer on more paint, I tried to apply it to a thinner area close to the cake to slowly build up the gradient. 18. Highlights: Finally, we get to add on the highlights. I'm going to use a thick consistency of bleed proof white just to add extra highlights and gloss to certain areas. It's up to you which areas you want to add. The bleed proof white too. I'm just going to keep mine fairly simple. I don't want to overwork this. And as I add on the bleed proof white, if I just look a little bit too sharp and it looks like it's sticking out too much. I would just soften the edges using a clean, damp brush. In this way, the white would be lightened and mixed with whatever color is surrounding it. You just want to make sure every time you add the highlights to follow the cross contour lines of each subject you're painting. This way. It will also enhance the form. That's all I'm going to do with the fruits. I know raspberries are not very glossy fruits, so I'm not going to do too much next. I just wanted to add a bit of highlights to the jam as well, since it is only a thin layer of jam, I made sure that the highlights are also very fine. So I use the tip of my brush to make sure the lines are as thin as I can make it. I made it also weakly, so it follows the natural consistency of the jam. If your brush is frayed though, you can always switch to your smaller brush to paint this on. Personally, I feel like some of the whites are about out of place and spit too strong. And I feel like the edges should be softened. So here I go back in with a clean, damp brush and make the edges a little bit blurry. I'm happy with how this looks so far, so I'm going to add a bit more white and certain areas. This time I'm going to add little dots just for extra sparkles on the jam. Lastly, I'm going to go back to the red cards. I forgot that I've added the little CPR and dots. And I want this to pop out more so I'm going to add a bit of white around it. And also in the middle, it was a little bit too thick, so I went over it again with sepia to make the white look a bit finer. 19. Sugar Dusting (Optional): Lastly, I'm going to add a bit of sugar dusting to the cake. This is completely optional. I just felt like it was appropriate for the season. However, if you like the look before I added the sugar, doesn't you can also leave it at that. For the sugar dusting though, if you want to go ahead with it here, I switched to my small brush because it's easier to paint on that without having to worry about the pressure off my brush. And I first use a mix of bleed proof white with whatever the base color of the object that you're painting is. As an example, I use the red current mixture with a bit of bleed proof white to paint some of the dusting underneath. Then I would go over it again in certain areas at the top using the bleed proof white. This would help make the dusting look less flat because you always have a risk of making your paintings look flat if you add on too much white without any values at all, be careful to not overwork this also, if not, you might lose the details that you've painted earlier. I personally like to place this on top of areas which are facing upwards, or think of areas which might catch more sugar. I always try to keep this in mind and paint on the sugar dusting slowly so I don't accidentally placed too much on in shadow areas like the sugar dusting on top of this dark green from the leaf. I'm going to first soften this layer just to make sure it blends with the background color. So the sugar does think also looks quite dark. But to not make it out of place sometimes I like to also clean up the edges using the dark green mix. Again, the area is a bit wet, so now I'm just going to leave it to dry and move on to paint more sugar dusting and other areas. Once the surface is dry, I'm going to go back in with a medium consistency of the white so I don't accidentally overwork it again. This way. The white, it looks like it's also in shadow, so it doesn't look like it's glaring and flattening the image. Before we finished the class off though, I do want to mention if you paint on this part and you feel like you didn't like it, as long as you haven't painted too much, you can always take off the excess white using a clean damp brush just to reactivate it. While the paint is reactivated, you can take it off with tissue, but it will leave a little bit off standing from the whites. So you do have to paint over certain areas that you've erased. If you didn't end up liking it is always possible to bring it back. You just have to relay or some of the colors. That's pretty much it for this final step, I'm just going to keep painting on the sugar dusting until I'm happy with the amount that I'm placing on top of the cage. 20. Closing and Class Project: Congratulations and completing this class. I hope you guys enjoyed watching my process of how I complete this square or us free kick slice. For the class project, I would love for you to paint along with me using the method that I showed you in this class. If you're feeling extra creative or urine advanced students and you would like a little bit more challenge. Feel free to change up and customize your painting by maybe changing up the cake slice or add on or switch the garnishes that I use. Today, I'll be very excited to see the works that you create with this one. So once you're done with your painting, please don't forget to post it in the project section so I can take a look at it along with other students. You can also leave out your thoughts of this class and ask for feedback, which I'll be very happy to give if you guys enjoyed this class or found this class informative, I would really appreciate it. If you leave a like or review. This way, it really helps the algorithm to share my class to more people. And I can also keep making more classes that you guys enjoy watching. If you guys would like to see more tutorials by me, you can follow me on my YouTube channel in the onion knew where I post weekly videos, mostly watercolor tutorials, which are shorter than the Skillshare classes. Or if you would like to see more art by ni can also follow me on my Instagram at IG underscoring young Yanni. Finally, I would like to thank you for watching and sticking right till the end of this class. I can't wait to see your work in the project section. And I'll see you in the next class. Bye.