Fun Food Illustration: Learn to Paint Pastries & Baked Goods with Watercolors for All Levels

1. Introduction: Everyone. My name is Nia, and today, I'm going to share with you how I paint this collection of baked goods in a sketchbook spread. I love painting breads, cakes and pastries. I decided to dedicate this whole class to paint them in a simplified and stylized way. I would say that this is almost like a doodle style, and it doesn't require too many painting techniques to finish. So I would consider that this painting is suited for all levels. In this class, I will be sharing with you the whole process right from the beginning, listing the ideas that I had in mind and which pastries that I wanted to include into my painting. Then I will break it down into simpler shapes, so it's easier for you to sketch it later on. After that, I'm going to form the layout. This includes my trials in different sketchbooks. And then I will sketch them out in my sketchbook. And of course, I will also share with you the painting portion, which I will break per item as short lessons. Then all of this is finished off with the final decorative elements, as well as final adjustments to bring the whole painting together. A lot of the chosen baked goods that I've included in this composition. I've painted from memory or from imagination, but I understand that for a lot of people, it really helps to have some form of reference. So I've compiled reference images which are similar to what I had in mind as I paint, and I will include these references in the lessons. However, I will also compile them as a file that you can download in the projects and resources section, so you can either open it in your devices or print it out so you can have it right next to you as you paint. Like any of my other classes, if you prefer to get straight to painting without the sketching process. I will also have the downloadable outline available in the projects and resources section, where you can just print it out and trace it straight onto your watercolor paper. This way, you don't have to plan sketch or anything, you can just get straight to painting. And if you've never taken any of my classes, I would recommend for you to just have a look through either a few lessons or my previous classes. So you get used to the pacing, since I do cut through parts where my hand is either inactive or off the camera. So I will be painting at a faster speed than usual. And when you are ready to paint along, please pause in between each steps so you can paint at your own pace without feeling rushed. If this sounds like a project that you're interested in tackling, please join me in this class, and let's move on to the lessons. 2. Supplies: In this lesson, I'm going to go through the supplies that I'm going to use to complete this painting. Firstly, let's go over the paper. I'm just going to use my sketchbook here. This is a sketchbook that I made and the paper that I used for this particular sketchbook is Canson X L, 300 GSM, and it's a cellulose paper. You don't really need any fancy paper for this type of illustration. You just need to use watercolor paper. In fact, I'm pretty sure this was actually the backside of the watercolor paper, but it still worked out quite well. In terms of the size for both of these pages as a spread, this is 21 centimeters by 14.5 centimeters. Yes, this is fairly small. If you're not comfortable painting a such a small scale, you can adjust this painting to fit a larger scale that you're comfortable with, either by using the sketchbook that you usually use or a larger piece of watercolor paper. Next, for this whole painting, I'm only going to use two brushes. In the beginning of the first class, I accidentally picked up a round brush. But for the rest of the class, I'm just going to use these two. This first one is by George Jorn, and this is a size for synthetic round brush. This is quite old and it's a little bit fraed, but it's still usable for this type of simple illustration. This is a fairly small brush, which I'm going to use as my larger size brush for this painting because I am making this at a smaller scale. Again, if you're going to adjust this for a larger painting, I would suggest for you to use a larger size brush according to your chosen scale. For smaller details, I'm going to use my size zero brush. This is by Windsor Newton Spter Gold two. Again, though, if you're adjusting this for a larger painting, you don't have to use something as small as this. Next, you will need a clean jar. I'm just going to use one here, which is fairly large. If the water gets sturdy, I'm just going to switch it out and refill it with clean water. However, you can also do this using two jars if you don't want to keep changing your water, one jar is for cleaning your brush and the other one is only for reactivating and picking up paint. Next, you will need tissue or a kitchen towel. This is very important to always have by your side as you're painting in order for you to take access paint off your brush. This way, you can have full control of the brush load before applying your paint. So nothing puddles up. This is especially important when you're painting at a smaller scale, because oftentimes the bristles tend to absorb too much paint to cover the small area that you're going to paint. The palette, I'll be using this cheap plastic palette that I got from Dio, mine is a bit yellow now, but I really like this because I've used it enough times that it created some micro scratches, so my paint doesn't beat up as I mix them. If you have trouble with beating, you can also use porcelain palette as well. But as for me, I find that if you use your plastic palette enough times, it's just going to turn out like this, which makes it much easier to see the paint that I'm mixing, even though my palette is already a little bit tinted yellow. With this said, I would suggest for you to use a light colored palette, so it's a bit easier to see the colors that you're mixing. Next, for the little salt grains, for my pretzel, I'm going to mask it off using this masking fluid. This is by Marie. I really like this brand because it's quite light and easy to apply. It has a very small opening. But because I need to apply very tiny dots, I'm going to use the silicone brush tool to help me out so I can make those very small dots. If you don't have access to the silicone brush, you can also use a toothpick, or if you don't want to mask at all, you can also use bleed proof white at the very end to paint on the salt grains. For the planning stage, I'm going to sketch using this sketchbook by potentate or you can also just use regular paper or just even print paper. For the sketching portion, I'll be using this pencil by Pentel Sharplet, and this has an HB filling, and I'm also going to use a pentel eraser. Is optional. But since I don't like to wait for paint to dry, I'm going to use a normal hair dryer to make the drying process quicker. Lastly, for the writing, and for the outline, I'm going to use these two. For the writing, I'm going to use my snowman drying pen and the size 0.3, and this is waterproof. There's no worry if I accidentally splatter some paint on top of the writing. You can also use the same pen for the outline, but I personally like to outline using colored pencil because I like the pencil texture against the watercolor paper. It just feels more hand painted and a bit more whimsical, but of course, the choices are yours to make. For the colored pencil, I'll be using Derwin light fast in the color chocolate, or you can also use any dark brown colored pencil. It doesn't have to be anything fancy. In fact, sometimes I like to just use my cheap faber castle hobby grade watercolor colored pencils. Next year are the colors that I'm going to use. Firstly, this is Crimson Lake by Holbein. CPA by Holbein, Quinciana by Daniel Smith, mineral violet by Holbein, Titanium gold ocher by Schminka, on brilliant dark by Schenke and the yellow medium by Daniel Smith, and bleed proof white by doctor PH Martins. Those are all of the supplies I'm going to use, and here is a list of all of them combined so you can get your tools ready. 3. Ideation Library: L et's create an ideation library because I want to include different pastries and make goods for the spread. And I already had some that I've thought of. I'm just going to list them down, and once I've done this, I'm going to sketch and simplify the shape, so it's easier for me to visualize as I think about the layout in the next lesson. Sometimes if it's a bit too difficult to visualize the shapes and twist of the bread or pastry or sometimes it's a bit difficult to figure out the colors as I'm painting. I'd like to look for references for each type of pastries before sketching out the simplified shapes. I'm going to combine all of the pictures that I've used as reference, and you can download this in the projects and resources section. However, if you're stuck for ideas, you can actually switch the process around. Personally, because I already wanted to paint certain breads and pastries, I listed them down first before looking for the references. But if this isn't the case and you want to customize your painting fully, you can search online first or walk around your favorite pay crease and collect the pictures that you like before listing them and simplifying the shapes, so it's much easier to compile and play around with your layout. Because I love painting pastries and baked goods. A lot of times I didn't really directly use these references, or maybe I've seen them once before and just created my own version. But I compiled the pictures similar to what I had in mind because I feel like it'll be easier to tackle this painting with a little bit of reference. I find that by doing this, it's much easier for me to process the information mentally because I already have the simplified shapes ready to pick instead of having to visualize both the shapes and the layout at the same time. Personally like to choose around ten to 12 items because having too many options could also end up confusing us. This doesn't mean that you're only stuck with those ten to 12 items, but they're just going to be the main go to ones. If in the middle of the layout plan, you end up getting other ideas, or if something else just fits better, you can always add them on along the way as well. After listing all the items, I'm just going to quickly sketch them out. I'm going to do this in order of the list, so it's easier to follow. For the pretzel, I really love the shape, so this is going to be priority for me. I like to start by drawing a hard shape with a curve at the bottom instead of a point. Then I double the line and add a couple of twists in the middle before extending the tail sideways. Next will be the classic butter croissant, which I like to simplify by drawing a chubby crescent shape and I start dividing the roll from the middle outwards. I've painted a baguette before, but I want this one to look extra crusty, so I made the tips a bit more pointy to suggest more crunch. Next for the pano chocol, I like to think of a puffy pillow, which is flat on the side with a bit of chocolate picking through. This one is very simple. I'm just going to create a snail shape with some extra layers on the sides, and I also added some dots for the raisins. This chocolate bobca is really interesting because it has many twists. But for this one, I'm making a mini one with only a few twists. I just start with an oval that I divide in two quarters and I direct the lines as a woven pattern, so the lines are either facing vertically or horizontally alternating from each other. Depending on the viewpoint, you might be able to see the bottom like this one. But for the final painting, I decided to paint from the top view so you can only see the pattern. The med lanes are so cute and simple. This is like a soft upside down trapezium. I rounded the shapes and divided into six horizontal lines, then connecting each line at the top with small curvatures, so it looks like a shell. Next for the canal, I created a flan shape with a dip at the top, and I'm going to create some pointy tops along the edges and then connect them down with some horizontal lines. Next are the Asian buns. Bread and Asia are usually really soft brioche buns with fillings. There are so many flavors, and these are just the ones that I can think of at the moment, which are red bean paste, which has some black sesame on top and taro with taro jam spiral on top. I want to make the sour dough crusty as well. And for the slash, I made a big leaf shape on the left side and added some smaller leaf shapes as decoration for extra puffiness on the right hand side. For the big leaf shape, I added some textures that I'll explain later in the painting, so you can see the exposed puffy crumbs inside. Lastly, this is another Asian bread, which is the sausage bread. This is basically cut from a bread roll with the sausage inside, and the sections has small cuts of sausage. However, in the past, I remember buying one which are leaf shaped, it's more or less the same idea, but the tips are pointed, so it's a bit more crusty and crunchy instead of the soft bioche. I find the shape of the bread look really interesting because they really look like leaves placed on top of each other. It was also really tasty because the tips were quite crunchy. But just like the previous ones, this has a circle inside each leaf as the filling. By the way, these sketches are just ideas that I had in mind at the stage of my thinking process. This can still change along the way, even for the sketch layout if I suddenly get any other ideas along the way. It just helps to have these by your side as inspiration and yours might look completely different from mine, but that's okay. 4. Layout Ideas: In this lesson, I'm going to create small thumbnail layouts using the items that I already sketched out in the previous lesson. It helps if you have the previous sketches right next to you, so you can always look back for information on the shapes of each item as you're compiling everything together. Here I haven't figured out which sketchbook I'm going to use. While I'm thinking of the layout, I like to frame it according to the different sketchbooks that I have or the options that I have. This way, I can have a better visualization of the overall layout and which one will work better. This first and second one. I'm just sketching on a single spread on a ring bound book, and I thought about this on a double page spread as well, so I'm going to try it out later as well. Notice as I'm sketching, and I'm not too worried about the details. I just want to indicate the basic shapes of each item, so I can see them in relation to each other and how it'll balance out the whole composition. I generally want to place the prezel first because like I mentioned in the previous lesson, I've been really wanting to paint the pretzel. This takes priority and I also want to place it in the middle because for me, I find that it has the most interesting shape in my opinion. The previous layout, I suddenly had other ideas like the breadsticks and the doughnut twist. I didn't end up using them though. I just wanted to see how it looks in comparison to the other breads or baked goods. Sometimes I like to switch out some of the items as well depending on the space that I still have left on my thumbnail layout. It is not set in stone, whatever you drew out or sketch in the previous lesson. If you have any other ideas that might pop up in your head while you're sketching out the layout, feel free to try it out. Just limit yourself so it doesn't get too overwhelming. Depending on the space that I have, sometimes I like to also double up on certain items for more of a dynamic composition. You can also repeat certain items if you can do this on several items, so it doesn't look too weird if you only repeat one. Another thing that you might also want to think about is how you present the items and which angle you're viewing it from. As an example for the sour dough, you can see the side of the loaf, but later on, I'm just going to paint a top view. Same goes for the Bobca. I didn't really like how it looks on the side, and I find that later on it didn't really work out with the layout that, I decided to paint a top view instead. Here I'm indicating the elements that I really like in this composition. I'm just going to keep them there and try to move and change the others to fit around the ones I marked. For the round Asian bread along the way, I thought about switching this into pretzel buns or even small bread rolls with different cuts and shapes. But this is just to keep in mind. I still haven't really made my decision yet, so I just drew it out as an option for the final sketch. And as for the Danish, I haven't made up my mind what I want the filling to be, whether it's apple or berries. So again, I just sketched out the option, so I can refer back to it for the final sketch. Before drawing out the final sketch, I decided I'm going to draw a larger version, so I don't get too used to sketching out the tiny little items, and I feel like this is a better representation for the scale of items for the final composition, and it helps to see it a larger. Again, though nothing is set in stone, this can still change for the final sketch. But I just find that this is a good opportunity to break away from drawing the tiny little items and only using my wrist. Instead, I'm now moving my whole arm to create larger shapes. So I guess at the same time, I'm also using this opportunity for a slight warm up for my hand. After drawing out the slightly larger items, I can now also see that there are large spaces in between. I'm going to try to fill in the space as much as I can. One way that I thought about is by adding some typography or text into the composition. I think it'll look if I name each item, following the curvature of each item as well. I find that this is just a cute little touch, and I'm also going to finish off with some splitters just to fill in the rest of the awkward spaces. Oh. 5. Sketching: I feel like I'm ready to sketch the outline for the painting. I've decided to use this double page spread and I'm going to start by figuring out the spacing for each item. To do this, I'm going to sketch very lightly, and I'm only going to draw simplified silhouettes off each item first, so it's easier to move them around and balance out the composition without taking too much time. Notice how I'm holding my pencil quite far back. This makes it much easier to draw loosely without too much pressure. This is very important when you're sketching straight onto your watercolor paper. So the pressure of the pencil and erasing won't damage the paper that you're using. Watercolor paper can be quite sensitive. Make sure if you're going to be erasing a lot to draw very lightly. Even for this final sketch, I was still adding things up and moving things along the way to fill in some spaces for the sides like these breadsticks. At first, I really liked to look and the placement of the breadsticks. But I later realized if I added these two breadsticks on the right hand side, there's still a bit of space on the left, so it will look imbalanced. But at this point, I didn't realize it, so I'm just going to keep the breadsticks for now. I'm fairly happy with the placement for the rest of the items, though, so I'm just going to clean out the outlines and draw out the rest of the simplified details. Here at the corner on the right hand side, I decided to change the angle of the Bubka. I'm going to just draw a bur side view of it to showcase more of the interesting pattern on top. For the leaf bread, I find that it's much easier if you draw a straight line first. This way, it's much easier to place each leaf which are slightly overlapping each other as they fold alternatively to create the shape of the leaves. Then I want to slightly thicken the bottom so it doesn't look too flat. Then finishing up with slight ovals or circles inside for the cut sausages. For the croissant, I'm going to draw this on a slight angle, so you can see more of the pastry layers on the right hand side, and the layers will be hidden on the left. I feel like I've drawn the rest of the items quite a fair bit in the past lessons. So you probably know how to draw them by now. But just as a reminder, if you want to get straight to painting, I'll have the outline available for you to download and trace onto your watercolor paper in the projects and resources section. And if you want to scale it up, you can enlarge the outline to suit the size of the paper that you're planning to paint on because the outline will be high res. Once I finished catching, I just want to make sure the lines are fairly clean. They're not too or too dark. You can take the access pencil marks off by your as, or you can also use a needable as. I. 6. Pertzel: Let's begin to pate. I'm going to start with the pretzel. Here, I just squeezed out my masking fluid on a scrap small piece of paper. So I have easy access to it, and I pick up the masking fluid with my silicone brush. Just going to make some different sized dots on the pretzel, mostly concentrating at the bottom, as well as the twist of the pretzel. While doing this, I'm just trying to imagine as people sprinkle, they might miss certain spots, and some areas might be heavier than others. This is something that I'm trying to depict while placing the masking fluid. I'm trying to randomize the placement, so some areas are a bit more concentrated than others. I didn't really refer to this picture as I'm painting, but I just want to show you that this is the type of pretzel that I'm trying to paint for this composition. Once I've sprinkled enough salt, I'm going to wait for everything to dry. Since these are really tiny dots, it didn't take too long at all. Once it's dry, I'm going to begin to paint. The first color that I'm going to use is Jon brilliant dark, and I'm going to use a medium to thin consistency that I've activated on my palette with also a little bit of along the side. I'm starting with just the jon brilliant that I'm tapping in with the side of my brush to create an uneven surface. And at the center, I use a really thin consistency of the omblian and CPA mix to create a slight crack in the middle. I'm going to leave that to dry now and move on to the actual pretzel. For this, I want the color to be much stronger. I'm starting with a medium to thick consistency of titanium gold ocher to paint the connecting lines as well as some of the sides. Next, I'm going to follow this up by adding some quinciana into the titanium gold ochre. Still working in a medium consistency. I'm just going to cover the outer part of the pretzel for now. While the surface is still a little bit damp, I'm going to add more quincena, and I'm going to place this along the inside of what we've painted so far, so we can see a lighter version of the color along the outside from the base color. Then with what was left on my bristles, I'm just going to paint the rest of the pretzel. Since I've used up most of the pigment, I'm only left with a thinner consistency. Then I'm going to follow this up with a thicker consistency just like I did along the outside. Next, I'm going to create a darker brown from a mix of sepia and Qin red. Just like before, I'm going to place this in the middle, and I'm creating a thinner line this time, so there's a gradual gradation from the darkest in the middle with lighter edges. I felt like the titanium gold ocher was already too dry, so here I'm just going over the edges again, using a thicker consistency to connect to the colors. Now I'm going back to the crumb, and I'm going to use a medium consistency of Shon brilliant dark. I made the shadow of the cut look n and I also dot the edges of the shadow, making it look a bit more like crumbs. Now going back to the now dry surface of the crust, I'm going to create soft highlights in the middle or the highest points of the crust by reactivating a bit of paint using a clean damp brush, then taking off the reactivated paint with tissue. Once I'm done and everything is completely dry, you can also use a hair dryer to make the drying process quicker. Then I'm going to take off the masking fluid to reveal the sprinkles of salt. At the bottom, I've made a bit of a mistake. It turns out that the bottom was still a tiny bit damp. It's not completely dry yet, so I accidentally smuched it, but it's completely fine because I'm just going to cover it with a shadow later on. But once I'm done, I'm going to create a bit of shadow for the salt, so it doesn't look too flat. For the shadow of the salt, I use the mixture of Jan brilliant dark with a little bit of sepia in a very, very thin consistency, and I also switched to my size zero brush using only a very light load to cover the bottom left corner of each of the salt grain, so it has a bit of dimension. Please don't forget to control the load on your brush. Since we are painting on very tiny areas, you want to make sure that your bristles are not puddling wet as well. Here still using the same color, I'm going to exaggerate the crack in the middle. Then I'm going back to the Jan brilliant dark and just dotting some random textures for the crumbs. 7. Rainsin Pastry: Next in line is this spiral raisin pastry. Just like the Pressel, I didn't really paint side by side to this image, but this is the type of pastry that I'm referring to. This is a very simple one. Let's start with titanium gold ochre, just like before, I'm using a medium consistency here. I'm placing this in the middle of the spiral. And for this particular one, whenever I'm painting, I always follow the line of the spiral. Moving along, I'm going to use quincena that I mix into some titanium gold ochre. I'm using a medium consistency here to fill in the rest of the pastry. And just like before, I like to paint lines following the curvature of the spiral while leaving a bit of white negative areas, so we can see a slight texture and the layers of the pastry. I want the inside of the pastry to look a bit more vibrant and yellow, so I added some hands yellow medium into the previous mix, and I'm applying it the same way as before. I'm just going to clean out the edges here using the same orange mixture from Quinciana and Titanium gold ochre. Then I'm going to follow up using a darker brown by adding more Quinciana and CPA this time into the previous mixture, and I'm using a light to medium consistency. I don't want the pastry to look burnt, so I'm trying to make the lines a bit thinner for this, and I'm being quite careful with the amount that I'm applying. If you're unsure, you can switch to your smaller brush to apply the darker color, and please use a lighter consistency. This way, you can always layer a bit more color if you feel like the brown isn't strong enough. I also want to paint the edges or the outline using this dark brown because this area will be the most baked. Lastly, to paint the raisin, I created a really dark brown from a mixture of mineral violet and spa. I'm just going to paint blobs using the tip of my brush in different sizes, and I also left out some negative space, so these blobs doesn't look too heavy and dense. If it's too difficult using your larger brush, you can also switch to your small brush so the load is easier to control. Hh 8. Apple Danish: Next in line is this apple Danish, and this is the image that I use for this particular one. I found this image before sketching, and I really like the look of the layers of the pastry and the filling, but I'm going to simplify the details for this painting. I first use a mix of titanium gold ochre with hansa yellow to paint the inside of the pastry. I realized that the inside should be a bit rounder, but it was too late, and I didn't really mind how it looked once it's finished. I'm just going to go ahead and paint the edges using this yellow as the pastry puffs up. Just like the previous raisin pastry. I'm trying to follow the lines of the pastry. This way I can build on the layers as well. Once I've painted the edges, I'm going to paint in the rest of the pastry by adding some quincena into the previous yellow mix, like the raisin pastry, where we can see the layers from the side of the puff pastry. This time we're looking at the top layer of the pastry, so it's lying flat, but it has some blistering from the crispy crust, which will have some highlights from the glaze as well. So I left out some random white spaces to depict those highlights. Oh To make the top layer of the pastry look more crunchy, I'm going to add a darker value brown. For this, I'm using a medium consistency mix of quincena and a bit of CPA. I'm going to apply it the same way as I did the previous layer. But this time I'm leaving more negative space so you can still see some of the base layer peaking. Once I'm done with this layer, I'm going to add more of a darker tone brown, and this is the same mixture but with added spa in the ratio. I'm going to limit the amount of dark brown because I don't want the pastry to look too burnt. This is just to indicate some of the dark swells, which might be in shadow to contrast some of the highlights. Once I'm done, I'm going to apply the same thing for the bottom. Now that I'm done with the texture for the top layer, I'm going to switch to my small brush to paint some of the visible layers on the side of the pastry using my small brush. And I'm just doing this by adding lines following the outline using the midtone brown. Once I'm done, I'm going to paint the filling, I'm starting with a base color a medium consistency to a light consistency of hon brilliant dark, which I'm going to spread out lightly. Next, I'm going to paint the shadow around the corner, so the filling looks deeper than the puffed pastry. For the color, I added a touch off sepia to my Jon brilliant dark and I'm using a really thin consistency, so the shadow looks nice and subtle. Once I'm done, I'm going to dry everything off before painting on the rind for the apples, and for the rind, I use a little bit of the dark brown mix with some crimson lakes, so the crimson lake looks a bit muted. I want the line of the rind to look uneven. On top of this, I use the thinner consistency to go over it again, and I try to wiggle my brush really lightly. So there's a slight difference in the weight of the rind. At the moment, the apples look fairly flat, though, so I'm going to add some shadows in between using the same light shadow mixture, which is from anllan dark with a little bit of CPA in a really light consistency. 9. Crusty Baguette: In this lesson, I'll be painting the baguettes. I want mine to look very crusty and I also want some flower dusting around the crust. I didn't really use this image as reference, but this is probably the closest representation that I can find of what I imagined. Just like the pretzel, I'm going to use a mix of John Brilliant dark with a touch of spa for the inside crumbs, because we are painting on a small area. I am using a light brush load and a medium consistency. As I'm applying the paint, I'm just placing it randomly without putting too much pressure, so I leave out a lot of white negative space. Here's a close up of the texture again, but in a darker color, so you can hopefully see it a bit better. If you're trying to cover a larger area, you can try to move the brush in a larger way these strokes, and I would also play a bit more with the pressure instead of just using the tip of my brush. This way, I can cover a larger surface area. In this case, since I'm only painting a very small part of the baguette, I make sure to use a lighter brush load and just the tip of my brush. Next with the same color mixture, but a thicker consistency and a little bit more CPA, I'm going to place the starker color at the bottom of all the cuts. This is just to show a bit more definition and also as a little bit of shadow. After this, I'm going to pick up the paint that I've already pre mixed beforehand from the previous pastry. This is from a mix of Quinciana and Sepia, and I'm using a really light consistency to paint the crust. I'm painting this the same way as I did the crumbs by leaving out a lot of small white space, so the crust looks textured. It's important to keep the consistency very light for the base because I want to show an illusion of a flower dusting without using white at this point. Next, I'm going to use the same color mixture in a thicker consistency. I'm using a light load on my brush to outline the top part of the cuts this time, so it looks a little bit more cooked or baked than the rest. What was left on my bristols. I'm also going to add this color to the whole crust, but very lightly. I'm applying the paint by wiggling my brush and randomly adding some dots, so the paint is applied with a slight texture. Once I feel like I have enough, I use a clean damp brush and pull the paint that I've already placed to smudge and make more of this texture. I like to repeat these steps until I create a soft textured layer with a little bit of the base color peeking through. Then for a bit more detail, I'm using the same color mixture and creating smaller dots on top and also darkening the sides to add volume to the bige Next, I'm going to use a very thin consistency of quincena to layer on top of the crumbs again, and I also try to leave out a little bit of the base color still picking through the sides and also some of the white negative space that I've left out. To finish this off, I'm going to define the cuts by using the dark brown mix again, and I'm also using a dry brush load in order to create those really fine lines. But if it's too difficult for you to control, you can also switch to your small brush to do this. I'm just going to repeat the same steps again to paint the second bigete. Oh. For the second one, because it's slightly hidden behind the first pie. I use a slightly darker color, so it's the same mix, but it has more in the ratio. And I'm just going to place a medium consistency between those two pets and softening the edges with a clean damp brush, but I applied it the same way as how I painted the textures. Lastly, to add a bit more detail to the cuts, I a mix of CPA and mineral violet to just only parts of the cuts. So the color of the outline is even, some are darker than others. After this, I'm going to add the darker layer on the crumbs with a really light consistency of Quinciana. Then use the same color to paint some tiny dots on top for extra detail once the surface is dry. 10. Asian Soft Bread: Next are the Asian buns. I picked these two. The first one is a red bean paste bun with black sesame topping, and on the right side is a custard bun. But where I live, we also have a Taro version of this. So I'm going to change the swirl to purple instead of yellow. I've actually painted these types of bread before, so I didn't really use these images as reference, but these are similar to the look that I'm going for. Now let's begin to paint. I'm going to start with a light consistency and a heavy brush load of titanium gold ochre to paint to the base. Then while the surface is still damp, I'm going to add quincena into the titanium gold ochre and place this at the top while leaving the bottom still as the base color. I'm applying the paint, I tried to press the side of my brush with different pressures. The accumulation of pigment is slightly different throughout the surface. While doing this, I also left out a bit of white negative space. These are soft bunts, so the texture is much more subtle compared to the crusty bigett that we painted earlier. Here's a close up of the texture that I'm trying to achieve. This is much smoother than what I painted for the bigete. But by applying more pressure to the side of my bristles, I can cover a bit more area and by moving it in little wavy forms and taking my brush off little by little, is creating subtle uneveness to the application where some areas have a bit more pigment than others. Once I'm done with the first layer, I'm going to build up on the saturation. So I added a thicker consistency of titanium gold ochre at the bottom and more quinciana at the top. While the surface is still damp, I'm going to take off a little bit of the wet paint on the top right corner to create a highlight. Now moving on to the custard bun. I'm starting with a titanium gold ochre just like before. But for the top part, I tried to use a lighter consistency because I'm going to paint some purple on top. For the Tyro swirl, I'm going to create a soft purple from john brilliant dark and mineral violet. I'm using a medium to thick consistency and I'm just going to follow the swirl and paint it on top of the bun. Now I'm going to use the darker brown from Quinciana and titanium gold ocher to paint around the swirl while leaving a little bit of space. You can still see the base color in between the swirl and the darker brown. I also left out the bottom still with the light color. So we can see that the top is a little bit more baked than the bottom. Once I'm done, I'm going to increase the saturation, so I'm going back in with the same mixture for the top part of the bun. I'm going to leave the custard bun to dry and move back to the red bean bun. Here I use the mix of sepia and quincena in a light to medium consistency. I started with the top, then I used the clean damp brush to spread the paint towards the bottom, while still leaving the base or the bottom of the bun light. I'm also going to do the same for the custard bun. Once I'm done, I'm going to try everything off completely before adding on the black sesame topping. To paint the black sesames, I just use a thick consistency of CPA, and I've also switched to my small brush, so it's easier to paint on the dots. I actually like to mix painting dots as well as tiny little ovals, so we can see the black sesame in different angles. 11. Madeleine: Next are the medalins. These are another simple one to paint. I'm going to start by using a mix of shown brilliant dark with titanium gold ochre, and I'm going to use a heavy load on my brush so I can cover the whole medalin. Notice that I'm just spreading the paint and this time instead of doing small strokes or dotting motions because I just want to cover the flat surface. Once I'm done with the first one, then I'm going to paint the one at the back as well. If you run out of paint, just reload your brush and cover the area again. Next, I'm going to use a mix of titanium gold ochre with Quin Ciena, and I'm going to use a medium consistency and a medium brush load to a light brush load so I can paint the lines in between to form the shape of the shell. I'm painting on a slightly damp surface here. It's not ping, but it's not completely either, so some of the paint are softening up on the sides. It looks a bit too messy. I just use a clean dry brush to move the paint around and soften the edges. I'm going to increase the definition by using a thicker consistency of a darker brown. I'm still using the previous mix, but this time I added a little bit of CPA, and I'm going to use a medium consistency and a really light brush load, so you can see that the tip of my bristles come to a point. Again, I'm just going to paint on the lines, but I try to make the lines thinner this time. After painting a few, I can see that the paint is slightly spreading out. Before everything settles, I'm going to use a clean damp brush to spread some of the paint and pick up the excess pigment, to paint the rest of the lines. I've also smudged the paint a little bit more on the left side, so it looks darker than the right hand side. To add a bit more form, I'm going to add the first mixture again. This is from titanium gold ocher and a bit of sh brilliant to paint the bottom bit and the top. The area in the middle looks like it's puffing up slightly. Let me just try to paint this quickly without the shell texture. Hopefully, it's a bit easier for you to see the volume and the form that I'm trying to achieve. As you can see by darkening all sides and leaving the center of the cake in the lightest tone from the base color, you can create the illusion of the volume and puffiness to this otherwise flat surface. I'll also draw the cross contour lines so you can hopefully imagine the form as a grid to better visualize it. As you can see from the grid, the highest point will be here, and that will be the lightest part. I'm just going to repeat the same steps for the second medlin. Here I'm using the mix of titanium gold ocher and quinciana, just covering the lines, then I'm going to soften it up using a clean dam brush. This time, the base color is completely dry, so you can see that the edges are much harsher and it's a bit harder to soften up. Next, I'm going to use the same mixture with added sepia for the darker brown, and I'm using a dry brush load to paint on the lines. This time the lines are slightly thinner than the previous one, and this is to indicate the deeper areas of the lines. Since the base is fairly dry, I'm going to soften the blend up by going back to the previous midtone brown. This is to create a softer transition from the darker lines. And I'm going to paint more of this brown in a light consistency on the right hand side compared to the left. So the right hand side looks like it's in a bit more shadow. After this, I'm going to go back to the previous Matlin. You can see that the paint is evening out as it's completely. So I'm going to go back to the dark brown again. This is the same mix, but I've also switched to my smaller brush to realign the deepest areas. I'm also going to do this for the Madelin on the right, and you can go back and forth to do this to balance out the contrast between the values until you can see the three dimensional form. 12. Croissant: The next pastry I'm going to paint is the croissant. I'm sure all of you know what a croissant looked like. But here's a nice image that I found and that you can use as reference. Mine is going to be puffier to suit the style that I'm going for. Here I'm starting with titanium gold ocher and I started to paint the right hand side where you can see most of the layers. Then I used the rest of the paint to paint in the left hand side. I started with a medium to thick consistency and after covering those areas, I'm just going to spread out the paint with whatever was left on my bristles. Not going to wait for anything to dry, and I'm going to move on to the midtone brown. This is a mix of titanium cold ocher with quincena, and I'm using a medium to light consistency to paint the separate sections while leaving the light base along the sides. While applying the paint, I like to follow the curvature of each section. Any white negative space that I leave out will follow the curvature to help enhance the form. Here's just a quick demonstration of what I mean by the curves. You can see this going across all sections. I'm going to paint and direct the application following those curvatures. On the right hand side because we can see the layers more. Once I get close to the sides of the pastry, where the layers are, I'd like to paint some thin lines to depict those thin layers. After I'm done with the base, then I'm going to use the dark brown mix. You all know it by now. This is the same color with added spa, so the value is darker and the color is a bit more muted. Each layer that I'm adding, I'm going to paint in smaller sections than the previous, so you can still see parts of the base color showing through and you want to make sure you imagine which areas are more baked than others. On the left hand side, I feel like I need to separate those sections. I'm going to use the same mixture with more sepia in the ratio to divide up the sections and define them. On the right hand side, I'm going to add the darker brown again for the top area while leaving the side as the base color. As for the layers, I'm using the same brown in a lighter consistency and I'm just painting on thin lines. To make everything look a bit more baked and crunchy, I'm using the darkest brown. This has more sepia in the ratio just like the color that I use to separate the left hand side. I'm placing this on the top side of the pastry, and you can also use more quincena if you want the color to look less muted and more vibrant. Lastly, I'm going to add some extra lines for the layers. 13. Sausage Bread: Oh. Next, for the sausage bread. This is the only image I could find to represent the spread. It's like this, but with a sausage filling. I painted this from memory and I had this bread from more than a decade ago. But hopefully, you can use this reference if you want to include the spread as well. The bread that I had was a mix between soft bread and a crusty bread. For this one, I'm not going to make it as textured as my baguette. I'm starting with a base color from a medium to thick consistency mix of an brilliant dark with a bit of quincena and titanium gold ocher that I've already had on my palette. I'm just going to spread it out evenly for the base. While the surface is still damp, I'm going to take off some paint using tissue by just dabbing it off, especially for the area of the sausage. Next, for the Maton brown. I'm using a mix of shan brilliant dark with Quinciana and a little bit of CPA. I'm going to place this color while the surface is still a bit damp. I'm mostly placing it for the tip and also the edges of each cut. But I want to leave a little bit of the base color surrounding the sausage pieces. I'm just using a light consistency because we're still going to build on the darker tones, and I'm just going to finish off the last two here. O O For the next color, I'm using the same mixture, but with added sepia this time for a darker brown. I also added a bit more quinciana into the mix, so the color is a bit more vibrant. I'm only applying this to the tip using a medium consistency, then I'm going to soften the edges using a clean. As I'm softening the blend, I want to pull the paint around the sides and the edges, so the sides are lighter than the tips. Ex, I'm going to paint the sausage filling. For this, I use Crimson Lake mixed with Jon brilliant dark, but since the color is a bit too rosy, I added a little bit of handsy yellow medium to warm up the tone. I'm twirling my brush as I apply the paint, so when I leave out some white negative space, it will follow the curvature as highlights to show how juicy the sausage filling is. Once I'm done, I'm going to paint the outer layer using the same color with added crimson lake and also a bit of quincena this time. I also switch to my size zero brush to just outline the sausage pieces. I like to disconnect some of the lines, so it doesn't look too. At the moment the sausage looks a bit out of place. I'm going to add a shadow in between the bread and the sausage by mixing some CPA into the previous mixture in a very light consistency. I'm also only applying this to the top t. Now I want to separate each of bread by adding a bit of shadow in between as the overlap. For this, I used a mix of Jan brilliant dark with a very tiny bit of CPA. I feel like I need to increase the saturation for the bread. Here I'm just going to glaze this orange mixture from quincena and Hanzo yellow medium and alight to medium consistency. After this, I'm going to add a little bit of shadow at the bottom part of the bread. So I picked up the darkest brown before, and I'm just going to place it at the bottom of each slice. If some of the lines are too harsh, I'm going to soften it easing a clean dam brush. 14. Sourdough: Next, I'm going to paint the sour dough bread, and this picture is a very good representation of what I'm going to paint. Let's start by painting the crumbs. For the base color, I'm going to use Jon brilliant dark in a medium consistency. Just like how I painted the crusty breads to create the texture, I like to use the sides of my brush and I like to tap using different pressures. Some areas are darker than others. I also left out somewhat negative space. For the leaf cuts, I'm just going to use the tip of my brush. I'm still going to try to make it a little bit uneven. Next, I want to depict the crust peeling on one side of the big cut. For this, I'm going to use a mix of honbllan dark with a bit of mineral violet as well as Quinciana. Since this crack is part of the inside of the crumb. I wanted to look textured and uneven and I want the middle part to be thicker than the sides. The same color in a thinner consistency. I'm going to paint the texture on the crumb, and since this area is quite opened, a small crust is also starting to form hence the darker brown. As I'm painting, I like to follow the direction of the crumbs by doing uneven oval rotations vertically. Here's a quick example of the crust contour of the crumbs, and this is inside of the crust. So it's a little bit deeper. I want to think of this as I'm painting the texture, which is why I like to move the brush following the slight curvature as I'm painting. Here's just a larger close up of the texture that I'm trying to paint. To add extra thickness to this opening. I'm using a dark brown. This is from a mix of CPA and Qin Ciena that I still have left on my palette. Then using the same mix in a thin consistency, I'm just going to redefine the inside of the crack. Going back to the midtone brown here, you can see I'm only picking up using the tip of my brush so I can make finer textures. At the bottom, I also want to thicken the edge of the crust. Here I'm using a mix of CPA and mineral violet. But you can see that I'm using almost a dry brush load so the line can be uneven and also very delicate. Again, you can also switch to your small brush to paint the really thin line. For the smaller leaf cuts, I'm going to switch to my small brush this time and create the slight texture using the previous mixture from Jean brilliant dark Quinciana, and a bit of mineral violet. Just like before I'm using a light consistency, and I still try to create the slightly textured by leaving bits of negative space. After this, I'm going to pick up the dark brown mix from CPA and mineral violet, and I'm going to use a medium consistency and light to dry brush load to paint one side of the leaf cut, just like the larger cut, and this will help thicken the crust surrounding the crumbs. So the crumbs look like they're positioned a tiny step lower than the crust. On the other side, I'm going to try to make the line, and this will create the that the light is heavier on one side. After this, I'm going to paint the crust, which is heavily dusted with flower. I'm going back to the previous color mixture, which has shown brilliant dark mineral violet and Quinciana. This time, though, I picked up the color, which has much more mineral violet compared to Quincana on my palette, and I just used a lot of water to reactivate it and use a really light consistency. I want this to look very textured, as you can see, I'm just tapping using the tip of my brush and also the side of my brush to create an uneven textured light base color. Little by little, I'm going to layer the same color at the bottom to create the form and the thickness of the sour dough bread. Here I'm still using a light consistency to lightly layer on a little bit more texture. Then I added a bit of CPA, still working in a light consistency around the edges to build more volume for the bread. As I'm painting the edges, I'm still following the same application method, which is to tap using my brush, so I don't lose the uneven texture. 15. Chocolate Babka: For the last bread, I'm going to paint a bobca. I couldn't find a picture that actually represented what I imagined, but here's a picture which shows a different style of the twist. If you prefer to paint yours in this style, you can also change this element. Now onto the painting, I'm going to start with titanium gold ocher in a medium to light consistency as I like to use for the soft bread base. I'm going to loosely paint and divide each section into around three or four layers of bread. I like to direct the line as I paint according to where the twists are facing. For this case, I want the direction to alternate each other. I also want to leave out some white space for the area for the chocolate filling. Well, the surface is still damp, I'm going to add quincena with some titanium gold ochre, and I'm going to work in a medium to light consistency still to paint on top of what I initially painted. Next, I'm going to add the chocolate in between the bread with some dark brown. I just use CPA for this, and as I'm applying the paint, I want to make sure that nothing puddled up, so the paint doesn't take too long to settle and dry off. I'm not going to wait in between the application. However, if you can see your paint puddling, I would recommend for you to take the excess of using tissue, if not the dark brown will just travel and cover the puddled area instead of creating a soft edge in between. This will just establish the area of the chocolate and the bread. Now I'm going to increase the saturation on the next layer. I'm going to use the same mix from Quinciana and titanium gold ochre, and I also switch to my small brush this time to paint on the bread area in between the chocolate. I like to switch this in between with just titanium gold ochre by itself, especially towards the inside of the twist, where the areas are less baked compared to the top. As I'm plying the paint, I like to wiggle my brush around to leave some white negative space while following the curvature of the bread. But for this one, because I don't want the surface to look crusty, I'm not doing a tapping motion, but I'm just dragging my brush in different directions. Next, I'm going to enhance the color of the chocolate, just like before, I'm using CPA, but in a slightly thicker consistency. I'm applying the thick consistency mostly towards the center where it's also darker, and I drag the color outward, so the outside is slightly lighter than the middle. 16. Cast Shadow and Splatters: After completing all the breads, I decided to add some ca shadows as well as platters to fill in the rest of the space. But before then, I want to make sure that the whole spread is clean off extra pencil marks, so I'm just going to erase them all off. I just want to apply a very thin cache shadow from a mix of mineral violet, CPA, and a bit of quinciana. It's just going to be a simple shadow. I'm only doing one layer lightly in a thin consistency, and I want the light to come from the top right corner, which means the shadow will be on the bottom left. If you like the look of the c shadow, of course, you can apply a slightly thicker consistency or even layer a slightly darker value closer to the object. But for me, I'm just going to keep this very simple because I don't want the c shadow to take away from the actual bread elements. After applying the cacho, I feel like the composition looks a bit better and less floating. But after this, I still see a lot of white space. I'm going to fill it up with some splatters that I paint on manually. This can represent some bread crumbs. You can actually splatter the paint, but since I want them in specific areas, I'm just going to paint it on int of splattering that is more loose and a. This I just use the color that I've already premixed on my palette since I have a lot of spare. After that, I decided to take the excess off using tissue. This is because I want the splitters to be more subtle and light. But if you prefer the darker splitters, you can skip this step. 17. Outline and Writing: No. I want to make the bread pop out more. I'm going to outline it using my colored pencil. This is a really dark brown. You can also use a pen for this for a different texture, but I love the texture of colored pencils because it gives it more of a whimsical touch. I'm just going to start by outlining all the pastries and breads for now and see how it looks from there. Like a lot of my paintings, the finishing is fairly unplanned. I just look at the condition of the painting as a whole and what it needs as additions, and I just go from there. I'm just going to continue to outline the baked goods for now. And then we'll move on to the next step once I'm ready to look at everything again. Oh Oh. O O. O Oh. O M Oh. Once I'm done with the outline, I'm going to add the writing, which is just going to be the names of the breads and pastries. Since I'm not very good at spacing, I decided to write it with pencil first before going over it with pen in case some of the writing bump into each other. I've decided to use script for this, but you can use any font you would like. It'll just give a slightly different feel. If you're, you can also try alternatives with pencil first, then choose the one that you're with for the final pen writing. Okay, so now I'm ready to write with pen. This is just my usual waterproof ink pen. I'm not very good at lettering or writing, so I'm just keeping it simple here. But if you're good at cligraphy and lettering, you can also make something that's a bit more playful, fun, or even more fancy with your pens. Oh, I Once I'm done, I'm going to just erase the pencil writing. I have a look at this again and I feel like there's still a bit of space that I can fill in. I'm going to just paint the wheat plant as extra decor on some of the larger empty areas. I was trying to think of some form of mini breads, but sadly, I couldn't really think of any, so I just kept it simple for this one. I feel like a different pop of color for the extra elements would also work as a nice accent. Feel free to even add things like leaves or maybe rosemary or flowers if you would like to explore a bit more with your composition. For the wheat plant, I first sketched it out with pencil starting with a center line for the stem, and then I added some leaf shapes for the wheat on both sides. This is just to indicate the spacing. Then before painting, I want to make sure that those pencil marks are light enough. I lighten it by erasing a little bit of the outline. After that, I'm just going to paint it using one color. This is just an orange brown mix that I have on my palette. You can also use a mix of titanium gold ocher with a little bit of CPA and quincana. I'm using a light to medium consistency to paint on the leaves and the stem. For the stem, you can also switch to your smaller brush so you can make really nice thin delicate lines. Not totally sure of the anatomy of the wheat, but when I look at images, they tend to have these long in hairs growing out from the grains. I'm just going to use my small brush in a light consistency with a light load to add those delicate lines. It's important to use a light value as well because if you accidentally made the lines too thick, it'll still look fairly light instead of something that's too thick or dense and heavy if you use a darker color. After that, I want to make sure everything is completely dry, and I also want to layer the same color on top of the greens. So they look a little bit darker than those hairs that I previously painted. This time, I also painted some subtle lines on top of the green, so it has a bit more texture instead of just a flat color. 18. Line Details: After drawing on the outline, this makes the whole painting pop, but it also looks a bit more illustrative and simplified. So I decided to add some extra textures by adding some pencil marks, things like light dots for the metyln, a little bit of etching for the soft breads, some redefinition for the salt grains on the pretzel, and more fine layers for the pastries. For areas in shadow, it also helps to thicken the outline. There's a variety for the line weight, which makes the painting look a bit more interesting. Oh 00 19. Highlights: Oh. Lastly, I also want to define some of the finer textures using bleed proof white, especially for the flower covered crusts, but also for some highlights for some of the breads and pastries to make them look a bit more glossy. I'm keeping this simple, though, and I try to not do too much because it can really take away from all the colors. For the medlns here, I'm just adding some dots like I did with the pencil. But as for the sausage bread, I wanted the ends to look like it has a very slight flour dusting. I'm using the bleed proof white in a very light consistency, which makes it a little bit transparent. And I'm dotting the pointy ends, concentrating most of the dots there, but dispersing the dots further apart as it gets to the other side. It looks fairly flat for now, so I'm going to make some of the white more opaque and paint on smaller dots very sparingly. I also want to add some highlights on the sausage slices. This will serve as highlights, though, to make it look a bit more juicy instead of the flour dusting. The blobs and the dots that I'm making here are a little bit thicker compared to the ones that I applied for the flour dust. For the bobca, I'm going to add highlights for the highest part of the bread, which is this curve right at the top here, and I'm using a fairly thick consistency for this. For the sour dough, I'm going to realign the crust here to make it look thicker, and I'm also going to add some dots to the crusty bread. I'm moving to the baguettes here. I'm just adding dots to give more definition to the flour dusting. For this, I'm just placing the dots randomly, and I'm also going to do the same for the sour dough crust as well. Again, please limit the amount of white. It is a fun final touch, but you might accidentally cover a huge portion of your painting with white if you're not careful. Now moving on to the raisin pastry. I'm going to add highlights to the raisins. Then I want to break up some of the densely painted areas of the pastry by adding more delicate lines following the spiral shape. For the pretzel, I want to add harsher highlights, so I'm painting on thick lines again at the highest points, and I'm only doing this in some areas as exaggeration for the highlights. So please avoid lining the middle part of the whole pretzel. Now on to the Apple Danish, I'm just going to add dots on top of the pastry as a little bit of highlights from the glaze. I also want to add a little bit of the glaze between the flesh and the skin of the apple. Then for finer details, I decided to add smaller dots to represent a little bit of sugar dusting. As for these soft buns, I just want to add a bit more texture as well as highlights. Usually, these buns are fairly soft, so the surface is quite uneven. For some of the highlights, I made this zag motion, still following the curvature of the cross contour of the bread. I also added some dots on random parts of the black sesame as highlights, so they don't look too flat, and I'm going to apply something similar to the other soft bread as well with the addition of highlights following the swirl of the taro jam. Finally, we're finishing this off with the croissant. I want to make the surface of the croissant a bit glossy from the butter, and I'm making a mixture of markings like dots, blobs, and zig zag lines following the roundness of the pastry. Just like the Danish, I'm also going to add somethin delicate lines for extra detail to the visible layers on the right hand side. 20. Closing & Class Project: Congratulations for completing this class. I hope you enjoyed watching through the lessons, and hopefully, it sparked some inspiration for you to paint your own. For the class project, I would love for you to paint side by side with the lessons, but you can also make your own customizations if you would like. Mine was a combination of breads and pastries from different countries. But you can also personalize yours by walking through your favorite bakeries and getting some inspiration from there. Once you're done with your projects, please don't forget to post it in the project section. This way you can share it with me, as well as other students. I'm really curious what you will include in your composition, if you're going to make some customization or even just paint this whole composition in your own style. I'm always really thrilled to see what you guys come up with. If you enjoyed this class, please don't forget to leave a review or some form of feedback to help me build more classes that you enjoy. And if you would like to see more Tutorials by me, I have a YouTube channel Manani where I post weekly watercolor tutorials, or if you would like to see more art by me, you can also follow me on my Instagram at IG Underscore Nan Yani. So this is the end of the class. Thank you so much for watching Right to the very end. I wish you the best for all of your projects, and I can't wait to see it in the project section. Hi.