Let's Paint Glistening Peach Crepes with Watercolors

1. INTRODUCTION: Hi everyone. My name is Nia and I will be your t-shirt for today's class. Today we are going to be painting these crepes filled with peaches and cream. There are a few elements going into this, so it will take a bit longer than usual. However, I will break it down into shorter lessons. So you can take breaks in between and work within your schedule. You can even work on this over a few days if you only have a few moments to spirit during the day. My favorite part of this painting would probably be the texture of the crates. There's so much fun to paint. And once you have the texture down, you're going to be able to create so many customizable creep dishes. With that said though, I think the crepes and the textures themselves are probably the trickiest part of this painting. And with that alone, I would classify this class to be more of an intermediate level going to advanced level. Because you do need to understand the subtle form in order for you to depict the folds and the volume of the creeps in the painting. But apart from the crates themselves, the garnishes and everything else are fairly straightforward to beat. If you're a beginner and you would like to give this a go, these don't be scared to do so because I will try to guide you along the way. And since we are going to be painting three crepes, the steps are actually quite repetitive. And that way you do have time to practice and between and learn with repetition. Before we start, let me go over the class outlines. They have a basic understanding of this class. After this introduction, I'll go over the supplies and colors that I'll be using for this painting. And before we start to paint, I'll trace the outline which you can download in the projects and resources section. Then we can start to paint. I'll show you a demonstration of how I'm going to paint the base texture of the crates along with the techniques I use to achieve the textures. And you can use this time to practice. Then in the next lesson, I'll paint the rest of the crates and also define the darker textures. After that, we're going to move on to painting the peach garnishes, then moving on to the peach filling the cream, then painting the pistachios for the flowers. I'll be dividing the class into two. I'll be grouping the pansy flowers together. Then I'll paint the rest of the flower separately. By now the garnishes should all be completed. So I'm going to enhance the shadows to make the extra garnish that we just painted a cohesive part of the painting along with the cache shadow off the separate elements. After this, you have the option to finish off the painting by going Street highlights, or you can also add additional jam drizzle. So I'm going to first trace the outline, then paint the jam cars shadows to again make the jam part of the painting. Then I'm going to finish everything off by adding the highlights and sparkles along with the final adjustments. Like all my other classes, I will be skipping through or speeding through parts of the painting where my hand is inactive or off the camera. So the speed that I'm painting will be a bit faster since I will cut out portions where I'm just sitting down and thinking or cleaning my brush. So before you paint along with me, I would recommend for you to watch either the full class or the lessons prior to painting along. So you get a heads up on the steps that are going to come next. And once you're ready to paint along, I would recommend for you to just paint side-by-side and just pause in between each step. So there's no rush and you can work at your own time. With this said, let's begin this class. I hope you guys enjoy. 2. SUPPLIES AND COLOURS: Before we begin to paint, I'm going to show you the supplies that I'll be using for this painting. So firstly, let's go over the paper. For the paper I'll be using Arches hot press paper, which is a 300 GSM, the original size as an A4. And here's an example of the cover of the pad. In case you're looking to use the same type of paper. With this, I traced out the outline and then cut the paper according to the size of my painting. But I'll go over the size in detail in the next lesson. You'll also need scrap paper to swatch European to or practice some techniques if you're uncertain about it. And I would recommend for you to use the same type because sometimes the paint is absorbed differently with different papers. So I just use the part of the paper that I cut off for my scrap. Next are the brushes. I'll be using these two brushes. The main one that I'll be using as a synthetic brush by George urine and it's a size 2. This is just an ordinary synthetic round brush. And it comes to a nice point because it's still fairly new. But as not really different from any other synthetic brush except norse pink. The other brush that I'll be using as a Winsor and Newton scepter gold to size 0 for fine details. I'm not actually going to use this too much because my synthetic brush was still controllable to paint for the small areas. But always switch to your brush size that you are comfortable with when you are painting, even if i may not be doing the same thing and lessons. Next here are the colors that I'm going to be using for the painting. But I'll get into more detail at the end of this lesson where I will list the names and browns of the colors. And as for the palette, I'm just going to use this cheap plastic palette from dy. So this one is really old, which is why it's a bit yellow, but it works really well. You can use any plastic surface or ceramic surface for your palette, but I would recommend a white surface so it's easier for you to see the colors that you're mixing. I'll be using two jars for my water. This is just to make it easier on myself so I don't have to keep changing the dirty water. So wonder serves to clean my brush. And the other one is to activate the paint so it doesn't become money. But if you're used to only using one, that's also okay. For the highlights of this painting, I'll be using my white Jelly Roll pen because of the easy application. But if you don't have that available, you can also use whitewash. I would recommend permanent white or titanium white for a good opacity. Lastly, for the painting section, of course I'll need tissue or a towel to have right next to me. This is super-important and this will help you with your brush load, which is very crucial and watercolor painting. Moving on for the tracing portion, I'll be using these outlines. There are two of these, but I'll explain later how I'm going to use both of these in the lessons to come. And I'll also have these ready and the projects and resources section for you to download. But of course you can also draw your own if you would like to. And trace. I'll be needing masking tape, a pencil and an eraser. A pencil as a pencil sharp lit with each be filling and my eraser as separate brand. I'll be using a tracing tablet to trees the outline, but you can use any tracing methods that are used to. And lastly, of course, you will need something to cut your paper with so you can use scissors or any lead that you have. Next here are the colors that I'll be using. Firstly, I have Crimson lake by Holbein Quinn read by Daniel Smith. Couple violet light by Holbein, ultramarine deep by Holbein, Chinese white by Holbein, sap green by Holbein, permanent green number one by Holbein, lemon yellow by Holbein, permanent yellow deep by Holbein, Buff Titanium by Daniel Smith, graphite GRI by Daniel Smith, Scipio by Holbein, John Brilliant number two by Holbein and yellow ocher by Holbein. I'll just leave this up for a bit so you can take a screenshot of it if you would like to get your paints ready. And here are the list of supplies that you can take a screenshot off to organize your supplies. 3. TRACING: Let's start by tracing out the image. I've included the outline in the projects and resources section for you to download. And you'll notice that there's going to be two outlines of the creeps. One without the drizzle and one with a drizzle. And that's okay. But getting back to the tracing, I printed out the line art on A4 paper as it is the size that I've uploaded. And I'm just going to position the paper that I'm going to paint on, on top of the outline, I'm using Arches hot press paper and this is also an A4. But I'm going to measure out the size that I'm going to paint. I'm measuring from the sides and I'm going to cut 13 centimeter off from this line, which comes down to 16.7 by 21 centimeters for the area that I'm painting on. Once I'm happy with the size of the paper that I rolled off, I can center the line art, then tape everything in place to start tracing. Feel free to resize the outline if you want to paint something larger or smaller. Just be mindful that the amount of details may vary depending on how large or small your final painting as. If it's smaller, it is harder to get the finer details. And if it's slightly larger, you might want to add a bit more detail than what I'm painting here. You can also draw out your own creeps if you would like to, or use the line art as a base for the composition, then customize certain ingredients to suit your taste. The reason why I have two outlines here is firstly, I was still undecided when I started painting this, whether I wanted to include the drizzle since I like both compositions. So I decided to separate the liner and see how it goes after I've painted the crypts themselves. This is also much easier to paint on because we have less distractions when we're going to paint on the intricate textures on the crepes without the lines of the drizzle. So I actually find that this method works really well and it gives you more options and flexibility in the end. Once I'm done tracing here, I made sure that the line art in center, then I'm just going to cut off the excess paper. 4. CREPE TEXTURE TECHNIQUE: We're ready to start painting. I'm going to start out by painting the crates. I have two colors here that I'm going to begin with. This is lemon yellow and John Brilliant. I just mix the two colors together and I'm going to create a very watery consistency to paint as the base color of the creep. I'm not too worried about the distribution here. If the color is a bit on even or if there are booms because we are going to layer on textures on top of this. Hopefully you can see how like my mixture is. You can try to swatch out the color mixture on scrap paper to make sure that you have the tone that you like or like me if you accidentally have too much color or pigment on your brush and the consistency turn out to be a bit too thick. But you've already placed that on paper. Just quickly take more water with your brush and distribute the pigments along the area while the paint is still wet. That way you're just spreading the pigments with more water, which is essentially the same as picking up more of a watery consistency with your brush to begin with. While I'm painting this, I decided that I want a light source to be a bit heavier on the left-hand side. So I want the right hand side to be slightly darker. So even if the base color that I pleased down here isn't too even. Hopefully you can still see that the left side as slightly lighter than the right. Next I took a bit of yellow ocher and they mixed it with the previous mixture of lemon yellow and John reliant. And I'm going to use a light to medium consistency of the color and paint it right on top of the slightly damp area. I started with the edges. I just play some lines long the edge at the top. Then for the rest, I am just trying to create random blobs with this color. And I'm applying it by tapping the tip of my brush or a creating random dots to make sure that the edges of the blobs, I'm creating a slightly uneven for this. I just did it randomly. So I tried to mix up larger blogs as well as smaller ones. But if it helps, I'll also leave an example of a picture with a texture that I'm imagining for the crepes. I'll just show you a quick thumbnail of the texture I'm going for here, but it'll also be available in the resources section along with a link to where I got the image. While painting the texture, I didn't really think about the light source at the beginning. I just wanted to map out the layout of the textures so I know where to build on the darker colors later. So I'm just going to go back in with the same color to add a slightly darker value on the right-hand side using the mapped out texture as guide. And of course I'm using the same tapping motion to randomize the texture. You'll notice that when the base paint is dry, sometimes texture you create on top looks rather rough because the darker colors are not spreading out softly like we wanted to. When this happens, it's okay. We can always soften it with a clean damp brush by rubbing the edges while it's still a bit damp so we can spread the paint and create a soft edge. This is a technique that I will use a lot of for this painting and I use a lot for my food illustration in general. But I'll go into more detail after this creep here so you can have a better understanding of the technique. And the next lesson, I'll show you a close up of the other crates using the same technique because it's always better to see a painting from different views for their away so you can see it as a whole and closer for the details. Okay, So I hope you understand the application of the method. If you're an intermediate or an advanced painter. And the method was clear enough from the demonstration on the first creep. And you can move on to the next lesson where I'll be painting the rest of the base texture for prefer. If not, please continue on and because I'll explain the techniques slowly in a bit more detail. So hopefully it's a bit more understandable for those of you who are just starting to paint. So here are just started out with the same base color. And just like before, I'm going to show you how to spread the paint if he accidently pleased, too thick of a consistency, you can either keep spreading the paint or if you need a bit more water and just add more to your brush to spread the pigments further. For this one, I'm going to show you a wet on wet effect where the paper or the base paint is still a bit damp. Therefore it by pleased the darker color or the addition of yellow ocher paint will spread soft, be the wetter, the base, the paper, the faster and further your paint is going to spread. And the dryer, the less it's going to spread. Which is why if you paint on a dry surface, you are able to create very crisp edges. Notice how I'm dotting our tapping with my brush to create uneven edges. And also notice how the edges slowly softens as it spreads outside. If you're a beginner and you find that the level of drainage might be a bit tricky to find. You can try this out on a scrap piece of paper first to find the dampness that is ideal for this application. You may also use this time to practice painting the blobs to see what sort of combination works for you. I'm not sure of the texture of the painting clear enough, so I'll just draw it out quickly. Essentially, I'm making different size blobs, larger ones with smaller ones surrounding it randomly. And whatever is in between will be painted using that brown. So the blobs are the negative space of the base color. If the wet on wet is a bit difficult for you to control still or when you're painting, some parts might be wet and as you paint for the base colors starts to dry. So you start painting on a slightly damp or and try surface. We can still get similar effects by softening the edges manually. If your eyes can't see if the surface is wet or dry, you can just touch the paper. And if it's still cold to the touch, it means that it's still a bit damp. But because I am painting on hot press, and hot press just means that I can get cleaner edges. I can actually create quite fine edges while the paper is still a little bit cold to the touch. This is something that you'll learn with experience because there's really no metric or measurement of how damp or cold the paper should be the create certain effects. So it's something that you'll know from feeling the more you paint. But here as he can see, that even when the paper is still a bit cold, but not as damp as the previous one. The lines are clear on this one and the edges are not spreading and softening as much. So I'm just going to fill in the rest and then I'll show you how I'm going to soften the edges. Let me just bring you closer so you can see the difference and the color and softness of the blobs. Also when the paint is wet, because it spreads out more, you'll usually end up using less pigments. So the color is much darker on the bottom, which has brighter colors and also cleaner edges. Now I'm going to show you how I'm going to soften the edges. Here. I have my water and tissue and I'm just going to wet my clean brush and dab the excess water off. Then he using this clean and damp brush, I'm going to just rub it along the edges off the blobs to soften the edges. If and when you soft and an edge where there is a lot of pigments, you might end up activating too much pigments. So if that happens, just dab off the excess pigments you've picked up with your brush. And then just clean your brush. Start again with a clean, damp brush and repeat the same thing until you get the soft transition that you're looking for. What I'm doing here is basically reactivating the paint that you've placed down with water and then treating it like a very thin consistency paint that you can lend. However, just be mindful that different colors might have different staining abilities. So it might not so often as much as others, which is why I like to play it safe and do this while the edges are still slightly damp instead of it being completely dry. And I just tried to go back and forth while painting. As you can see, this very simple method is very helpful even though it's not exactly the same as the wet on wet because it doesn't have the blooming effect from the paint spreading on its own. But it kinda feels like it gives you more control because you're able to pick which parts you want to soften and which edge you want to keep. Nice. And Chris, I'll just show you again on plain white paper this time just to make it clear for you see, this is a very important technique that I use the most for my food illustrations. As you've probably heard me see a bunch of times in my instructions from previous classes as well. But it's just so important because you can have so much control with this. And if still have problems, you can always practice this on scrap paper using different consistencies and different dryness levels. Just to get a better understanding of this pulling technique. I also have a full class on this technique where I painted, forget me not flowers. So if you would like extra practice, please feel free to check that class out. So yeah, I would just suggest for you to try this out and see the difference between the soft edge and the crisp edge. So you know what to do when you do want to soft and certain edges. Since we are going to be repeating this. A lot of times for this class. 5. PAINTING THE REST OF THE CREPES: In this lesson, I will be painting the middle and the bottom crates using the same techniques that I went through in the previous lesson. I'm starting with the same base color, which is a mix of yellow ocher and John Brilliant. Then I'm going to add on the yellow ocher afterwards. I'm not really going to talk too much in this lesson, as I've previously mentioned, what I did in detail. But I'll just add reminders or prompts here and there. And you're free to paint along or move on to the next person if you feel like you've got this down. So just like before I am adding a bit more paint on the right-hand side of the crepes, so it's a bit darker. And I just want to always keep this in mind as I'm painting this. So the painting won't look too flat. And just like before, I'm going to add yellow ocher. And the yellow ocher is a bit more dominant compared to the other two colors. I also added a bit more Zhang brilliant compared to the lemon yellow. And I'm going to apply this the same way. This time, my base color is a bit more wet compared to the first one. But as I mentioned before in the previous lesson, this is something that you can control and I can just layer on a bit more colors if I feel the need to, once the paint dries, if it's a bit too light for me liking. On the top side of the creeps, this is something that I didn't go over too much in the previous lesson. Meet sure, I made lines because I want to separate that top section compared to the middle. So a surf like a crust of the creep. This depends on how you cook it. Usually the professionally made ones have this crust, but I just like the different textures it creates. But of course in the end, ultimately it's your decision whether you want to include this in your painting or not. Where the creep is showing underneath the peach red at the bottom. It's just peeking through. I want that very dark because that is covered by the peach and the left side is mostly covered from the bottom creep as well. So I'm going to make sure that that section of the creep as much darker compared to the rest. Of course, third one is exactly the same. I'm using the same base color off lemon yellow and John real yet. And I'm just going to apply this all over the creep, the last one while avoiding the pH, the flower and also the slice pistachios. Hi. And once I've done the base color, I'm going to add the yellow ocher in the mixture. And just like before, I'm just tapping it to create the little blogs. You'll notice that this one is much wetter compared to the first two that I just painted because I am getting a bit more brief with this, since this is the third one that I've painted. So you'll see that the texture is a bit different. The rooms are a bit more dynamic. But as I mentioned in the previous lesson, be very careful with this because you don't want it to travel too fast. Just make sure you have enough experience to know how much the paint is going to travel or to have your tissue ready in case at Bloom's a bit too much so you can take off the excess with a clean tissue if you ever feel the need to. I mentioned this before in the previous lesson, because the base color was still a bit more wet, the paint is going to spread and it's going to be a bit lighter and I'm going to end up using less pigments. This is why I'm doing a second layer of the exact same color to build on the vibrancy for the BSW of the texture. Lastly, here, I just wanted to clean the edges along the crest as well as near the decorative elements like the peaches and the fires. Just to make sure that the lines are nice and clean. 6. REFININF DARK AREAS ON CREPES: In this lesson, I'm going to add the form of the crates, as well as adding redefinition for the darker areas. So I'm just going to sketch out the form roughly off the creeps here. The creeps are fairly flat on top, but on the left and right side, we do want to add a little bit of volume for the folds. And because I want the light source to be a bit heavier on the left-hand side, I'm going to leave an area on the left-hand side to be the lightest. And for the midsection to have midtone, which will progressively get a bit darker as it reach the right-hand side with the folds on the right-hand side being the darkest. And since they're going to be the decorative elements or the garnishes, like the peach and the pistachios. I am going to add heavier colors behind those areas. And I'm going to build on that further towards the end. But for this lesson, I'm just thinking about the RREF form or the rough volume of the crepes for now. Here I tried drawing out the contour lines for you to imagine. As you paint as well. It is very important to visualize the contour so you understand the volume of the sides. So the creeps does not look flat. Hopefully from this small demo, you're able to see the form and the overall value of colors that I'm trying to achieve for the creeps. I'm going to start by adding another layer of the same color and make sure first with John, Brilliant lemon, yellow and yellow ocher and a medium consistency. And I'm going to first align the edges of the creeps to separate it from the cream. Then I'm going to add on the texture on the right-hand side to darken up further, I'm just following the mapped out texture of where the blobs are and tapping my brush and small areas to give a little bit more depth to the texture. And I'm just going to apply this for all of the crates. Just to recap on what we've done so far. We've made the base color, then added the base texture to map out the placement of those blobs. And now we're using that base texture to add on a bit more detail using the tapping motion of my brush. This is where I start to map out the dark areas a bit more, still using the same color. Then after this, we are going to add a darker brown to push the contrast even further. I feel like I have a good distribution of color and texture here. So I am going to increase the contrast by adding two colors on the palette, which is sepia and Quinn red. I'm going to use both of these colors to add on the yellow ocher and create a darker brown. And I'm going to place it on the right-hand side of all the objects or the decorative elements on the creeps. And just the edges which are slightly darker than the rest. The reason why I chose to mix the colors instead of using a mid-tone brown like burnt sienna or burnt umber, is because I want the flexibility of colors. So i1 the brown to be a bit lighter, I would add more yellow ocher, but if I want to darken the brown, I would just add sepia and the Quinn read. The Quinn read is there to give more of a reddish tone or a saturation for more of a golden brown. And I use this with sepia because sepia is very dark and it's a very muted brown. I like to also line the lighter edges on the left-hand side of the creeps using the darker color, but only very subtle thin lines. You can also switch to a size 0 brush for this. And this is just so the light color doesn't blend too much where the white of the paper, and this is just to redefine the mean shape of the crates. The right hand side, I do try to add a bit of shadow next to the fault to thick in the forum. I start by lining the separation of the fold. Then I soften the edges by pulling the pigment sideways to create the thick volume on the side. I'm just building the color slowly because I want to be careful to not later on too much in one go or else the transition of the shadow might look a bit too stiff. So here you can also see that I'm being very careful with the edges and between the peaches and the flowers to make sure that each object or elements remain separate for the painting. And just like before it, if any of the lines needed softening, I use a clean, damp brush to soften the edges of those textures. For the bottom creep here I wanted to fall to be a bit more visible, so I am using a fairly dark brown to lend the fold. But notice how I'm varying the line weight. And I'm also leaving some parts without an outline to make the shadow look a bit more realistic and less def. After using the darker brown, I realized that the Brown was a bit too red, so I decided to glaze a thick consistency of the yellow ocher just to tone down the red a little bit, but I also loved that darker brown on the side. So now there's this like radiation from the reddish brown to the yellow brown on the side. From here on I'm just going to glaze and Lear on those areas again to add extra detail on the texture, I like to work in a lighter consistency and adding layer by layer instead of just doing everything in one go. Because the more Lear you add, in this case for this painting anyway, you're going to add more depth to that texture, which is why I prefer to work this way. And once the paint is fairly dry, I also want to glaze the sides further with that dark brown to increase the shadow and volume to the faults? Yeah. 7. WHOLE GARNISH PEACHES: We've done most of the crypts, so now I can focus on the rest of the ingredients. I'm going to start with a peach here. This is super simple, but before we start, I just like to show you the contour lines that I'm going to use. I just make sure to keep this in mind and follow it as I paint, because I'm going to paint some darker colors using those indications leader. And I think that's pretty much it for the tricky part of the peach slices. I'm going to start with a mixture of lemon yellow and permanent yellow deep for the base of the peach. And I'm going to apply the brush strokes following the contour lines. I'm not worrying too much about filling the heart area. Instead, I want to leave a little bit of white negative space or the white of the paper. And hopefully because we follow the contour lines, again, negative space should help enhance those lines. Once I have a fair distribution I added couldn't read to the yellow shirt and I added this at the top of the peach slice or where the seed would be, as well as near the skin. Ideally, when I'm applying this color, I want the surface to be slightly damp so the paint can run naturally. Just like the creeps. You can just soften the blend using a clean, damp brush of the bees. Yellow has dried up. As I'm softening the orange near the skin, I want to pull some of the orange operates to follow the fiber or the control lines of the peach. But make sure to not put too much orange. Or your whole peach might do orange compared to being yellow. And if you want to enhance the center where the seat is, you can use Crimson lake here to add a tiny bit of this really rich red. But again, I would limit this just in case I pull too much off the red pigment over to the yellow area for the skin, I'm going to start with the same orange mixture of permanent yellow deep with Quinn read. And I want this colored somehow blend a bit with the flesh so there isn't a clear definition where the skin starts. I just find that this makes the painting look a bit more dynamic. This is just a stylistic choice. So you can actually adjust this to suit your test. If you want a cleaner look, then you can just wait for the base of the yellow to try completely. Then paint the sky using this peachy orange color. Now while the base color is still a bit damp, I'm going to add a thick consistency of chromosome linked to deepen the tone. I personally love the contrast of the yellow and the deep red. But if you want the skin off the pH to be lighter like they usually are, then you can either put less comes in Lake or skip it altogether. And as a little bit of touch-up, I set it to add a bit more of the permanent yellow deep and some areas or the peach look a bit too light. Not every Peach need to be the same. So for this one, because the flower is covering the center of the peach, I'm not going to add the crimson leak in the middle like I did for the first one. And just like before in terms of the skin, if you would like it a bit more of a coral orange color compared to the bright red. You can also just add the chromosome lead to certain areas. And not as heavily as I am going to for my painting. For this one, I made a little bit of a change. I added Quinn read to the Crimson lake, so it's not as dark. You can do things like these and just experiment with a color combination that you would like. I wanted this one to be a bit lighter compared to the first peach that we painted, which is why I wanted to add the Quinn read into the mixture. Then after a soft on the edges, I added just the Crimson lake by itself to add a little bit of that darker red. So again, for this one, I'm just going repeat the same steps. Not every single Peach need to be the same. In fact, if you guys have followed my tutorials or classes for awhile, I like reading slight variations to repeated elements. I feel like this gives more life to the painting as no slice of pH would look exactly the same in real life. And this is also the time to get a bit more creative and explore with textures and slight color variations on an easy subject of P3HT. Okay, for the three slice peaches in the middle here, I felt like the details were a bit too flat. So I decided to pull the orange tone a bit further using a clean damp brush, just like how I soften them before, but this time I'm just pulling some of the lines, following the contour lines just to give it a bit more detail. And I'm also going to add extra lines for the rest of the features. For this particular one because the base was already dry, I just use Quinn red and add the lines manually. And you'll see that the red is a bit too bright compared to the yellow. So I just soft in it using a clean, damp brush. So the lines look a bit more subtle. So that's pretty much it for the steps to painting these peaches. And I'm just going to repeat it for all of them. There are a lot of pictures, so it will take awhile and it might be a bit repetitive. So if you already understand the steps and you're the understand what the outcome is supposed to be like. We can run to the next lesson if you would like to, or you can also paint along to this. I'm still going to prompt you with the color mixtures that are used here. And again, there might be slight variations of the color mixtures. But this really doesn't matter too much as long as you understand and know what the outcome should be. Because sometimes to get that finished look, you can use various combinations. So there's really no need to be super accurate following my exact color mixtures, you can even substitute the colors if you feel like you have better color combinations for this painting. Hello. It is. 8. PEACH FILLING AND SHADOWS: In this lesson, I'm going to be painting the peaches inside of the creeps. And for this, I'm just going to use the exact same method as before. So I'm painting the same base color and as for the skin, I'm just going to use the same mixtures as well. But in the middle of doing this, I felt like as the paint dries, even though I've got the textures of the peaches, I also wanted to add a bit more depth to the placement or how it's interacting with the other food items. So I'm just going to do that right after this. So this is where I start out a bit off the shadows. I used a mixture of crimson lake with sepia color further. And you can see it applied to the peach filling that is placed underneath another peach to separate the shapes. So I'm going to use this mixture and apply it to the others as well. But I'm just being mindful of where the dominant light source is, which is on the left-hand side. So I'm going to add shadows for the peach skin which are facing the right-hand side. I'm just going to do this for some of the areas only and I'm being careful to not overdo it because I still want the dominant color of the peach skin to be that bright red color. If you decide to make the peach skin a bit lighter compared to what I'm doing here. You can just use the Crimson lake to paint some shadows or the darker areas. Instead of adding more sepia, we just want a little bit of contrasting value. So adjust accordingly to the colors that you have chosen. And that's basically it for the shadow portion. Now, I'm just going to paint the rest of the peach filling for this one in particular, because these two are interacting more with each other, I want to make sure that they stay separated. So I made sure that I left out a little bit of white negative line between these peaches. You'll notice that I'm painting two or more at a time here for the filling. That's because the shapes are fairly small sense they're kind of covered by the cream. And I was also using a heavy load on my brush. And it made the initial bass clear, very wet for me to add the orange tone. You can just work on other things while waiting for the surface to be the ideal dampness that way you sort of multitask. And yes, so that's pretty much it for this portion of the lesson. I'm sure you guys know the colors by now, but I'm just going to write down the color mixtures as I go in case you need a little bit of a reminder. Yes. Before we finish off, I just want to mention that after the peaches have tried off, I tried to separate it further by making sure that the peach on top is a bit lighter and the pH at the bottom is slightly darker with the orange mixture. So the shapes doesn't blend together as a silhouette, which is why we have also left out that white negative space I mentioned before. 9. CREAM: On to the cream filling. Now, I'm starting with Buff Titanium as the base color and I'm just going to first map out the shadows for the cream. This is a bit hard for me to explain because the shapes are quite random and I'm just making things up as they go. So hopefully you can follow along to how I've placed the colors, even makes it a bit easier. You can also look up for references to give you different ideas of what the cream filling may look like. Here, I essentially imagine where there would be depths and the cream, especially in Europe, the peaches. So I tried to indicate things like that to make the cream looks soft and subtle. I'm also using the smoothing technique. So after I've placed upon them buff titanium and I so often one side of the line while leaving the other side with a crisp edge to indicate a little bit off layer dollops, for the green. I'm using a medium thin consistency here because I want the colors to be very subtle since cream as mostly white. But like usual, I like to mix different subtle hues to create that white tone for the cream, which means we're going to layer on and add on more colors. So try to not overdo it with this first color or else the cream might look a bit muddy. I'm just going to bring you in closer sense, the subtle colors might be a bit hard to see, and hopefully you can get a better image or understanding of the shapes that I'm creating for the shadows. Next, I'm going to create a pink color. I just took whatever read I had left on my palette. It doesn't really matter if it's the Crimson lake or the Quinn red or if it's mixed. And then I'm going to mix the red where the buff titanium. Again for this, I'm only going to use a very thin consistency. In fact, it's actually lighter than the previous layer because I don't want any of the hues to be too dominating against the rest for this color. I was just thinking of the placement and you're the peaches where the red of the skin might reflect a bit on the white cream. So that's where I'm placing them where it's the closest to the beaches. X, I'm going to add a cooler tone. And for this I'm going to use ultramarine deep and I'm mixing it with the previous mixture so it's more of a muted purple color, which in the end it's actually going to look a bit more grayish. I'm going to place this color near the edges of the crates or near the peaches or pistachios as a bit of casted shadow. For this one, I tried to please them closer to the contact point if you see any layering that I tried to do with cream. So each time I'm adding the shadows and the darker color, I'm adding it less and less so the previous color are still very much visible. You'll probably notice that the color that I'm using as a bit more red compared to the bluish tone. That's because I'm still using the same mixture, but I added more red and the ratio. This is something that you can control with your color mixtures depending on what you feel you want the cream or your shadows to like. For the larger shadows, I also did a bit more blending to soften the edges and lighten the color. But if you accidentally pleased too much color, it just take the excess off with tissue very quickly while it's still wet. So you don't accidentally create a dark spot in your cream. 10. PISTACHIOS: FLAT SURFACE: In this lesson, I'm going to start painting the slice pistachios. So firstly, I'm going to start with the base color of the flat surface. And for this I used a mixture of permanent yellow deep with permanent green. I'm starting with a medium to light consistency so I can keep building up on the colors. I also tried to indicate the darker tone slightly. I just made the pistachios, which are facing the right a bit darker, and the ones facing the left of that lighter by using less paint. This is very subtle though, but I just found it helps me as a reminder when AP to the details later on. After I've painted the base, I'm going to add a bit of texture for the flat surface. Since these recessions are spies, there would usually be some imperfections like cracks or something that is unevenly sliced. So I'm just going to draw out a few as an example so you get a better imagery of what I mean. For the color of this one, I used a mixture of sap green, permanent yellow deep with a slight touch of crimson lake to mute the color further. And I'm using a medium to thin consistency of this to paint the little cracks or the imperfections. I like to paint along the sides first because sometimes it can be a bit uneven. And then I like to soft and one side of the lines or cracks that I just painted using a clean, damp brush. For the one that I just previously painted. I didn't paint the one on top straight away because I'm just going to wait for that one to dry while I work on the others. If not the paint, my travel across with each other. So this is just to help keep the shapes separate. While creating these textures. I'm also thinking about the light source still. So whatever is facing to the left, I try to put less paint or make the texture a bit softer compared to the slices facing the right-hand side, I tend to use a bit more of a heavier load so I can create a darker surface. Because this section of the painting is quite intricate. You can also switch to a smaller brush. For this, you can always switch to a smaller brush whenever you feel the need to. Also in terms of colors, if you're worried about making too dark of a tone, you can use a lighter consistency first, then built up the leader slowly, like what I'm doing here for some of the slices. 11. PISTACHIOS: SIDE DETAIL: Here I'm making the same color mixture using sap green, permanent yellow, deep, and crimson lake. Just like the textures and the previous lesson. But this time we're going to use medium, the thicker consistency paint, the sides for each of those pistachio slices. I'm just doing this for all of the slices as the base color. You can also switch to smaller brush to paint this. But since my brushes fairly new and it still holds a nice point, I'm just going to stick with this one. Sometimes people ask me where they can get specific brushes like what I'm using. Because it comes honestly though, any cheap synthetic brushes will have this point as long as it's fairly new, but it will free over time with US. So just go with what is available for you to get. Because this brush right here, I have found out from a few of you, especially over from YouTube, that is a bit hard to get, especially in the States. I understand that a lot of people like the pink color, but in terms of functionality and actually just acts the same as any ordinary synthetic brush. So there's really no need to get the exact same materials as what I'm using here. Sometimes I like to add outlines to the sides to add definition, especially if the value of the light polar from the flat side of the pistachio is next to another light color like the crazy, but just like the darker areas of the crepes. Whenever I decide to add some sort of outline, I made sure to vary the line weight. And I also tried to break some of the lines so it doesn't act completely as an outline which might end up making the painting look a bit too cartoony. Here I decided to add some light pleasing on some of the darker surface of the statues which are facing the right-hand side. This is just a personal adjustment and only add that please, if yours is still fairly light like mine. So with these adjustments, you can always make it along the way depending on whatever you need adjusting or additional places for. Okay. So once I'm done painting the base and also that little adjustment, I'm going to add the additional texture for the sides. I'm just going to sketch it out first. This is really easy. I'm just going to basically almost paint vertical lines to indicate imperfections or cracks on the sides of the pistachios license. For the cracks, I want to create an dark muted green. So I'm going to use a mixture of crimson lake and ultramarine deep first secrete a dark purple color. And then I'm going to add sap green and a thick consistency to make sure that the color stands out against the base color. And I'm just going to apply it in areas on the sides to give the impression that the sides are a bit effect by creating random lines in different ways. And I also tried to please them while indicating the shadows or the darker areas. So the sides which are facing the right or if the site is facing downwards, I would make it a bit darker. I'm also going to soften some of the blends on the side to vary the shadows as a mixture of soft and crisp edges. As I think that it wouldn't make those imperfections look a bit more realistic. I don't know if it's visible here, but if some of the lines along the sides as a bit Jaggard, I'd like to actually highlight that jagged line with this darker green following on the side. I feel like this brings forth more of the cracks or the uneven form. So personally, that's where I tried to please the darker colors. 12. FLOWER 1: PANSIES: In this lesson, I'm going to be painting the pansies, and I'm going to paint them in different colors. So I'll just name the color matures along the way. For this first one, I started with a mixture of cobalt violet light with Chinese white to create a pastel purple. And I'm going to apply it to the two petals here. And I'm going to soften the edges facing the center with a clean, damp brush. Now I'm going to take a thick consistency of permanent yellow deep and place it along the center of the flower, painting it for the bottom petal as well as the sides where I painted the purple. And I made sure that these colors don't blend yet. But I just clean my brush to make sure I get rid of all of the yellow. And then I tried to blend the purple and the yellow together. I tried to not use too much water here because I don't want the yellow to make the purple too muddy. Next, I'm going to create a dark purple color by mixing ultramarine deep and also crimson link together. I'm going to first use a thick consistency of this purple for the bottom portion of the bottom petal. And I'm going to create sort of like a triangular shape at the bottom. And I'm going to add this dark purple along the side of a triangle as the design of the flower petal. I'm also going to use the same purple to paint the edges of the petals on the right and left. Short lines facing inwards. Then I'm just going to soften it with a clean, damp brush to suggest frilly textures. For the center, I took some permanent yellow deep with my dirty brush from the purple before. So it creates a muted yellow color. And I'm just going to use that to separate those petals. And I'm going to take that dark purple again in a thick consistency to paint the top petals. And I'm going to separate those two petals by leaving a thin white space in between. Here. I'm just going to slightly soft in the blend for the triangle. Then I'm going to add the muted yellow for the bottom petal as well. After the side petals are completely dry. And because the base yellow is now dry, I'm just going Often it with a clean, damp brush. For the final detail of this pansy flower, I'm going to finish off with the thick consistency of the dark purple and use my small brush to paint lines at the center of the petals and a dot right in the middle. You can paint the rest of the pansy flowers the same way if you like the design of this one. But I'm going to play around with the colors a bit. So for the next one, I'm going for a more bluish purple. So I used. Cobalt violet light with Chinese white and also ultramarine deep. And I'm going to color the petals in words while leaving, I just white. Now I'm going to take some of that dark purple mix from before and just paint the edges. I'm making freely lines. And then I'm just going to soften these lines so it blends a little bit with the lighter purple. For the center. I'm going to add a little bit of a thicker consistency, permanent yellow deep. Then I'm going to enhance the frills using the same dark purple but in a thin consistency this time. And then just softening it to create a bit of a texture. For the top two petals, I'm going to use the same dark purple color just like before. And I'm also going to leave out some white negative space in between the petals to separate them. And to finish off this one, I'm going to add more fruits following the curve of the flower. And I tried to also use the same purple to separate the petals further by adding soft shadows. For the next one, I'm thinking of creating a periwinkle blue by adding more ultramarine deep into the PESTEL purple mix. And I'm going to apply it to the middle of the petals, just like what I did on the previous one. But instead of using a dark color around the edges, I'm going to soften the edges using a clean damp brush. So the sides of the petals are much lighter than the metal. For the top petals. I'm going to color it and using the same periwinkle blue in authentic consistency. And I waited for the base to dry so I can add a bit of a thicker consistency and between the top petals. And I'm going to soften it to separate them. For the center, I'm going to take a thicker consistency paint. I didn't like using the same colors, so I ended up using ultramarine deep instead on top of the previous mixture. But I want to leave a space right in the center to create a yellow dot with permanent yellow deep. Now I'm going back to the periwinkle blue and I'm using a dry brush load on my brush. So again, he can also switch to your smaller brush. And I'm going to use this to paint the frills off the pedals. 13. FLOWERS 2: In this lesson, I'm going to be painting the rest of the flowers, and I'm going to start with cobalt violet light to paint the petals on Aster flower. Here I'm filling the petals with cobalt violet light. And I tried to make sure that the excess paint or puddles before I take off the brush as facing the center. So the color is darker near the statement of the flower. Once I've painted the petals, I waited for the paint to mostly dry. And I'm going to paint more petals free hand behind the ones that I just painted. And I'm going to use the same color, but in a thinner consistency so the petals at the back are slightly lighter. Now I'm going to go back in with the same color in a thick consistency to paint the bottom of the petals that we just painted. So it looks like the darker color is peeking through. Now I'm going to be the same and using permanent yellow deep and a thick consistency. Then along the sides I'm going to go back in with the same cobalt violet light, but I'm just going to dot the sides around to give the steam in a bit more texture. I have a lot of green on my palette, so I'm just going to pick up whatever light green mixture I have. If you don't have the same color, it's probably a mixture of Sap green, yellow deep, and a little bit of crimson lake. And I'm just going to use this to paint the stem. Then for the bottom of the center of a flower, I'm just going to use a little bit of permanent yellow deep, to deepen the yellow. Next flower I'm going to paint is the strawberry blessing. I'm going to use buff titanium as my main color and I'm going to tint it with a little bit of Fred, but I'm just using scratch from my palette. However, if you cleaned your palette already, you can also use a touch of green, red. I'm just going to use a thin consistency authors and I tried to paint more where the center of the flower is, since I feel like that would be a bit darker. And then I use a slightly thicker consistency to just separate the petals and paint the folds facing us. I want the center to be a little bit more pink, so I use a touch more of the red or you can also use Quinn red and a very thin consistency just to paint and add little throws off the petals at the center of a flower. Now with a thin consistency of permanent yellow deep, I'm just going to glaze the outside petal slightly, which are closest to the peaches, because I just felt like some of the colors of the peach might bounce towards that area. And then I'm just going to separate the petals by creating the rough outlines like I did with a pistachios and the crepes before using a mixture of buff titanium and crimson lake. I also painted very thin lines for the Siemens and you can also switch to your smaller brush for this, I'm done with a flower, so I'm going to move on to the leaves. I just use the light green that I had on my palette again. If you want to mix your own colors, you can also use sap green, permanent yellow, deep with a touch of crimson lake. Once that base color is only slightly damp or mostly dry, I'm going to go back in with a darker green. I use the same mixture as a possession. So you can also mix using Crimson Lake, ultramarine, deep, sap green. And then I'm just going to paint on the midrib as well as the veins of the leaves. And then using a clean, damp brush, I just soften the edges and also the tips of those veins. Finally on to the last flower, we're going to paint a very simple enqueued common wildflower. I'm going to use a mix of buff titanium as the dominant color with a touch of purple from a mixture of ultramarine deep and crimson lake. And just like the strawberry Blossom before, I'm going to focus the colors towards the center of the flower, as well as the folds. I please select consistency near the center. Then I'm just going to pull the paints upwards to suggest a soft texture. And then I'm going to use a clean damp brush to soften the blend. For the center, I'm going to use a very thick consistency of permanent yellow deep and just dotting it very randomly. After the base color is mostly dry, I'm going to add on more of the texture using a thin consistency, but in a very dry brush load so I can create those really fine lines. And at the bottom of the center of the flower, I use a mixture of quinn read and permanent yellow deep and just dot it decreased a bit of shadows. 14. ENHANCING SHADOWS AND FORM ON CREPES: In this lesson, we're going to enhance the shadows and form of the creeps. And firstly, I'm just going to have a mixture of yellow ocher with John Brilliant on the side as the light brown. And as for the dark brown, I'm going to use a mixture of crimson lake CPR with yellow ocher. I'm just going to have two of those mixture separate on my palette so I can adjust the colors. So whenever I need a slightly lighter brown, I just add the light brown and vice versa. Now that we've painted most of the elements, everything is starting to look a bit flat due to the lack of shadows because we just painted everything separately. So now I'm going to add on the shadows using the browns that I just mixed. So those extra ingredients that we just painted can have a bit more interaction with the creeps. There isn't anything new here. I just enhance the shadows that we painted along the sides just like before to increase the thick form. This time, I'm also going to darken some areas next to the flowers and the pistachios as well. For the sides, I use a mixture of the light brown and the dark brown mixture. And I just do a slight glaze to create a bit more of the shadow. And I also added this to the left side as well as I mentioned before, but I still made sure that the lightness of the creep is more dominant compared to the shadows. The shadows are just there to separate the background and the light creates for the shadows near the garnishes. I tried to apply them unevenly using a tapping motion and then softening the side. So it blends with the rest of the textures using the same tapping motion as for the dark areas along the flowers. I made sure to get right into the creases and the sides of the petals because I want to make sure that the separation stays very clear between each element. And to do this, I like to line the edges of the flowers or any of the smaller areas where the tip of my brush first. And once I've cleared the edges, then I moved on to the tapping motion to darken the surrounding texture and then softening the blend using the same motion. So now I'm just going to go around the painting to see which areas I need to darken. Whenever you are looking for places to paint. Tried to look at the painting further away as a whole so you can balance out the values a bit more. Someone also mentioned on my YouTube channel that she finds it easier to look for imperfections using a phone camera. And I feel the same way because the camera reduces the size of the image. So you're able to see the picture as a whole as opposed to individual areas. Or sometimes, I like to also take a break and leave the painting. And once you're back, you can usually spot those areas where you want to fix. So yeah, these are just small little tips and I hope you guys find it useful. 15. CAST SHADOWS: In this lesson, I'm going to be the cast shadows over all the elements. I'm going to use a mixture of graphite gray with crimson lake, anything consistency. And I'm going to start with a cast shadow behind the peach. Then I'm going to work around the area. I decide to land some of the creeps and also the premed cover up the pencil outline. I also took this time to outline the edges of the crepes near the cream. So it looks like they have more space in between the grapes and the cream. With this color, I'm just going to go around the whole painting to paint soft cast shadows of the garnish on the crepes, as well as the overall creeps or peaches, which are on the white surface of the paper. And at the same time, I'm also looking around four elements I need separate further. The cache shadows should fall mostly on the bottom right-hand side. But as for the outlines, I like to add these, especially on the lighter areas of the painting where some objects may need further information. Everything should be fairly straight forward from here. But as for the Aster flower, it is a bit different since as not laying flat on the surface due to the stem. So I like to paint the shadow from the stem going outwards. Then using the same color, I tried to paint in between some of the petals, but still in the same bottom right position. And from here you PT should look like it's slightly popping out of the paper. 16. TRACING JAM: This is the part where I set it to add the jam, which I'm going to separately trees over the crepes that I've painted. I'm using the second outline I've printed out. And I'm just going to lie in the creeps roughly along the same outline, then trace the drizzle on top. Before tracing this, I do want the paper to be well secured since there are a bit of warping on the paper after I've painted on it. And as I'm tracing later, I am going to use my hands to hold down some areas off the warped papers. So it's easier for me to see through the painting to trace the outline. If the painting is purely optional, if you prefer the simpler composition and decide to not paint on the drizzle, you can skip this lesson as well as the coming lesson where I painted on the bristles and go straight to where I finish off the painting by adding the highlights and also the final adjustments. When I was doing trials for this painting, I was still very undecided whether I want to add the drizzle or not, because I really like the texture and the crepes already and I didn't want the drizzle to take away from it. But at the same time, I felt like the drizzle adds more movement and dynamic to the composition. So I decided that I would add it on in the end. When I paint this later, I'm going to be painting the drizzle as John because I didn't want the color to pop out too much against the crates. So it wouldn't take away too much from the detail. And I also like the translucent look. However, you can also customize the drizzle to anything that you want, say like a caramel drizzle or chocolate drizzle and so on. 17. PAINTING JAM: Before I start painting the jam, I'm just going to lightly erase parts of the outline of the jam where I've traced on the white of the paper. I just want the pencil marks to be very light for this part, so the pencil mark won't show through too much against the transparent watercolors. Once I'm done, I'm going to use a mixture of Conrad with permanent yellow deep to paint a transparent glaze for all of the sections of the drizzle. I'm using a light to medium consistency. So a bit of the texture of the creep is still showing through parts of the jam. And I'm just going to apply the same thing for all of the drizzle, including the drizzled on the white of the paper. And I'll get back to you again once I'm ready to move on to the next step. No. Next I'm going to add some of the shadows for the jam. And for this I'm going to use a mixture of crimson lake with Quinn read. At least that's what I started with in the beginning. But I realized I didn't like that. The red was a bit too vibrant and I wanted it to be a bit more of a reddish orange. So I ended up adding yellow ocher into the mixture. This is where I realized that I didn't like the red. So I added a bit off that yellow ocher just to change the tone slightly. And in terms of application, I just Please sit mostly at the bottom of the line. And I tried to make this darker area as unevenness possible by adding a darker tone right next to the garnishes where some of the drizzle have fallen off the creeps. I tried to add a bit more of that darker tone since there are more comping together, or at least there's a higher density of that jam. So I'm just imagining that there would be more of a darker area and those parts of the drizzle. For the droplet of jam under the Sasha. I decided to add it on my own. I don't think that was part of the trace outline that I planned. And you can just do things like this if you feel like you want to add on more drizzle or add more flowers or pistachios on any of the other areas to suit your taste. For larger droplets of resource of jam, just like this one, I tried to add a bit more detail to make it look more three-dimensional. I'm doing this fairly randomly. I just made sure that the bottom section is a bit darker. I want the light to come from the left side. And I also follow the curvature and the movement of the drizzle. And finally as the final step for the jam drizzle, I'm going to add cast shadows so it fits in with the rest of the other elements. And for this, I use the same color mixture of graphite gray, and crimson lake. I'm using the same then the medium consistency and I'm displacing it lightly trained to blend it with arrest for parts of the cast shadow where the jam as on top of the crepes. Don't worry about putting it on because it's just going to be a light glaze. It won't really change the color of the creeps too much sense as going to be transparent. Feel free to always adjust things with the rest of the cast shadows and layer on darker colors near the garnishes to make the creeps pop out a bit more. But most importantly, your jam should fit in with the rest of the creeps and garnishes by the end of this lesson. 18. JAM HIGHLIGHTS: We're almost done here. No, I can start to bring everything together by adding the highlights. Here I'm using a wide Jelly Roll pen, which has an opaque white ink that is water-soluble. However, you can also use white quash for this. I just wanted to use this pen because it has a very easy application. And I don't really need to paint large areas with my brush. So this was sufficient for me painting. In this lesson, I'm destroying up the highlights for the jam, so it looks more glossy and three-dimensional. And all I'm doing here is just following the drizzle line and draw an oval circles, dots and uneven dashed lines for the highlights. And I'd like to vary the line weight. Then I just placed them in the middle of those two designs. As for the connecting lines or a puddles, I just tried to follow the curvature to enhance the Jan. And I'm just going to continue to do this for the rest of the drizzle. I'm almost done drying not the white highlights on the jam now, as he can see, because we applied the white with pen, the edges are a bit blunt and it has some sort of pay inequality, like we can see. It was drawn on because of the texture. But the great thing about this pen is that it's water-soluble. So just like the rest of the painting, I'm going to use a clean damp brush to reactivate the white and soft and some of the edges and pull the blood lines further to create sharper edges for some. 19. HIGHLIGHTS AND SPARKLES: So after I've done the highlights for them, I'm going to add the highlights for the rest of the painting. And this is mostly for the peaches to make them look a bit shiny. You can just follow my highlights that I'm drawing out. Or if you need some references or maybe some ideas on how to position the highlights, I'll just leave a couple of images for you to use as reference in the projects and resources section. In terms of application, I'm just going to draw them out like before and soft in the blend with a clean, damp brush for certain areas, especially to hide those blunt edges or the pen texture. And make the highlights look more organic. If you wish to create larger shapes, highlights for some of the features, I would recommend for you to use whitewash with your brush. So it's easier and the application will be needed as well as you might see with a spin. If you do try to fill in larger areas by coloring it in, you will be able to see the scratches from the pen. You can probably soften them, but I feel like sometimes you will lose a bit of that opacity if you are painting or a coloring in those larger areas. So that's something for you to think about for this step. Okay? In this case. Okay. Once I'm done pleasing the highlights as well as softening them, I decided last minute that I wanted to add some sparkles. For the sparkles I just picked random areas to draw on. And I just drew sparkle stars by doing a cross from horizontal and vertical line, as well as a couple of diagonal lines. I drew a few of these and some areas for accents. And once I'm done, I decided to add dots outside of those lines. This is something that I haven't done before and it is purely optional. But I kinda like how the sparkles out in the end. I feel like these types of colorful dishes or something that I would see an enemies and it would have those added sparkly and glitter effects to make them more appetizing. So yeah, this is something new that I'm trying. And I really like how it looks in the end. But again, it is a stylistic choice. So of course you can skip it if it's not your thing. 20. FINAL ADJUSTMENTS: You're painting should be quite finished by now. But like usual, I like to give it one final look to see what I can fix for this painting. I found that I didn't like how there's too much pencil marks exposed for the outline of the cream. So I'm just going to use the shadow mix of graphite, agree with crimson lake to lay in some of the cream. And then I'm just going to soften the line towards the background. And I'm also just going to look around and find some parts of the painting. Of course, if you didn't make the same mistakes as I did, you may have other things to fix on or add-on. So just take this time to make your final adjustments. I mentioned this in a previous lesson that you might want to look at your painting from a distance or even through phone lens for you to find imperfections. And it's much easier for you to look at the painting as a whole. So looking through, say like a phone lens will make it easier because it will reduce the size, which forces you to look at the whole painting without getting focused on the details. The final adjustments will pretty much vary from person to person. So just take your time to finish off your painting. And that's it for this painting. I'll just zoom out, see you can get a view of what the finished painting looks like. 21. CLOSING AND CLASS PROJECT: Congratulations on completing this class. I hope you guys enjoyed watching it through for the class project, I would love for you to paint last side-by-side, you can either use the downloadable outline for you to trace or draw your own versions. If you would like to. You can also mix and match. You can use the basic composition and trace from the outline, but then customize your own garnishes and toppings, then paint the crepes using the techniques that I've shown you in this class. Personally, I would really love to paint strawberries for this one because I love strawberries and cream with crepes. But since I've already painted a lot of decompositions for my past classes, I decided to do something different and paint Peaches instead. However, if you would like to, we can always add on strawberries or any fruits that you would like to him for this composition as well. Once you're done with your final painting, please don't forget to post it in the project section so you can share it with me as well as other students. I'm really curious of what you guys are going to create for this one because I can always see your styles that you put through and the painting, even though we're painting the exact same thing. And I'm also curious to see what garnishes you're going to add on to this one if you guys enjoyed this class and you would like to see more art by me, you can follow me on my YouTube channel where I post weekly videos. Or if you would like to see more art by me, can also follow me on my Instagram. Ig underscoring Yan Yani. I hope you guys enjoyed this class if you're still here. Thank you so much for watching so beyond. And I'll see you at the next one. Bye.