Mixed Berries Cupcake: Step by Step Watercolor Paint Along

1. INTRO: everyone. My name is near ends. I will be your teacher for today's class. Today I'll be showing you how I paint my vanilla cupcake topped with a light strawberry cream fresh, very scar nish with a couple off chocolate covered pretzel sticks. It's a very loaded cupcake, and it's a lot of fun to paint. This is a slight continuation off the previous class where I should you how I drew and pain cupcakes, and it's something that is customized for you. And if that's something that you haven't checked out and you're interested in, I'll just leave it on. The description looks. This class is formatted as pain with me, where I'll be taking you through step by step from start to completion. However, if you would like to customize any element using the techniques that you learned in the previous class or even using the same techniques as I do but just changing up the color slightly to change the favors, you're free to do that. I will also leave my outline in the downloadable section so you can still paint with me through my original images that something that you would like to do this class is quite a long one, as there are a lot of details that I incorporate into the painting. But I did try to break down the class into short and lessons, so hopefully the information is much more digestible for you. And of course, you can take breaks in between and come back to any of the lessons when you're ready. This class is aimed for intermediate students who has a fair experience with watercolor and watercolor control. However, if you're a beginner, because I did try to shorten the lessons, hopefully it's something that you can still follow along, too, if you're interested. So there's no stopping you, and I'm pretty sure you'll create something great in the end. And before we begin, let me just go through the list off outline off this class so you know what to expect. So, firstly, I'm going to take you through the list of supplies that I'll be using for this cost. Then I'm going to show you the colors that I'll be using. But of course, if you have ultimate colors or other ideas, it's very welcomed on. I'm also going to show you how I treat my outline. Then I'm going to go straight to painting where I've cut the costs into short, digestible lessons from painting the cake, the liner on shadows to put everything together. Then the toppings such as frosting, Sprinkles and leaf garnish. Then the rest of the fruit sec toppings such as the strawberries, blueberries, blackberries, Pocky sticks on the job, then the final decorative element, which are the strawberry blossoms, as well as the highlights on finishing touches. And then at the end, I'm just going to finish the class with a brief to the class project and then closing. Like usual. I always tend to skip through parts of the painting where my hand is either inactive or off the camera. So I will be painting foster. And this way I always recommend First seems to either watch the full class first so they know what to expect or when you are ready to paint along to watch individual essence prior to paint him along. So you understand the steps that I'm going to take, and you can pause in between those steps so you can work at your own pace or your own time and come back to it when you're ready. And with all that, let's begins us 2. SUPPLIES: in this lesson, I'm going to be showing you the list of supplies that'll be using for this class. Firstly, if you would like to, you can download and trace this outline that I'll provide. And the projects and resource is tab. This is the actual size that will be using which you can print on an A four so we'll just take half that page. But you can also resize it to a slightly smaller or larger size if you would like to. So to trace this, I'm going to be using my light tablet right here. But you can choose to use a light up on your iPad or even trace form a window. If that's not something that's available in your house, the tools that I will use the trace here I have a masking tape. This is just a local brand that I got from the stationery shop, and of course, I'll also be using my pencil and a razor. My pencil is a pencil sharp lit with HB filling. I always prefer to use HB or something that's a bit harder, so the lines come up whiter and cleaner, and this is the watercolor paper that I'll be using, which is Constant. Excel 300. Yes, M. And the dimension is 15.5 by 19.5 centimeters. I just cut it to the size where I feel like it would frame the painting nicely, which is why it's a bit of an awkward size. But again, you can customize this however you would like to. For this class, I'll be using three brushes. The largest one as a pretext sized to this is just like any other synthetic brush. Then I have are two media sized, too. They're the same size, but because they're different brands, the size is actually quite different. So this one is actually a bit smaller, and the last one is my usual Windsor and Newton Sector gold size zero, which is really great for fine details. You don't have to use the same brands off brushes that I have here. You can really use any synthetic brush. As long as you have something similar in size, it would be fine. Next, here are the paint and palate that will be using. I will go over the list of colors and the next lesson, but of course you can use other brands or even other colors for different flavors. If you would like to create a slightly more customized cupcake for your final painting. As for the pellet, feel free to use anything like porcelain or plastic plate that you can reuse as a pallet. I would just recommend to use a white surface, so it's easier to see the colors here mixing. I will also be using my white wash. This is by Windsor Newton, but of course you can use any brand that you have. I just like this one because it's very, very take. And, like usual, I always have a tissue or paper towel right next to me as I'm painting so I can control the brush load very easily. And for those of you who are quite new at painting, I would suggest to have a scrap paper right next to you as well. This is the check on the color mixtures, especially when this painting has so many light colors, like the thrusting flowers on the cupcake liner. And sometimes it can be very daunting if you accidentally put something that is a little bit too dark because it's that harder to take off the color. And the last thing that I have here is just clean jar for my water. I'll just list all of this place here so you can take a screenshot and prepped for this place. 3. PREP: COLOUR PALETTE AND TRACING: in this lesson, I will go over the colors that I'm going to be using for this painting. These colors are from my main whole bind palette with the addition off other brands such as Daniel Smith, M. Graham, on Also Menswear Newton for a few off the colors. So going over the colors First TV's are the reds that I used. I have for a 1,000,000 by hold Bine Quinn, read by Daniel Smith and not feel read by M. Graham. The Vermillion as a slightly orangey red Quinn. Red is very cool and temperature and more of a pinkish close to magenta and us for the natural Red heads more like a strong primary red. So I always like to incorporate these different tunes of reds. One. I'm painting strawberry jumps. Next are the oranges and yellow. I used cadmium orange. This is by 10 Newton and I like this because it's very bright and saturated and it lightens any. Brown's really well without muting it down and permanent. Yellow Deep is a deep and rich yellow color with a slight tint off orange. Next are the browns that I like to use. I have here yellow Kerr. I don't know if this is considered as a yellow or brown, but for me I always categorize it as a very light around, along with burnt umber and sepia. I like to use the yellow ogre and burnt number with cadmium orange to make a really nice shade for the cake. And then sepia is a muted brown that I like to use for parts of the cake, which are in shadow. Then here I have ultra marine blue, which is one of the staples of color mixing that I always like to include in my palette. Then I have permanent green, which is also sometimes known as light green or yellow green. Last day I have I re black to darken and mute the colors Chinese white to lighten the colors to a pastel tone and then whitewashed by Windsor Newton for highlights as this comes to a very opaque finish. So this is the outline of the cupcake that will be using, but you can also customize it, using the collection of toppings that you've created from the previous class. If you would like to the paper that I'll be using to trees as my usual cancel Excel 300 GSM with the size 19.5 by 15.5 centimeters. But feel free to also create this in any size that you would like to. I'm going to be using my tracing tablet to trace out the outline, but you can tree sit against the window if you don't have access to a light tablet. Or you can also look up for a light up using your iPad. If that's something that's available to you. I used the masking tape to secure the page on Lee on one side, and I stick this on my paper with the outline instead of the tracing tablets. So I have the flexibility off moving the page around. And the reason why I only mosque once out of the paper is so I can always open up the paper to refer to the outline for smaller details, which are a little bit harder to see and to trace everything. I just used my HB pencil this as a pencil sharp lit that I always like to use because it feels very light on the hand when you're drawing with it. And I also have my razor in case I make any mistakes. I tried to make the pencil outline as light as possible because some part off the paintings will be quite light and color as we're painting it and because what color is translucent? The pencil might be a little bit too visible, so I'm always careful with how much pressure I'm putting on the paper. There are some places in the painting, which I also skip, drying out the outline like the center of the Hoff strawberry, as well as the statements on the flower. These are details that we're going to add straight with paint, but putting out on the outline just makes it a bit easier to remind myself that those details need to be painted on as we progress with the painting for the cupcake liner, this is going to be painted very lightly as I prefer to be white. I personally still draw up the lines to help me visualize the section easier, because it might be a little bit confusing when there are so many lands to work with. But if you are comfortable, you don't have to trace that part either, so that's pretty much it. Once you're done with tracing everything, we can move on to the next lesson where we'll start painting 4. CAKE: Let's start the first step off the painting. I'm first going to tackle the cake, and I'm going to first start with a mixture between yellow joker and cadmium orange to create a really warm but still light brown. And then I'm going to use a lot of water to dilute the mixture and then apply it to the top part off the cake, which is sitting above the liner as well as pain. The base color off the chocolate Pocky Sticks thistles. Just a simple application for the base color, and at this point, I'm not really trying to make any textures. Next, I want to build up the walling by adding shadows, using a mix off burn number and light brown from the base color, and I'm going to place this around the empty part. So where the cake liner has a bit of empty space between the paper and the cake, These are really fine details in the outlines, so you might want to refer back to the outline so you can take a closer look if you've missed it while you were tracing it. I like to always use the lighter consistency, especially when I'm painting light areas. But if I like the color combination, I have the chance to always layer it up. So that's what I'm doing here. I also added the same color around the left side of the cake because I want more like to come from the right hand side than the left. So using those three colors, I change up the consistency in order to layer on darker colors on the left side, I incorporated a high ratio off burn number compared to the right, as I want the left side to be slightly darker. Then, when I'm painting towards the right, I use a lighter consistency, which means more water in order to get a nice little transition while creating a very subtle texture for the left side off the cupcake, I added more bert number in the mixture in a medium consistency, especially behind the jam, to make this side visibly darker than the rest of the cupcake. I don't know if you've noticed, but to paint this. I do little brush strokes and different pressures to make sure that the paint looks a little bit on, even giving a very subtle texture to the cake 5. CAKE LINER: for the cake liner. I'm going to add Quinn, red and ultra marine blue to my palette, and I'm going to use both these colors to create a muted purple. With this, I added a dark cake mixture to the purple to further mute the dark brown tune thinness applied to most of the left side off the liner, which are slightly hidden as thes parts, should be slightly darker than the rest. Then I also used this start brown toe and has the gap between the cake and the liner and painted at the edges to create a bit more depth. Uh, before we get to painting the whole liner, let me go over the main idea with the outline first, and hopefully this will help you break down the shapes of the easier. Here, the parts where the cake won't be touching the liner. So these areas here will be the color off the liner, which is white, and I'm just going to add a bit of shadows later. Where is the rest of the area at the bottom will have a lighter version off the cake color as the oil of the cake. From this part off the paper will slightly make it translucent, where the richest goat in there would be shadows as its head in between two sides, which are protruding out. And let me just indicate thes areas for you to visualize the's. I'm going to blur out as I get towards the bottom. So when we paint it, I just stopped before it touches the bottom. So there's a section where I left out the area as the base color. I know that there's a lot of information to take in at this point, but let's just start to paint it step by step and hopefully you'll understand as we move on through the painting. Firstly, I'm just going to separate parts where the cake is touching the liner and where it isn't like how have started to paint on the left. I'm just using the same brown color as the cake, and I'm using a light to medium consistency, so it's going to be lighter than the surface off the cake at the top as it dries. I personally like to draw out on outlined with my paints first, so I don't accidentally paint over certain spots that I'm not supposed to and notice that at the center the curve is in the middle off the ridge. But as I get towards the side, the sensor slowly shifts to become more angular. If this is a bit confusing, you can also use the top ridges off the cake liner as an indication to help you visualize those angles. This is why it also helps to draw the lines on the liner because it really helps to know where the center off each of the ridges are. At this point, I'm only painting the base color, and I'm not focusing on texture, so I just keep painting until I feel the bottom area. I'm using my size to brush here, but because we're painting a large area, feel free to also switch to a larger brush. If you would like to. Now I'm just going to indicate the shadow areas, as I've drawn out before, by adding burnt number and to the previous mix off yellow car and cadmium orange to make a slightly more of a darker brown. And I waited for the base color to mostly dry but slightly still cold to the touch, so it's not completely dry, but has a slight moisture still in it, and this will help the color slowly blend without it running too far off the area. And I just keep building this up if the paint is traveling too far and I also saw from the bottom where the doctor color is slowly blending with the base color. If you're based, paint is already really dry. You can always use a clean, damp brush to react to beat the paint at the edge off the darker brown, where you wanted to blur into the base and move the paint downward slowly, creating a self transition. This is a technique that I will be using a lot off in this painting, and I also use this a lot for all my other food illustrations. And if you're unsure about it, you can try it on the scrap piece of paper first, basically, even after you put paint down on paper, depending on how well or how thick your painters, the pain is still able to be reactivated with water. But the best way to do this is to blend it, using a cleaned up brush so your brush isn't overloaded with water, and it's easier to create the soft blend with the base color. So now getting back to the painting from here we can already see the cake finer, starting to take form. But we're going to keep enhancing the shadows to create a more three dimensional shape in the next lesson. 6. CAKE AND LINER SHADOW: Firstly, you'll see me making my previous dark brown mixture by using Quinn, read Ultra Marine Deep on burn number. And here I'm going to place it in the shadow area off where I painted the dark brown Previously, this time since I'm painting a new layer, I made sure that the base layer is now completely dry, and I place the line on Lee at the deepest part off the crevices. Then again, self turning the bottom using a clean, damp brush. For the next step, I'm going to build on those colors and soft on the sides off those crevices. And for this I used a bit off burn number with cadmium orange, and I'm placing this along the sides off that dark brown line, slowly softening it till I reached the lines, which represents the tip off the liner. And as I get closer to those tips, I also change up the mixture to a lighter brown by using the cake mixture, which is off cadmium, orange and yellow Oakar, so the color is slowly grew, dating to a lighter brown. As I reached towards the bottom off the liner, I slowly curved those dark areas and also making sure that the transition between the dark brown with the base color isn't overly sharp. The next thing I want to do is build up a very dark brown shadow at the bottom of the liner to follow the curve as it rises around the sites. So I'm going to paint tiny curves where the tip off each point touches the bottom off the cake liner. For this, the doctor mixture that I'm going to use is exactly the same as what I use before, which is a mix off ultra Marine deep Quinn red and burnt number. But this time I'm adding a bit more ultra marine deep within the ratio to create a darker and more muted brown. I'm also using a slightly thicker consistency than before to paint those curved lines at the bottom tip off the cupcake liner before we move on. Further because we've painted the bottom off the liner and those lines are set under the paint and quite clear for us to follow. I'm going to raise the top lines on the top portion off the liner and just use the bottom lines as guides for the thickness. Once it's clean I'm going to use the muted purple by mixing ultra marine deep Quinn red and a touch off burn number. And I place this on the side off the liner, leaving the tip purely white from the paper. For all of the ridges, I'm starting with a like consistency because we're basically painting shadows on a white object. So this color needs to be very subtle, especially in the beginning. As you've probably noticed, I'm using basically the same mixtures as I've been using this whole time. But by changing up the ratio slightly were able to create different shades, different tones and even Hughes. So, as I'm getting towards the right hand side off the cupcake liner, I do try to make the mixture even lighter than before by adding more water. Don't be scared off it, looking to light because your eyes will be able to adjust. Once I've placed down all of the muted purples, I look at it again as a whole and layer on more off the purple on the left hand side, giving more contrast between the left side on the right side of the cupcake liner. This next part is optional, but I think that this gives the extra three dimensional form to the painting. I took the light brown color from the cake, which is from the yellow car and cadmium orange. And I use this in a very, very thin consistency that you might not even able to see much of it from the camera here. But I place this at the bottom, following the curvature off the ridges. And for me, this represents the slight translucency off the cupcake liner, which shows a touch of the cake color very subtly near those ridges. At this point, I'm quite happy with how the cupcake liner looks. So I'm going to balance the shadows again off the cake by using the muted dark brown, which is make sure off burn number, ultra Marine deep and Quinn red tow layer on additional shadows for the top off the cupcake , especially on the left side, where the shadows are and off course at the bottom off the frosting as well. Near the cupcake miners, these are fine details, so I very carefully used the tip of my brush to paint those shadows in 7. FROSTING: we're going to paint the frostings in this lesson. But before we start, let me just draw up the contours quickly. Since this cupcake has basic Ron tips worlds, this makes the painting quite simple. The most important thing is to keep the contour lines in mind, and this will also help you out with the placement off the shadows. Later, we just want to paint and shade everything according to the form and the volume of frosting . Remember that the light is coming from the right, mostly, so the left side will also be slightly darker. So now let's get to painting. I want my frosting to be very light strawberry cream, but you can also pick any color so you would like to like chocolate or blueberry. So with this flavor in mind, I'm going to first start to mix my base color, which is a mature off permanent yellow deep and a touch off cadmium orange to slightly warm it up more so it looks more creamy, and I added a lot of water to this. As you can see, it's really puzzling, but I'm just going to spread this all over the frosting as the base color to start. It's always easier to start painting at the larger areas, especially if you have a heavy water load on your brush and after I've covered those larger spots. That's when I start to paint the right hand side, avoiding the small Sprinkles and also painting through the gaps off the flowers. Next, I'm going to build on the color by adding Quinn, read into the previous mixture to make it more and toe a coral shade, which is slightly more pinkish. I'm still working out a very light consistency here, but as you can see, the value is now slightly darker than the base color due to the queen, Read added. I please this on parts where I feel like there would be a little bit of shadow, like between the swirls off the frosting and at the bottom, where the frosting is contacting the cake, and I'm just going to use a very thin consistency to spread it and full of the curvature off the frosting. I also went back to those edges to build up on the shadow to separate the shapes better, and I'm still working at a thin consistency, so each layer that I add on to this is very subtle, So in the end, the frosting can stay nice and light. I find that if it's too dark, it might look a little bit overworked. Or maybe it's just a darker strawberry frosting, if that's what you prefer. But for this specific look that I'm going for, I wanted to look very light, which is why I'm keeping everything at a very thin consistency. But in the end again, it's really up to you how you want to approach this and what flavor you want to create. As I pile on the colors, you'll notice that I'm creating uneven textures with the light strawberry as well as the shadow color, so I can create an effect off the soft strawberry jam mix into the light colored cream. For this application, I like to do with tapping motion with the tip off my brush while keeping the brush load nice and light so there are no puddles forming on those marks dry almost instantly, and this leaves on uneven surface. I also do this while leaving quite a lot of negative space, so the light yellow from the base color is still visible in between those light choral textures. I also added this darker tone on the gaps between the flowers. So I don't forget, since it's quite easy to miss, then I want to use a darker mixture by taking a tiny bit off the muted purple from the cake and at this to the queen red mixture and use this and has the shadows further creating more off contrast and value, especially between the frostings and also the gaps off the flowers. Notice that I use their colors from my previous mix. I do this a lot as I'm painting, so I may not say the exact color mixture as it involves previous mixtures as well. But I do this actually to make the tone off the overall painting cohesive and harmonious, which is why I also prefer to mix my own colors rather than using one color straight from the palate. So here I'm just going to keep building on the textures off the frosting, especially on the left side where starker and though I'm adding the same textures on the right, they're much lighter and tone now that the form of the frosting is starting to take shape. I'm going to move on to the right hand side, where the Sprinkles and the flowers are. And I'm going to add those shadows using the same color mixture in the same consistency as before and pain behind each off the Sprinkles and also the flowers following the light source from the right. This means that the shadow would be on the left side off the Sprinkles. Next, I'm going to create a burgundy color mixed by using ultra marine blue with the queen red mixture, which has a touch off the permanent yellow deep so the color as a bit more muted. And I'm using a medium consistency to paint flecks off dried strawberries, which has been crushed and mixed into the frosting. Be mindful when you're painting tiny little spots because you have to really be careful with the brush load. If not, you might create large puddles instead. But if you do accidentally make that mistake, make sure that you always have a tissue right next to you, so you can quickly absorb extra paint. I'm going to just place the specs mostly on the left hand side, with a darker tone. And as they get towards the right. I use a lighter consistency to make sure that the values are still there. The reason why we use the darker tone for the left side is because the base color is darker , so I want the same level of contrast using the base color as your guide. 8. SPRINKLES: Now we're going to paint the Sprinkles. It's up to you what color Sprinkles you want to use. But for this I want to make it look a bit fancy, so I want a golden color. First off, I made the base color by mixing permanent yellow, deep and yellow poker and then using the golden yellow color. I use this to paint the base color off the Sprinkles. I also left out a tiny bit off negative space to act as the highlight off the Sprinkles. Since the light is coming from the right hand side, I made sure that most of the highlights are on the right side. Off the Sprinkles. I thought that it was a bit tough free to see the color. So here I'm just going to draw it out. Basically, I live out one side off the Sprinkles as the highlights for the painting, though the highlight will be on the right hand side, and I basically just color once said, with Sprinkle with the base color. Then, to build up the round form, I'm going to use a darker tone off brown to paint the edges off, each sprinkled for the shadow of this. I used a thicker consistency off a dark brown color by using ultra marine deep with burnt umber and yellow Oakar to just the color. Then I placed this where the darkest shadow off each Sprinkle would be and where minus I place it mostly on the left hand side. So basically there are three values which are the white off the paper, the golden color and now the dark brown as the shadow. So if you're planning to change the color, you can do this with three values off which every color you decide to paint the Sprinkles with, and this is going to create the same effect. 9. LEAF GARNISH: Now let's paint the leaf garnish. You can use any tone of green that you want. I personally like bright, warm greens, but since I want the strawberry leaves toe have that tone. I'd said it to create a cooler green for this. Garnish instead, in which case I'm going to use a mix off permanent green and ultra Marine D. Using this color, I'm just going to use a medium consistency and pain, all of the base color for the leaves, and I'm just going to color this as a flat wash for the base. After I've painted those base colors, I created a darker green by mixing more ultra Marine deep worth the previous permanent green. And I use this to paint the stems while the base color of the leaves are still a little bit deck. So when I put on this dark mixture and connected to the bottom off those leaves, the dark tone will slightly travel across the bottom off the leaves, giving it a really nice off transition. Next, I added more permanent green to the mixture, so I have a color that is in between the previous two mixtures, and I use this to paint the leaf pattern and a thin to medium consistency, so it's still very subtle. I first painted one side off the veins and after I wait for it to dry, I painted the other side as well. And this isn't supposed to be fine details, which is why I'm sticking to my size to brush. It's just a subtle movement off the brush strokes, which will indicate those feats once I'm done. I also added a darker green mixed at the mid rib of the leaves. And for this I want the bottom off the mid rib to be slightly darker. So I made sure that the final access puddle will be placed at the bottom. So I paint lightly from the tip downwards to the stem off the leaves. I'm using a medium consistency because I don't want the middle rip off the leave to be glaring out, and everything that we're painting is just very subtle textures. 10. STRAWBERRY LEAVES: for the Strawberry Leafs, I mentioned I want a light warm green, so I used more permanent green and mix it into the pallet where I mix the previous green. And I also added permanent ilo deep and to the mix to warm it up. Using this, I'm going to apply it all over the strobe relief as the base screen. What's the paint is slightly dry. I pulls the base green downwards on my palette, where it had a little bit off altering deep and the tiniest bit off Quinn read from old mixes, and I use it to paint lines for the center off individual ease as well as shadow areas. I do this a lot with my paint. I think I mentioned this before already, but I like to stay colors from old mixes Andi zit to mute certain colors to harmonize the tone. This also means that there is limited, wasted off paints in your palate. On top of that, I think that being able to do this means that you've understood color mixing and what certain colors does to other Huse went added. And I think that it's just a really good thing to get used to as you paint more often. As for the application, like usual, I just think off where the light source is the heaviest. Which is why I've pleased the shadow colors where they are and using spare mixes for my palate. I just take the ultra Marine as well as a tiny bit off Quinn red to adjust the tone and the value of the shadows. It's really hard to say the exact ratio, but this is something that you can feel as you experience color mixing more and you'll understand thickness off a paint that you have when your palate watercolor is a bit different compared to other mediums, as the more water we add to the ratio of paint, the lighter the color gets. So playing with a value not only means to change the color mixture, but for this case, we also take into consideration the thickness off the paint to water ratio. In this case, my based green is a mixture between permanent green and permanent yellow deep, and I use the ultra marine too dark in the green. But because ultra marine as a blue hue, it also cools the base green mixture. However, like I mentioned, I do want to create a warm green for the specific one. So I added the touch off Quinn red, which is a warm color to bring the warmth back in the green. I'm also going to apply these colors to the strawberry blossom leaves just so there aren't too many different greens and the composition, and I treat this the same way as how I painted the leaf. Garnish by adding subtle leaf veins diagonally on each side of the leaf and also the mid rib off the leaves to finish everything. 11. HALVED STRAWBERRY: Let's get to painting the fruits and this lesson we're going to start with the Hoff strawberry first to start. I'm just going to use a very, very thin consistency off vermillion, and I'm going to paint this on the Haft interior off the strawberry and just do a flat wash to get uneven surface all around the area. Next, I'm going to take a thicker consistency off the same color, and I'm using this to paint the center as well as the outline or the size of the strawberry flesh. And at the moment, I'm only going to work on the inside off the strawberries so we can focus on one area at a time. For the next step, I'm going to create the pattern off the strawberry flesh, and I'm basically just going to pay long triangular shapes, going inwards whilst leaving a bit off the space between the centre on those lines. As for the angles I tried to full of the curvature off the strawberry, so each line or triangle is slightly tilted to face. The center, as usual during strawberries are not the easiest, so you might want to practice on paper first for me I went straight to painting, and I'm using the same consistency over a 1,000,000 that I used. And I started by painting lines to indicate the angle off each of the sections first, to make it easier to adjust to the more triangular shaped later. Next, I'm going to build on the center of the strawberry by using an even thicker consistency of vermillion. And I'm just painting random textures because I want the strawberry to be very ripe and slightly open at the center here, I'm going to slowly build on the vibrancy of the red, and I added natural red to the vermillion that was arguing my palette as well as a little bit off ultra Marine deep. Then I'm going to please this on the outline off the half strawberry. I'm first going to do the left side. And while the paint is still what I used a slightly thinner consistency off the same color and built on those lines that I painted earlier. But this time I'm slowly extending it out to create more triangular shapes for the lines. After I'm done with the left section, I also went over it again with the same red mixture, and I pleased then dash lines at the back off, each off the triangular shapes. And now I'm just going to create a similar effect for the right hand side, using a medium consistency off for a 1,000,000 I extended the back off each of those triangles, creating a soft predation going from the dark red to a light, a red after I placed the medium consistency for a 1,000,000. Then I used to clean down brush to extend the color to create an even softer red. And this, in my opinion, exaggerates the gradation. Even more notice that the triangles are also getting a bit thicker, so the white negative lines between the red triangles are much thinner and delicate. So just be mindful when you're painting to not overload on accidentally, combining a few off the sections together, However, accidents do happen, and if using a tissue doesn't help to observe the paint, you can also go over it again. Using white Wash wants everything dries. Once I added more depth to the center of the strawberry, using a dark red mixture and also slightly blending it together. Then I moved on to the strawberry skin in which I started by using permanent yellow deep in a thick consistency to paint the top portion followed with a thick consistency vermillion and one on painting vermillion. I also left out a little bit of negative space on the right side, where the light sources I picked some dots in between the white space, and this is to represent the wells for the seeds than to finish off skin. I used the previous dark red mixture to paint some off the wells as well as the bottom portion of the skin, so the color still matches with strawberry flash. 12. BLUEBERRIES: the blueberries are fairly simple. For this, I'm on Lee going to use two colors, and that's ultra marine deep and ivory black to make a muted dark blue color. And that's pretty much the only color mixture that I'll be using. The only thing that I'll be changing as the value on the ratio. So, firstly, I use a very thin consistency first, and I'm painting this with a very light load on my brush. So it's almost like a dry brush, but not completely. And this will give a slight on even texture, which will give a nice effect for the light white powder on blueberries. Next, I'm going to go in with a medium consistency, and I use this to add the shadows as well as to deepen the blue color. And again, I'm only using a light load to get the texture off the blueberries. I'm working on the left blueberry first so the colors doesn't run into each other and ruined the round quinto or off the blueberry. And after I wait for the left, one to dry completely. Then I moved on to the next blueberry and do the exact same thing when deepening the color . I like to tackle the shadow areas first, and I still want those cars to be darker than the rest of the blueberry. So ill give around her form. Here is an example. I'm just going to show you the shaded areas where I want to paint with the darkest value. And as you can see by just shading those small areas, the roundness is already starting to take form. But with a painting, I will combine this with gradation as well as values and texture, and which I will use a squiggly motion with the tip of my brush to get uneven surface. Each time I'm adding a new layer with a thicker consistency. I'm leaving more and more negative space. This is so that the gradation is gradually forming without making smooth blends, but you can still see it through the texture. Hopefully here you can also see that the closer the shadow is to the cake, the darker the value is. I used a very thick consistency, but at the same time, I also added a touch more ivory, black to the mixture. At the moment, I can start to see the roundness already so Now I'm going to color in the center of the blueberry by using a very dark blue. And as you can see, I added a lot of ivory black to the mix. And I also want to make sure that this is the darkest part off the Wilburys after I've added the dark Center. Now I can see that the value of the blueberries are still slightly off in comparison. So I'm going to go back to the blue mixture by adding more ultra Marine deep into the very dark blue. And I'm going to just add more textures in random spots while still leaving the light based color here and there. Lastly, I also made sure that the blueberries are well separated by adding a dark color in between , you know? 13. BLACKBERRY: before we paint the BlackBerry. I'm just going to show you a sketch because it might be a little bit hard to see because the details are quite small. So basically with the base color, I paint the whole blueberry while leaving Ah highlighted space for each of those individual round parts, and these highlights should be drawn following the curvature and the contour of those individual round shapes to convey the BlackBerry texture for the color. I'm going to use the spare boo berry mixture from the ultra Marine and Ivory Black, but this time I'm also going to add a tiny bit of Quinn red, so it's more of a dark purple instead of a dark blue for the base color. I'm just going to use the thin consistency to begin with, and I'm going to place the colors like how a sketch them out before leaving some off the white neck of space for the highlights. If you accidentally paint over some, it's OK because we're going toe also, layer this, but I find that having the small white space gives such a nice pop of highlight. Or, of course, you can also use whitewash to add on to this that yet next I'm going to add the second layer, and for this I'm going to use the same color, but in a thicker consistency. So the color almost looked black, and I'm going to place them near the center off each of the round parts, so I would have both the highlight as well as the base color showing. I don't really want to do too much of this, though. Just try to find a good balance because blackberries are quite dark in color, so the light based color should only served more as a secondary highlight. I'm sticking with my size to round brush for this, but if you find it a little bit difficult because the space is quite tight, you can also use a size zero brush to have much better control of the paint. And I'm just going to continue painting until I've got the second layer off the blackberries. Once I finished painting the whole BlackBerry, I just cleaned up certain parts with the tip of my brush to make sure that all the edges are clean and I also made the bottom part off the BlackBerry but darker than the rest because it's slightly hidden behind the blueberries and a strawberry 14. PRETZEL STICKS: in this lesson, we're going to paint the pretzel stick or Pakistan X for the color. I first used a mix off birth number and cadmium orange with a touch of yellow ogre that was previously on my palette already, and painting this on both sides on the top part of the Baki stick and what I'm trying to do here is to create a cylindrical form by using darker tones of brown's on the sides. With a slight highlight at the center, you can adjust the warmth off the brown by either adding more orange for yellow joker. I personally like the golden brown look, so I did a very like please with economy orange, and you can do the same with the yellow grass. Well, grazing basically means adding a transparent layer of color, and this can help change the tone. Suddenly, what I'm trying to do here is to gradually add darker tones as I get towards the edges, and I'm going to do this by using different terms of Brown's by playing with the consistency of the paint and then also adding more burnt Number two, the ratio if I want a really dark brown on the side, and this is something that you can play around with. It's really up to your preference, what tone of brown you're going for. As you can see, I just keep on adding cadmium orange because I didn't feel like the color was golden enough . And if you prefer the more yellowy tone off course, you can do this by adding more off the yellow ochre instead. But this is how I adjust my colors, even if I've painted on the color and I didn't like it. That's why we work with fight consistencies first so we can just keep adding on you layers to plays as we look for the tone that we like. I'm happy with this base color. So now I'm going to add the details by adding more burn number in the mix. With this, I'm going to paint tiny over mark scattered randomly on top. Off the press will stick a spoke. Mystics usually have those burn marks on the sides. Now I want to the chocolate coating off the press will stick. I am going to use burn number as well, a sepia for the mixture. In the beginning, I use more burnt number in comparison because I want the base color to be slightly lighter , even though it's still a dark brown. This part of the painting is very simple, as I'm just going to leave a line to create the highlight on the right hand side of the bulky and then fill the rest of the space using a medium consistency off the dark brown mixture, while also adding a bit more sepia along the left side for a little bit of color gradation . And I'm also going to do the same for the left one Islam. 15. JAM: we're going to tackle the jam in this lesson. It will be a little bit tricky, but I'll try to break it down for you by drawing all the highlights first. This is the first layer that we're going to make, which is to do the base color while avoiding the highlights around the curve off the jam as long as you follow the curvature of the gem. I think that it wouldn't really matter too much about the placement because you're still enhancing the curvature so you can really play around with the placement. But for me, I personally like to add extra near the huge clumps, and that's pretty much it for the color. I first start with just pure vermillion and a light to medium consistency, and I'm going to leave out the areas that I roughly drew out previously in the outline. If this is a bit difficult, you can also drop the highlights slightly with pencil first. But I'm just going to paint straight away as a tip. If you decide to paint straightaway like what I'm doing here is before you fill in the colors, I like to draw the highlights with a dip my brush, so it's like during with pencil. But using the brush instead and doing this will lessen the burden off accidentally painting over those white areas. And another thing is depending on how fast you can work. I suggest for you to do this per section here. I'm doing quite a large area straightaway because I'm comfortable enough to fill in the space. But the reason why I'm doing this is because when the red outline dries, sometimes it can leave the line even though you paint over it. So I'm trying to find a pace that I can work with to minimize that. So, as an example, you can just work on the left trip first, then moving on to the right and so one. As I get towards the right off the base color. I tried to slightly lights in the color so I can still follow the main light source. Next, I want to build on the color of the jam to give it a little bit off weight and body, and for this I added ultra Marine. Deep enough, it'll read to the vermillion that I already have in my palette, and I placed this around the bottom of the fruits because the jam is still slightly translucent, so a bit off that fruit from the back would create a darker color as a boss. The light same goes for the large, heavy areas, such as the drips, where it can also reflect both light and objects in the surrounding area. So again, technically, you can add the shadows in different places as long as you follow the curvature and roundness off the drip so you can always enhance that form. - After I finish placing the mid tone red. I want build on those decker areas again, and this time I took the blackberry mixture that I had left on my palette, and I added this to the previous mid tone bread. And this will give a dark maroon red, which will look very deep in comparison to the base color and creates a really nice contrast at this point. After building up the darker colors, I can start to see that I need to add to force of the base color to connect the depth off the colors between the light and dark. So here I used to make sure for a 1,000,000 Quinn Red. Then I placed it over some parts off the base color. Not all of the base color, but this color should act to enrich the base color and whatever is left off the base color now acts as more of a secondary highlight to the jack to finish off the jam. I used the dark red mixture in a medium consistency, and I act then outlines as definitions to the droplets, especially on the really long droplet on the left, because I find that the dark red of the jam would complement the light color of the cake liner really well. 16. STRAWBERRY BLOSSOM: before I start to paint the blossoms. I'm just going to sketch out the direction of the pedals as I Pete later. So this will help give the texture and flow off the strawberry blossoms. So basically, I start from the center outwards. But as I paint and there's a bit of curvature within the pedals, this is something that is important to follow because if we only paint straight lines, the pedal might look a little bit stiff and unnatural. For the color mixture. I used my previous blackberry mixture, which is a mix off ultramarine deep Quinn red and ivory black. And to this I added the permanent yellow deep that was right next to it. Firstly, I'm going to use this mixture to paint in between the gaps of the pedals as fine details. And this should also help to separate the pedals a bit more. Using the same mixture, I'm going to pay the center of the flowers following the curvature that I drop before, but I'm only painting a bit less than halfway, so the white off the paper is still visible. Then, with clean water, I used the light load to pull the brown paid outwards, making the brown color very light and the centre slightly darker than the edges off the pedals. And I'm just basically going to repeat the same steps for this next flower. Now that I finished painting the inside of the flowers, I'm going to paint the folds where the other side of the flower is slightly showing. And for this I'm using the same mixture again, and I place this in the folds where I think would be in shadow for the latter folds. I used a very thin consistency of this, and that's a further separate the folds from the interior of pedal, I added. It's likely darker consistency to paint the shadow behind the fold. Remember that these are white flowers, though, so even if we're working with different values, they all should be fairly light and consistency in general. I also added a slightly darker value in the middle, so it gives a bit off contrast to the statement that I'm going to paint next for the semen I used. A tiny bit off white wash toe adds my permanent yellow deep so the color becomes opaque to this. I also added some brown and slight red to mute and warmth the yellow slightly. I used bear mixtures, but I had on my palate still. But you can also use birth number or any off the browns and any of the reds to warm up the yellow as alternate colors. To pay the statements. I used my says your brush to paint the details, and I made kerf lines, which are all directed from the center off the flowers. Next, I want to add a little dots on top of those cursed lines in which I used a mix of whitewash and permanent Elodie. Then I'm going to add a bit of shadows by using any off the brown that I have in my palette . Or you can also substitute with burnt number to paint on the bottom part of the statements for both of the flowers 17. SHADOWS AND DETAILS: in this lesson, we're going to paint the shadows on adding additional details on the painting. Firstly, I can see that the flower looks too bulky as the light value is causing your eyes to combine everything together. So I used the brownish red mixture to paint and between the flower petals to separate it even more with my size, your brush so I can get really into the tiny details from here. You also start to see me using scrap paint that I have on my palette, as I don't really require too much pain at this point, and I work with the Hughes that I need and try to meet the colors using whatever was left there. However, if you don't have the scar paint, you can also use any of the reds for the shadows and mix it with a little bit off burn number and ivory black to get a similar tone. I use this red to also define the edges, such as the cake, the cream on also the shadows for the Sprinkles. Next, I used a little bit of ivory black, an awful red to create a dark red color, and I'm going to use this to paint extra details for the wells off the seeds on the strawberry. And then I added the seeds, using a make sure flag wash and permanent yellow deep. Next, I'm going to paint light cost shadows, and I want to use a muted purple color. So I used the previous BlackBerry mix, which is from every black, ultra Marine deep and Quinn red with whatever it that I have left on my palette. Or you can also use any of the reds as well. And I'm using a thin consistency of this mixture to Pete Shadows near the jam. Then, for the cast shadow off the whole cupcake. I use the blackberry mixture again, and this time I added permanent yellow deep that was left on my palette, and I'm going to paint this at the bottom off the cupcake on the drop off jam. The cast shadow doesn't have to be even in color, but I want the base, which is in contact with a cake to be slightly darker, and it just grew, dates out to a lighter color towards the outside of the cost shadow. So after finishing the small section, I clean my brush and made sure that it's still a bit wet so we can spread the outer portion of the cost shadow by reactivating and pulling the paint. Hubbard's then just using the BlackBerry, make sure without the permanent yellow deep. I used a thick consistency to paint right under the cupcake to create the dark shadow and just moving out everything so it blends well with the rest off the cost shadow. As I was painting the shadows, I found that the highlight on the large trouble it looks a little bit like a creepy smiley face. So I just used a damp brush tract of ate the paint and paint over it. 18. WHITE HIGHLIGHTS AND FINAL TOUCH UPS: in this final lesson, we're going to be painting the highlights on final details as I look around to just the painting. Firstly, I'm doing the highlights for the jam, using a very thick consistency off white wash. I want this to be in full capacity, but I still added a touch off water and order to make the wash paint glide easily. With this wig wash, I first started adding extra thin highlights on the jam just to make it extra glossy, and I also added white lines on the Sprinkles to show a bit more form sense as a little bit hard to see due to the light color of the Sprinkles. Here, I realize that this strawberry is facing away from the main light source, so I'd like to add a touch of shadow by using a very, very thin consistency. Ultra marine on the muted red color in my palette, which Waas previously mix off nuttall red and ivory black, and I use this to glaze ever so lightly at the bottom part off the strawberry, Then to build up on the color of the strawberry. I also added the dark red color with the not for red and ivory black to paint the triangular sections, especially at the bottom portion where I previously painted the glaze and I Lear this until I find the value that I like using the same red with the green that I have in my palette. Or you could also add permanent green with the red. I'm going to add the shadows off the storm release. You'll notice that I've switched to my size to brush for the strawberries since the previous step. This is because I'm covering a larger area, which is why I'm using this brush. Next. Have decided to add extra texture to the surface of the cake. So I used to make sure off yellow Oakar, cadmium orange on burn number to tap lightly on the cake, using the tip of my brush to give little spots for the texture. I like to always jump brown and the final step as I'm just trying to balance out everything . So I went back to the White Wash to paint very thin lines right next to some of the elements to separate the shape slightly without creating two definite often outline. But at this point, you can also just look at your painting as a whole and add on to things that you feel needs . Adding. Here I use the same color for the strawberry leaves to paint a bit of the shadows for the strawberry blossom leaves as well, and then to finish off because the leaves are but darker now. I also add on to the shadows off the strawberry blossom, and after that step we're finally finished. 19. CLOSING AND CLASS PROJECT: congratulations and completing this class for the class project, I would like to invite you to beat along to the cupcake painting. However, if you're feeling extra creative, you can also customize any of the elements, like adding certain decorative elements, garnishes, toppings or even changing up soon flavors off the frosting. And once you're done, feel free to post in project sections so you can share it with me as well as your fellow students. Because I always love seeing what you guys come up with. You guys always have such distinct styles and different ideas as well. If this is something that you've enjoyed watching, I also post weekly our videos on YouTube. My channel isn't Ignani, or you can also follow me on Instagram at G underscoring yet. But that said, I hope you guys enjoyed this class and learn something. You if you decide to paint along, that's not like for all of you and I will see you at the next one. I