Oil Pastel Cakes and Slices With Jam

1. Welcome and Introduction: Welcome to this class on oil pastel cakes and slices with jam. In this class, you will learn to draw and paint the seven beautiful cakes and slices with delicious jam, along with two bonus projects. This class is suitable for both the bigness and the experience. I'll be explaining each project step by step and all the project are in real time, so you can always follow along with me. This class will help you get better with the oil pastel and use of the most of the basic techniques with the oil pastel. By the end of this class, I am confident that you will be able to draw and paint other cakes and slices easily. We will start our class with introduction to oil pistol and some of the basic exercises starting with basic of oil pistol. Then we will move on to blending, overlaying, and outlining with the oil pastel. After that consistency, stippling and blending with the oil pastel followed by blending the oil pistol using tools. Then we will move on to oil pistol texture. After that, we will move to the colors for the jam, followed by cherries, blueberries, greenberry, and the stems. Then we will move on to the leaves followed by the strawberries. Then the other additional element, kiwi, pistachio and pomegranate seeds. Lastly, we will move on to sketches for the cake and the slices. After finishing all this practice sin, we will move on to our final project. Starting with simple jam covered slice, then strawberry and blueberry slice, then greenberry slice with jam. After that, kiwi and berries fruit cake, then blueberry cake with the red jam. The Pistasio and cream cake. I forgot about this one. Blueberry and cherry with red jam. Lastly, in the two bonus project, Strawberries and Tom Greene Street with red jam and orange with orange and yellow jam. Hi, my name is Shall, and I'll be your instructor for this class. I'm an artist based from India. This is my Skillshare profile. These are my classes on Skillshare. You can find my other work on the Instagram Happy painting. See you in the next video. 2. Class Project: For the class product, you can upload any of the seven artwork. Simple jam covered slice strawberry and blueberry slice, green berries and jam. Kevan berry fruit cake, blueberry cake with red jam, pistachio and cream cake with green jam. Or any of the two bones project, strawberries with red jam and the orange with yellow and orange jam. Sorry, I missed our fifth project, Blueberry and cherry with red jam. All the videos are in real time, so you can always follow along with me. I would also love to see your practice work out with the oil pistols. You can upload these two in your project section. Apart from this, I would like to encourage you to come up with your own unique composition of the jam and the slices. You can upload your own composition of the slice in the project work. I hope you have fun with this class and learn something new and exciting. And if you like my class, please leave a review so you can help me and let the other student know how you feel about the class. If you have any doubt or queries, you can ask me in the discussion section, wishing you all the very best for this class. Happy painting. 3. List of Supplies: For this class, you will need a pencil, an eraser masking tape to secure the tissue paper. Brush to remove the oil pistol. Dust oil pistol. An oil pistol paper, I am using gallery oil pistol, you can use whatever oil pistol you have. I'm also using gallery oil pistol paper. You can use any other paper of thickness more than 160 DSM. 4. Oil Pastel Basics : Let's start with the oil pastel basis. Oil pastel are a vibrant and versatile medium. It consists of blend of pigment, non drying oil, and a wax blender. These colors glide smoothly on various surfaces, providing expressive strokes and intricate detailing. With its creamy texture and intense pigmentation. Oil pastel provide a wide range of artistic style. Let's start with the past oil pastel. Starting with a simple oil pastel strokes, creting oil pastel strokes from thin to thick includes adjstinc paire and the point of contact. A dental text produces delicate lines, perfect for fine detailing and subtle siding. As the pressure increases, the pastel leaves boulder marks, allowing for vibrant color application and creating a sense of depth. With the oil pastel, we can create wide varieties of strokes. Here's an example of oil pastel strokes, ranging from thin strokes to thick strokes. We'll be using thin strokes for retailing and outlining, and thick strokes for filling in the colors. Oil pastels are very press sensitive apart from the thin and thick lines. It also dictates the color intensity. Light pressures result in delicate translucent strokes. An increased pressure enhances color intensity and creating bold and vibrant colors. Texture and layering. Gentle pressure provides smooth application, while film pressure introduces texture and depth. Adjusting pressure facilitates singles blend of color, enabling smooth transition and gradiation. Bold and expressive strokes are produced with increased pressure. Some of the oil pistol techniques, here are some examples of the oil pistol techniques Hatching, it refers to creating parallel lines or strokes to add seating or texture. Cross hatching, it builds upon hatching by adding intersecting lines, creating frisk, cross pattern stipling. It refers to creating pattern using tiny dots with oil pistol. For this class, we'll be using small to large dot with the stipling technique. The intensity of the dot determines the seating and the tone of the painting, and with this you are done with the basic of the oil pistol. See you in the next video. 5. Blending : Blending colors with oil pistol is a tactile process that allows to create smooth transition, vibrant gradient and a soft state in the artwork. Like some dry medium, oil pistol has a softened buttery consistency. Making it ideal for blending. Blending oil pistil to obtain various colors is a very fascinating aspect, allowing for the creation of a diverse color palette. Here's an example of blending three states of primary color, red, yellow, and the bloom. Combining yellow with a rate in equal measure results in ring. Combining yellow and blue results in a Sd of green. And in case of blue in the rate, it results in a Sd of purple or a violet. Now let reverse the order of the colors, as you can see, by reversing the order of the colors, the states of the orin, green and the violet, we obtain it somewhat different from the earlier one. This reversal can lead to unexpected colors and a broader range of tones. So it's important to adjust the intensity of each set to achieve the desired warmth and the vibrancy of the oil pistol color. Now moving on to other example, with the blending using the stripling technique. Blending colors with oil pistol, using the stripling technique offers a unique textured approach. Starting with applying a layer of red oil pistol. This serves as the foundation for creating depth and one for the final color. Now going in with the yellow, creating small control dots of yellow over the rate base layer, It helps to introduce the second color, gradually adjust the intensity of the stripling to control the intensity of the orange. Here's another example. This time I'm changing the order of the color closer and denser dot will result in a more vibrant hue while spacing them out allows for a softer subdue effect. Wearing the placer wild stripling adds texture and depth to the blend. If you want to enhance the richness of the orange, consider applying additional layer of red and yellow. Here's another example of blending color using heavy pressure. This serves as a solid base layer color, providing a strong foundation for the blending. The heavy pressure inserts a concentrated infusion of the second color. Here's another example of blending color using a heavy pressure. Starting by applying a heavy layer of red oil pistol. Now going in with a yellow, applying a heavy layer of yellow oil pistol directly on top of the red base. Now moving onto blending colors using finger, Here we have the three colors going in with my finger to blend the color to a smoother consistency and dispersing it with my finger will be using this technique mainly for creating shadows. Now moving on to the other technique, overlaying. Overlaying with oil pistilsy technique where one or multiple layer of colors are applied to create depth richness and intricate visual effect. Here's my aim is not to blend the color. Here's another example of the overlaying technique. I'm just reversing the order of the color. A final example, outlining for some of the layer of the slices, we'll be using different color to outline those layers. And for that we'll be blending a little bit of outline color with a little bit of the colors of the inside. And with these, we are done with the outlining example. Here's an example of combining most of the technique from the section for a simple Cheery illustration. And with these, we are done with this section. See you in the next venu. 6. Consistency of Oil Pastels: Moving on to the consistency of the oil pistol. The consistency of the oil pistil is a defining characteristic that greatly influence your artwork. With a softened try texture, oil pastel exhibit a smooth uniform application. This consistency ensure efotyleus blending, allowing colors to seamlessly merge to the canvas. Here are three demonstrations of the different consistency of the oil pistol consistency. And the presser goes hand in hand with the oil pistol. The one with the light presser is less consistent and non uniform, whereas the one with the high presser is more consistent and uniform. Same goes for blending the Les presser blends with difficulty and it is not uniform. Whereas the one with the high presser blends smoothly and is more consistent and uniform with these who are done with the first example. Moving on to the consistency in terms of stripling technique. In case of blending two colors by overlaying using a stripling technique, the consistency in the uniformity depends upon the sight and the distance between the stripling dots or marks. For this first example, I am using small dots with big gaps now overlaying the other color on the top. For the second example, a little bigger dot with a little less distance, now overlaying the other color on the top. As you can see, the consistency of the color increases as we increase the dot sight and decreases the distance between the dot. Finally, the third one with big dots on a small distance, now overlaying the other color on top. We'll be using all these three types of blending for our main projects. Lastly, moving on to the blending. Here I will be showing you how we'll be using different consistency in terms of blending for our main project. For this first example, I am creating random strokes with higher now overlaying the other color on top of it. With blending. This type of blending with this consistency will be used for our main projects. Moving on to the second example. This example shows how will be incorporating saddows and dark regions for the project. Using consistent blending of the colors. Starting with adding the color on one side to represent the darker region, now overlaying the other color on top of it. Now applying heavy pressure to blend it with a base layer and to achieve consistency and uniformity with these. We're done with this example. See you in the next video. 7. Blending with Tools: Blending with tools. In this section, we will take a look at some of the tools that you can use apart from your finger to blend the colors. For this demonstration, I'm using golden yellow. We'll be using finger Q tips blending system and tissue paper to blend the colors. We're starting with drawing circle with the golden yellow. With these, we're done with the four golden yellow circles. I'll be blending this with a finger. This one with the Q tip, this one with the tissue paper, and this one with the blending stem. Now let's blend, Starting with a finger, using a finger to blend the oil pistol is an immediate and tactile method. The warmth of your hand helps soften the pistol, allowing for seamless transition and subtle gradiation. Moving on to blending with the tips. Q tips, or cotton swabs, are precise tool for detailed blending. This allowed to work with small areas creating intricate texture and controlled Q Tips are particularly effective when aiming for fine details and refined transition between the colors. Now moving on to the tissue paper for blending with the tissue paper, you can fold the tissue paper like this. Tissue paper is a vrttile blending tool that offers a delicate touch. By gently wrapping or pressing the tissue against the oil pistol, you can achieve smooth transition and atmospheric effect. The texture of the tissue paper adds a subtle and nuissanced quality to the blended areas. And finally, moving onto the blending stump. Blending stems are cylindrical tool made of tightly rolled paper. They are excellent for controlled blending in specific areas. You can achieve presser and fineness, making blending stump ideal for intricate details and subtle siding. Here's another demonstration of how blending with finger yields different consistency and uniformity of the oil pistol. For this demonstration, I'll be drawing four circles with this violet color. The second one is the medium pressure, and for this third one is with a little bit more pressure. For this fourth one, I'm applying heavy pressure. Filling the entire inside of this circle by applying heavy pressure with the violet to get a consistent flow of color. Here are four different circles that I have drawn using different kinds of preser with the violet blending this first one. Now moving on to the second one. As you can see, the uniformity of the blended color has increased. Moving on to the third one, the uniformity is much more as compared to the first and the second one. Finally, moving on to the fourth one. For the last one, there is no need to blend the color. The reason behind the increase in uniformity of blending with the increase in pressure is simple, as the blending consists of dispersing color. With my finger, the circle with a low pressure have low content of oil pistol pigment. The dispersion is less and thus the blending is a little bit thin and covers a little bit less area. Whereas in the case of medium and heavy pressure, the pigment content of the oil pistol is quite high, thus the blending is more consistent and cover a larger area. Lastly, moving on to the mistake many a times while blending the color smudges outside the perimeter. Light smudges can easily be erased to some extent with the eraser going in with the eraser to erase it. Same goes for the light strokes going in with the eraser to erase it. Sometimes some of the color get stuck to the palm and they get transferred to the paper. It can be erased with the eraser, and to avoid this use tissue paper beneath your palm. And with these, we are done with this section. 8. Oil Pastel Texture: Oil pastel texture. In this section, I will show you some example of the rough and the smooth texture with the oil pistol that we'll be using for our project. In case of the oil pistol texture, refer to the visual and the tactile quality of the surface created by application of the oil pistil Smooth texture and the oil pistol are characterized by even and uniform application of the medium. Resulting in a surface devoid of visible strokes. Mark or granular aliment, rough texture with the oil Pistil involves deliberate variation in pressure layering and directional strokes, creating a surface that retains visible marks, strokes, and distinct textures. Here I skate three slices. I'll show you example of rough and smooth texture with single color, then rough and smooth texture with mixed color. And lastly, for example, of rough texture with different color combinations. Let's start with a rough texture. I'm using Acer to create the rough texture using a stripling technique with the big dots and a small distance to get the rough texture. Here's another example of the rough texture using salmon. Now moving on to the smooth texture. To achieve a smooth texture, I am applying consistent pressure with the oil pistol. The key is to maintain uniform application, avoid visible strokes. Here's another example of a smooth texture with the other color. Now moving on to the second skitch, rough and a smooth texture with two or more colors. For this first example, I'm using occer along with the orneous yellow, starting with random dots of occur as the bees now going in with the orneous yellow, using the stippling to partially cover the occer, as you can see some of the ocher, it's a visible through the orangeus yellow and there is a little bit of gradient around it. With this, we are done with the first example. Moving into the second one, I am just reversing the order of the color, starting with the orangeus yellow. Now going in with the ocher, using a stripping to partially cover the ocher to get a rough texture With these two are done with the rough texture, moving it to the smooth texture, starting with the big and small random dots of the occur. Now going in with the Renous yellow, applying heavy pressure to get smooth texture, as well as blending it with the rest of the occur. As you can see, some of the occur is visible through the urneous yellow and there is a little bit of gradiation around it. The aim for using two or more color is to get cake like texture and surface. Here's final example of the smooth texture. I'm just reversing the order of the colors. Sometimes it does not work as it is clearly visible. The ocher is overpowering the orange yellow. Only a little bit of orange yellow could be seen underneath it with the, with the smooth texture. Moving on to a few examples of the rough texture. For the first example, I'm using olive light side of olive. And the white adding another side of olive. Finally going in with the white. Moving onto the second example, I'm starting with a set, now going in with the orange is yellow. For the third one I'm using sepire blue and the light purple. And for the last one I'm using violet with the white. And with these were done with this section. See you in the next video. 9. Jam: In this section, I will show you how you can easily sketch and paint the gems. Let's start the section with a sketch for the slice, sketching the jam. As for the colors, I'll be using two or three colors. One of the lighter set and one of the darker set. The jams will be multilayered, so we have to go back and forth till we achieve the desired color. Moving on to the other example, starting with a sketch for the slice. Now sketching the jam. Here's another example. This time, I'm only sketching the jam. Now let's paint. Starting with the orange. Adding the orange for one side of the jam. Adding a little bit of orange for the top of the two colors that I'll be using for this jam. The orange is of the darker side. Now going in with the golden yellow as the lighter side, covering the entire jam with a golden yellow, applying heavy preset to blend it with the orange from the earlier. Adding a little bit of more orange to darken the tone a little bit. Going back with a golden yellow to fill the rest of the jam, the coloring of jam in itself is very simple to follow in color. Once again, going back with the orange defining the seep of the jam, particularly adding the jam on one side, adding a little bit of orange on the top. Lastly, going back with a golden yellow to blend the orange a little bit. With these, we are done with our first Am moving on to the second example. For this, I'll be using brown and scarlet here. I've already started with a brown to go over the outline, erasing some of the smerged color to avoid these used tissue paper beneath your palm. Continuing with a brown for the rest of the jam, adding a little bit of brown for the top. Now going in with the scarlet filling the insights of the jam with the scarlet, applying heavy pressure with the scarlet to fill the color for the Jem tried to get a smooth and uniform consistency of the color by applying heavy presser. Will we go to the other side with its card lit, adding the scarlet for the top. Now adding the scarlet wherever required. Now adding the scar, let wherever required. And with these are done with the scarlet going in with the white to add a little bit of highlight. With these, we're done with our second example. Moving on to the third and the final example. For this, I am using two sets of purple, starting with the darker sate of the purple. Now going in with the lighter state of the purple, adding a little bit of white for the highlight and with the sweat done for the jam. See you in the next video. 10. Cherries , Blueberries , Green berries and Stems: Cherries, blueberries and green erries. In this video, I will show how we can sketch and draw the cherries, blueberries in the green merries. Starting with the basic sketches for the cherries, a simple circle with the stem on the top. Here's another eskech with the two cherries. Now moving on to coloring the cherries, we'll be using three different sides of the cherries depending upon the color of the paper as well as the color of the slice inning From light state of the cherry to the dark side, the cherries and the blueberries. And the green berries in this section will be multicolor and multi Led. That is, we have to go back and forth a little bit till we achieve the desired color. As well as for both the cherries and the blueberries. I'll be swing you three example of three different sides. As for the green berries, I'll be only sowing two different sides. With these, we are done with the pencil skitch. Now let's paint, starting with the light side, starting with the golden yellow surrounding the yellow with the RN. Now going in with the flame red, going back with a golden yellow to blend it partially with the R on the one side and for the other side, blending it with the flame rate. As well as going over the outline to define the circular shape. Blending the flame rate of the outline a little bit with the golden yellow. Finally, going back with the flame red to lightly blend all the colors. Paring with these, we are done with the first cherry, a lighter set of cherry, adding the high light with the white. Now moving on to the second one, starting with the brown, going over the outline, as well as selling a little bit for the inside. Now going in with the orange parsley, blending the orange with the brown, filling the rest of the cherry with the flame red now, partially overlaying the flame rate on top of the orange, in the brown, going back with the brown for the outline. Blending the brown a little bit with the flame rate. Finally adding the highlight with the white. With these, we are done with our second cherry. Moving on to the third dark state of cherry, starting with the black for the outline, adding a little bit of black for the inside. Now going in with the flame, partially overlaying and blending it with the black. Now going in with the scarlet, filling the rest of the cherry with this is scarlet overlaying. This is scarlet on top of the black outline. Now going over the flame mute. And the black from the earlier, finally adding the highlights with the white. And with these, we are done with the three different states of the cherries. Now moving on to the blueberries, starting with the basic pencil sketches for the blueberries. Like the cherries, this blueberries will be also multicolored and multi layered. I'll be swing on three different states of the blueberries. Here's another pencil sketch. Now let's use the color starting with the phire blue for sketching the outline for the blueberry. Adding a little bit of cepireblue for the inside. Now going in with the sky blue, filling the entire inside of the blue berry with the sky blue, applying heavy pressure to blend it with the cepire blue. Going back with the sephire blue to redefine the sap a little bit and laying a thin layer of ephire blue on one side by overlaying it on top of the sky view. Finally, adding the high light with the white. Now moving on to the second example, starting with the sapphire blue for the eske and the outline. Now going in with the light purple, filling the insights with the light purple and blending it with a sapphire glue, filling the inside of the star shape with this light purple. Now going over the outline with this light purple. And with these, we are done with the light purple for now. Going back with the Sepireblue going over the outline, as well as adding a layer of sepireblue on one side, adding the highlight with the white. With these, we are done with our second blue berry. Moving on to the third and the final one. For this will be aiming for a textured finishing, starting with the black for the skate and the outline, adding a little bit of black for the inside. Now going in with the violet, partially overlaying it on top of the blacks and surrounding it now going in with a purple, partially overlaying it on top of the violet and the black from the earlier. Now going in with the white to add the highlights. With these, we are done with the three sets of the blue berries. Lastly, moving on to the green berries. Since the sea will be the scene, I am directly starting with a color, starting with the olive green for the outline, adding a little bit of olive green for the inside. Now going in with a jet green, filling the entire inside with the jet green and blending it with the olive green. With these, we are done with a simple greenberry. If you prefer, you can add highlight with the white. Now moving into the second example, a darker set of greenberry starting with the olive green, adding a little bit for the inside. Now going in with the light olive, filling the entire inside with the light olive, blending the two colors together. Finally adding the high light with the white. With these, we are done with the green maries. Moving onto the stems, we'll be using two or three layers. Starting with the light olive for this first stem, adding a little bit of olive on the top. Finally, blending the two colors together with the light olive. Here's another example, starting with the olive, adding the jet green in the top. Finally, moving on to the third, in the final example, for the stem. Starting with the dark green for the sip of the stem, adding the grass green on top of it. With these, we're done with our third in the final stem. Finally, here's an example of two cherries combining it with the stem, hiding the other any heading this stem. And with these were done with this section. See you in the next video. 11. Leaves: In this section, I will show you how you can sketch and draw the leaves. Leaves are pretty easy to draw, starting with the sketch for the leaves. Leaves are very simple to sketch and paint. Here's another example of the two leaves. Now let's paint. Starting with the olive for the shape of the leave, adding the mead rips in the veins. Now going in with the light olive, filling the inside of the leaf with the light olive, blending the light olive with the olive of the leaf, going back with the olive to redefine the leap of the leaf. With these, we are done with our first leaf moving onto another leaf, a set of two leave, starting with a dark green, sketching the outline for the two leave, adding the veins for the leave, now going into the grass green, filling the inside of the leave with the grass green. The skates for this leaf did not come out the way I desired. You're more than welcome to come up with your own skateg for the two leaves. Moving on to the second leaf, filling the entire leave with the grass screen and blending it with a dark green. Going back with the dark green defining the seep of the leaf, as well as adding the mid Bs in the veins. Now moving on to the other leaf, starting when drawing the outline of the leaf, now going in to add the mid ribs and the veins coming out of it. And with these, we are done with the leaves. Now moving on to combining the leaves and the cherries. Starting with the brown for the cherries, defining the outline for the sake of the cherry, adding the golden yellow on one side. Now going in with the orange, filling the rest of the cherry with the flame red and blending it with the urine and the brown of the outline. Moving on to the second cherry doing the same. That is, filling the rest of the cherry with the flame red and blending it with the urine and the brown of the outline. Moving on to adding the stems, starting with the olive, adding the light olive on top of it. Finally, moving onto the leaves, using the olive to escape the outline for the leaves. Now going in with the light olive, killing the inside of the leave with the light olive, applying heavy pressure with the light olive to fill the entire leave. There is another way that you can use to paint the leave. For that, you can start going into the light color, means for the base layer using the light color. And then going into the darker side to draw the mid veins and the rest of the leave. But for this class, I'm going in with this combination, starting with a darker side of green to draw the outline for the leave. Then going into the lighter set to fill the leave. Once again going back with the darker set to add the definition, the leaves going back with the olive to define the sap of the leaf, I mistakenly added the dark green, blending the dark green with the rest of the leaf with light olive. Now going in with the olive for the rest of the outline. With these, we are done with the leaves adding the highlight for the cherries. With these, we are done with this section. See you in the next medio. 12. Strawberry: Section, I will show you how you can skitch and draw the strawberries. Let's start with the basic skitch for the strawberry. Strawberries are a bit complex. We'll be using four to five colors and it will be multi layered. Adding the leaves on the top. I'll be adding the colors in this way, following the contour of the strawberry. Moving on to the real skate painting. A strawberry is a little bit complex. It's multi colored and multi layered, Will be using four to five colors, starting with a y surrounding and partially overlaying a part of the white. With the golden yellow now going in with the salmon adding orange beside the salmon adding flame rate for the bottom. Going back with the orange covering the entire strawberry with the small crescent shaped orange. Now going in with the car mine defining the outline with the car mine, going back with the flame raid, blending it with the car mine, adding another layer of crescent shaped with the flame red. Finally adding a lot of highlight with the white. Now moving onto the leaves, starting with the olive for the outlying. Now going in with the light olive, filling the inside with the light olive, and blending it with the olive. Blending the light olive with the white of the strawberry. Adding a little bit of golden yellow on top. Redefining the shape of the leaves a little bit, adding a little bit of more light olive. With these, we are done with the first strawberry, moving on to the second strawberry, starting with a pencil sketch, sketching the leaves on the top. Now let's paint, starting with the white, going in with the golden yellow parsley overlaying it on top of the white and surrounding it. Now going in with the orange, doing the same, partially overlaying it and surrounding it. Lastly, adding the flame rate. Now going in with the car mine, starting by defining the set of the side of the strawberry with the car mine, adding a little bit of car mine for the inside. Going back with the orange filling most of the top with the orange. Now going in with the car mine for the rest of the strawberry, now defining the rest of the outline. Moving on to the leaves, starting with the olive. Now going in with the light or live, Filling the insights of the leaves with the light or live. Adding a little bit of light olive for the top, on the side. Adding a little bit of light olive for the top of the strawberry. Redefining the sep of the leaves a little bit, adding a little bit of golden yellow. Finally, adding the highlight with the white. Adding some highlights for the leaves. Also for the project, we may use some other color depending upon the color of the paper as well as the color of the. I was not satisfied with the leaf adding a little bit of all for the leaves, going in with the light alive to lend the white of the leaf. With these, we are done with the strawberry With these, we are done with this section. See you in the next video. 13. Kiwi fruit and Others: Other additional element that you can use with your slices. In the section we'll be drawing Kiwi, fruit, pistachio, and pomegranate seeds. Starting with the Kiwi, it's simple to cache the kiwi. Just draw two concentric circles, adding the inside circle. With these, we're done with the basic cache. Now let's paint. Starting with the olive for the outline, Adding the olive for the inner circle. Going over the streaks coming out of the center with the olive, adding a little bit of olive for the inside. Now going in with the lime green, adding the lime green beside the olive, continuing forward with the lemon yellow parsley overlaying it on top of the lime green. And the olive now going in with the light olive filling in the entire Kiwi fruit with the light olive, as well as partially blending it with the olive lime green and the lemon yellow from the earlier, filling the inside of the center with the lime green. Adding a few more strokes of the lime green. Finally, going back with the olive for the few more strokes and defining the shape. With these, we are done with the whole kev slice. Moving on to another slice. For this olive drawing only half of the kev slice, and this will be of lighter state as compared to the earlier one. Starting with the olive outlining the center, adding streaks coming out of the center. Now going in with the lime green for the center. Blending the lime green with the lemon yellow, adding the lemon yellow on top of the olive. Now going in with the light olive, adding the light olive near the outer edge of the key slice. Now going in with the white to fill the rest of the slice. Partially blending the lemon yellow, the olive and the light olive with the white. With these, we are done with the white. Going back with the olive to redefine the strokes a little bit. Adding a little bit of lemon yellow near the edge. Finally, going in with the olive for the outline. With these, we are done with this Kev slice. Now moving on to the pistachio, starting with a dark green. Now going in with a lemon yellow heading it for the hypothetical center line and on the side. And with these are done with the first variation of the Pistacio, moving onto the second one, starting with the light olive, adding a little bit of olive at the end, bending the two colors together with a lemon yellow. And with these are done with the second example. Finally, moving on to the last example, pomegranate, starting with a flame red for the seed of the pomegranate. Now adding carmine on one side, adding a little bit of white for the high light. Finally blending the white a little bit to the rest of the color. And with these were done in the kev slice, pistas you and the pump greine seeds. See you in the next video. 14. Sketches: In this section, I will show you some of the sketches for the slices of the cake in different shape, side, and orientations. Sketching slices is quite easy. Start with triangular safe for the top, and rectangular seat for the front. That's the basic for sketching in slice. Moving onto the second slice, H facing towards the opposite side, since the pencil marks are so light, it is not clearly visible towards the end. Later on, I'll go over the pencil sketch with the pen moving on to the third slice, pointed edge facing towards the right. Here's the sketch for the fourth slice. This is a simple one, facing towards the viewer. Moving on to the fifth skitch. Here's the top, is more visible. Finally the last skitch. Now let's darken the outline to make it more clear. I'm not completely following the outline. I am making a little bit of adjustment as I go for our main project. I have recorded all the sketches in real time, so you can follow along with me at that time. Moving onto the slice below, outlining the fifth slice. Moving on to the last slides with these ad done with the basic shapes and orientation of the slices, erasing the pencil sketch. Now let's add layers. You can add more layer if you prefer. I'm moving on to adding layers for the others lies. For the third one, I decided to go with four layer. The fourth one is simple. For the fifth one, I choose multiple layers for the last 12 layers. With these, we are done with this section. 15. Simple Jam Covered Cheesecake: Let's start our first project. Simple jam covered cheesecake with the cherry on top. Starting with a pencil sech for the top of the slice in the form of the curve triangle. Adding the site for the key. Now defining the base for the key. Now roughly sketching the guidelines for the jam, adding the Em on the other side. Finally, sketching the guidelines for the leaves in the cherries on the top for the painting, instead of one theory. I'll be adding one more. With these, we are done with a rough skate, lightening the pencil skate, and now lets paint, starting with the reset for the corner of the slice and outlining the rest of the top. Outlining the jam with the reset. And now adding the reset beside the Em, adding the reset for the front. With these, we are done with the reset for now. Later on, I'll be adding another layer of a Reset on top. Now continuing forward with the brown, starting with tilling the empty space beside the reset, now, partially overlaying it on top of the site. Partially overlaying this brown on top of the site. Now moving on to the front with the brown parsley overlaying this brown on top of the sete. Adding some more brown parsley over the reset and defining the edge with these, we are done with a brown for the top for now. Moving on to the jam, starting with the flame rate, defining the basic shape of the jam with this flame rate. Moving onto the jam on the other side with the flame rate, adding a little bit of frame rate for the inside. And with these, we are done with the flame rate for now. Now, going in with the mass green for the leaves, sketching out the guideline for both the leaves with this mass green. With these, we are done with the mass green for now. Now going back with the rest to outline the sec of the theories. Finally going in with the olive yellow for the leaves, filling the insides of the leave with this olive yellow, as well as blending the mouth green from the outline a little bit by overlaying it with these, we are done with the olive yellow for the leaves. Moving back to the Ies with a little bit of russet. Now going in with the vermillion for one side of the Y, adding the scarlet for the other side of the cherry, and blending it with a vermean. With these, you are done with the basic color for the cherries. Moving back to the leaves with the green, redefining the outline for the leave, as well as adding the meds and the veins for the leaves. And with these, we are done with the leaves moving onto the jam. Starting with the golden yellow, starting with overlaying the golden yellow on top of the flame rad and for the edges of the jam. Adding this golden yellow for the as now carefully surrounding the leaves and the cherries with this golden yellow. Adding this golden yellow for the vase. Moving onto the other side with the golden yellow, repeating the same, overlaying it on top of the flame red. And going over the outline with these two, add with the golden yellow for now. Finally, going in with the yellow for the jam, filling the rest of the empty spaces with this yellow, applying heavy present with a yellow to blend it with a golden yellow and flame red. Adding the yellow for the top. Moving onto the other side with the yellow, doing the scene that is spilling the rest of the empty spaces with this yellow. Applying heavy presents to blend it with a golden yellow and the flame red with these were done with the basic color for the jam. Now going back to the top with the reset, adding it on top of the brown with the medium pressure in horizontal strokes. Moving onto the front with the reset. Now moving on to the rest of the cake slice, starting with the occer creating random marks throughout the side of the slice of the cake, adding a little bit of occur on the side of the jam. Moving on to the other side with the ocer. Adding this occur beside the jam. Continuing forward to add more occur on the side surrounding the jam, on the side with the ocher. With these, we add with the occur for the side and the jam now continuing forward with the orines, yellow parsley, overlaying it on top of the ocher. Moving onto the other side, repeating the scene that is, partially overlaying it on top of the ocher, defining the outlines of the sites in the piece with this orange is yellow, adding a little bit of more orangeous yellow beside the jam, adding some orangeous yellow below the reset and beside the jam. With these, we are done with the orangeous yellow for now. Finally, going in with the pale yellow, filling the entire side with this pale yellow, using a stapling technique to parsely over late and top up the occur and the orangeous yellow, as well as blending it with them. Moving onto the other side, doing the same, using the stipling technique to partially overlay and top of the oranges yellow and the ocher, as well as trying to blend it with them with these are done with the pale yellow for the sides, going back with the ocher for the side of the gem, adding occur beside the base of the slice. Finally going in with the brown for the base, adding the brown beside the jam, using my finger to blood the brown for the base, blurring the brown on the other side. With these are done for the base, going back with a golden yellow for the jam to redefine the outline of the Jem. Moving onto the other side now going in with the white two head highlight and reflection for the jam and the cherries. Adding some final touches for the leaf and the cherry, removing the oil piece dust. With these you had done with our first project, I decided to add brown for the whole base. Adding the brown for the rest of the base. Now let the brown to a smoother and uniform consistency. And with these, we are done with our first project. See you in the next video. 16. Strawberry And Blueberry Slice: Now let's start our second project, Strawberry and Luberius slice. Starting with a pencil skeech for the top of the slice. Adding the slides, defining the wet for the cake. Now, adding the sketches for the strawberry and the blueberries, this is getting the outline for the jam. And with these, we are done with the bicycle skate, lightning the pencil marks, and now let's paint. Starting with the white for the strawberries surrounding the white with the yellow. Now going in with the salmon pink to surround the yellow, surrounding the salmon pink with this orange, as well as partially covering the white, the yellow as well as the salmon pink covering the entire strawberry with the orange and outlining it, concentrating more orange on the right side of the strawberry. With these, we are done with the orange for now. Now going in with the flame rate for the strawberry, starting with outlining the strawberry with the flame rate, now partially covering most of the strawberry with the flame rate, Concentrating the flame rate on this side with these are done with the flame rate. Finally, going in with the dark rate, adding a little bit of further outline, partially adding it on top of the flame rate. And with these, we had done with a basic coloring for the strawberries. Now moving on to the berries. Starting with the violet for the outline, and a little bit for the insights. Now going in with the mob, finally filling the rest of the inside with the light purple. And with these done with the light purple, now going in with the procin blue for the outline, once again adding the blue for the center. Finally, adding the white for the highlights. Adding the highlight for the strawberry, to using the same white with these who are don with the highlight for the strawberry and the blueberries moving onto the leaves for the strawberry, starting with the mosscreen for the outline of the leaves. With these who identify the mosscreen for the outlines of the leaves. Now going in with the olive yellow, filling the insights of the leaves with this olive yellow, blending the yellow of the strawberry with the olive yellow, and with these to ident with the olive yellow. Going back with the skin to darken the outlines of the leaves a little bit. Finally, adding a little bit of white for the leaf. With these, we are done with the strawberry and the blueberry. Now moving on to the jam, starting with the flame rate for the jam surrounding the strawberry and the blueberry. With this flame rate, adding the flame rate for the bees. Now going in with the golden yellow, overlaying this golden yellow on top of the flame rate, as well as filling the entire of the jam with this, overlaying this golden yellow on top of the flame rate. As well as filling the entire inside of the jam with this golden yellow, overlaying this golden yellow on top of the flame rate, as well as filling the entire inside of the jam with this golden yellow. With these, you had done with a golden yellow for the gem for now, continuing forward with the rest, starting with outlining a top, now feeling mine sides of the top, with this pale yellow moving onto the other side. And with these, we are done with the pale yellow for the top, going back with the rest for the outline, defining the outline of the jam. With the reset going back with the peel yellow to blend rest a little bit. Now moving on to the layers of the slice, creating random marks, defining the widths of the layer, defining the outline of the bees of the layer. Now continuing forward with adding the random strokes, and with these, we are done with the reset. Now going in with the ocker partially covering the reset, with the ocher moving onto the other side, with the ocher doing the same, partially covering the reset with this occur, moving onto the base layer, repeating the same, starting with the recite, creating random strokes with this recite. With these, we are done with creating random strokes with the reset going back with the ocher partially covering the reset with the ocher. With these are done with the reset and the ocher for the layers. Now going in with the pall yellow, filling the entire layer with the pal yellow and partially overlaying it on top of the reset and the ocher. Moving onto the upper layer, with the peel yellow doing the same, filling the entire layer with the peel yellow and parsley over, laying it on top of the ocher and the side. And with these, you are done with the top end, the base layers moving into the middle layer with the strawberries starting with a skitch for the strawberries. Now let's color the strawberries starting with the flame rate. And with these, you are done with the flame rate for the strawberries now going in with the scarlet. And we are done with the scarlet. Now going in with the oranges yellow and blending it a little bit with the flame red and the scarlet finally adding a little bit of pin yellow. I decided to add a little bit of carmine for the outline, as well as to add more contrast to the strawberries. With these, you add in with the strawberries in the middle layer. Going in with the salmon for the middle layer, surrounding the strawberries, With the salmon blending the salmon a little, with the peel yellow in the carmine, finding the outline for the layer. Finally going in with the white for the middle layer, filling the rest of the middle layer with this white. And with these, we are done with the slice. Moving on to the bees, adding act for the bees now going in with my finger to blather sit. And with these we are deal with our second project. See you in the next video. 17. Green Berries And Jam: Let's start our third project, green berries and jam slice. Starting with a pencil to draw the guideline for the slice. Adding the slides in the bees. Now drawing the speed for the berries, it is setting out the guideline for the dripping. Am adding a few more circles in the bottom for the berries. Finally, adding the top and the bottom layer. With these, we are done with the upskge lighting the pencil mark. Now let's pain starting with the dark green for the aries outlining the circular seep of the varies with this dark green. Now moving on to the Aries on the bottom, and with these you are done with a dark cream for the outline of the ries. Adding a small dot for the inside of the spear with this dark cream. With these, we are done with the dark green continuing froward with the light olive, filling the top left side of the berries with this light olive and overlaying it on top of the dark green. Adding the light olive for the last berry, and now moving it to the berries on the bottom with the same light olive. Doing the same filling the top left side of the berry with the light olive. As well as overlaying it on top of the dark green with the, with the light olip for the berries now going in with the lime green. Filling the inside of the bay with this lime green as well as partially overlaying it on top of the other color With these who had done with the lime green for the top berry. Now moving on to the bottom ones, repeating the same filling the insides of the berry with this lime green as well as parsley over laying it on top of the light olive. Moving onto the last pine, and with these are done with the lime green. Now for the highlight, I'm going in with the lemon yellow, adding lemon yellow by overlaying it. Moving on to the top with the lemon yellow. With these are done with the lemon yellow and the basic coloring for the green berries. Now let's pin the jam starting with the olive for the outline of the jam. Going over the pencil sketch with this olive, filling this olive in between the green berries. Now going in with a light olive, adding a little bit of light oil beside the green, varies with this you had done with the light olive. Now continuing forward with the jade green, adding a little bit of jade green to add more contrast. Mainly adding the jade green near the bottom of the jam. With these, you had done with the jade green. Now going back with a light olive and filling the entire inside of the jam with it, overlaying it on top of the jade green, as well as a little bit on top of the olive over laying it on top of the jet green, as well as a little it on top of the outlines. With these, you are done with the basic coloring for the jam. Moving on to the cake, starting with a flame rate for the top, defining the outline, and filling a little bit of flame Rd in between the jam. Now moving on to the bottom with the flame red and with these who had Don with the flame red for the top and the bottom layer continuing farward, the golden yellow for the top, filling the entire top with the golden yellow, carefully filling the golden yellow in between the gem. With this are done with the golden yellow for the top. Moving onto the bottom layer with this golden yellow doing the same, filling the entire bottom with this golden yellow as well as overlaying it on top of the flame raid with these are done with the golden yellow for the top and the bottom layer of the cake, going back with a light olip to redefine some of the outline for the Am. Now let's paint the middle layer of the Kk, the middle layer. I'm using a stripling technique starting with the olive, creating random stripling mark for the middle layer of the cake. With these fed with the olive for creating random stripling mark for the middle of the cake. Now going in with the lemon yellow, adding the stripling mark beside the olive as well as on top of the olive. Finally going in with the white, starting with surrounding the lemon yellow and the olive stipling mark with the white now filling the entire middle layer of the cake with his white, using the same stifling mark. Carefully adding the white E of the jam. Carefully adding the white keear, the jam with these, we are done with the white for the middle layer, going back with the light olive for the jam. Now going in with the olive for the left side of the jam to add more contrast to it. Blending the olive with the light olive to decrease the contrast a little bit. And with these with the basic coloring for the jam. Now going in with the white two at the highlights, adding the highlight for the green varies with this white. With these, you are done with the coloring for the jam and the green ries. Moving onto the sidows for the bottom, starting with the golden yellow near the bottom layer of the cake. Adding the dark green beside the green varies overlaying gray on top of the dark green and the golden yellow. Now using my finger to blend the colors, applying heavy present to blend the color. And with these were done with our third project. See you in the next video. 18. Kiwi and Berries Fruit Cake: Now let's start our fourth project kev and varies prove cake with purple jam starting with the pencil sketch, starting with the triangular C for the top. Adding the sites for the cake, connecting the As to the booth sides, now sketching the rough outline for the fruit. Starting with the kev, now moving into the berries and the cherries starting with a guideline for the strawberries adding a few more berries, I decided to add one more Kiwi. Adding a few more berries, you can add more or less berries, whatever you prefer. With these, you are done with a basic pencil sketch for this cake, lightening the pencil marks with the eraser. Now let's color, starting with the Mo screen for the kev, flute defining the outline of the Kev by going over the pencil skate, defining the center of the Kiwi fruit with this Mousscreen, adding streaks of moss green coming out of the center. With these, we are done with the moss green going in with the jet green. Adding a little bit of jet green for the center containing furrowed with the lemon yellow, filling the lemon yellow for the center and blending it with the jet green. Now moving on to the moss green, purling this lemon yellow on top of the moss green. With these, we are done with the lemon yellow for now. Now continuing fold with the light olive, filling the Kiwi slices slightly with this light olive. With these are done with the light olive. This key will be multi layered, so this is the first layer of the coloring. Later on, I'll be adding more colors on top of it. Finally, to finish the kiwi slices, going back with the screen, redefining the outline of the streets, decreasing the contrast a little bit by blending the moss green with a lemon yellow. Going back with the lime green starting with the top of the center, now overlaying it on top of the moss green on the outline. With these, you are done with the kev slices. For now, later on, I'll be a key more adjustment to the kev slices and adding a further layer of the color. Moving on to the berries, starting with a protein blue for the blue berries, adding a little bit of blue for the center. Now I'm going in with the carmine. For the outline of the cherries and the strawberries, I decided to add few more blueberries. So going back with a prucine blue to add few more blueberries. Now let's color the berries. Starting with the yellow, creating small circles, adding ground for the top, adding ground for the tops of the cherries. Also blending the brown a little bit with the yellow. Now going in with a flame red, heading the small circle over the yellow. Moving on to the other one, going with the vermillion to blend the flame red in the yellow a little bit. Going back with the car, mine for the final touches. This time I'm not adding the leaves for the strawberry. If you prefer, you can add the leaves. And with these, we are done with the basic coloring for the strawberries, adding some highlights with the white. Moving on to the cherries using the flame red for the inside. Adding the flame rate for the glass cherry. With these, we are done with the flame rate for the cherries. Now going in with a brown to redefine the outline, adding a little bit of variation with the yellow defining the outline of the berries with the brown. With these two are done with the cherries and the strawberries. Moving on to the blueberries, starting with the sky blue, adding a little bit of a sky blue for its blueberry. Now going in with a light purple, filling the insights completely with the light purple. And blending the light purple a little bit with the sky blue and the prcine blue. I decided to add two more blue berries using the same color in the same sequence to add these two blue berries. Blue for the outline, a little bit of sky blue. Finally, the light purple, going back with the putin blue to redefine the sep of the blueberries. And with these, we're done with the fruits moving onto the jam, starting with a light purple for the basic sepe of the dripping jam. Now adding a little bit of mo, going back with the light cycle for the gem. Completely filling the entire top. Now going in with the white for the edges of the cake. Also going over the outline with the white. Now continuing forward is the light purple. And filling the entire section of the gem with these, we are done with the light purple for now, going back with the defining the seq of the jam by going over the white, adding a little bit for the insights and with these we had with the morphe. Now moving on to the rest of the cake, starting with the moscream. Adding random strokes of porscream throughout the cake. Now going in with the light olum to fill the rest of the area and partially over, laying it on top of the moss. Green, carefully adding the light alum near the Em. Carefully adding the light olive near the gem. Carefully adding the light olive near the Em. With these who are done with the light olive for the cake. For now, moving onto the Sado near the cake here I've already added a little bit of moss green, adding a little bit of light green. Blending the two colors together with my finger, some red color was stuck to the green oil pistol. To rectify it, I decided to add mon, more green, blending the colors again. Now going in with the white to add the highlights, starting with the blue berries, moving on to the strawberries with the white, finally, adding the highlight for the em, adding a little bit of white for the edge. And with these, we are done with our fourth project. See you in the next video. 19. Blueberry and Cherry with Red Jam: Starting our fifth project, blueberry and cherry, with a red em, starting with a triangular sap for the top of the key. Adding the sides. Adding the layer for the bottom on the right side. Moving on to the sketches for the blueberries and the cherries. You can add more cherries or blueberries if you prefer, or you can add strawberries or whatever other berries you prefer adding a few more berries. And with these, we are done with the basic pencil sketch for this project. And now let's paint is starting with the Ephire blue, outlining the blue bars with the sephi blue. Now going in with the vermillion to add the outline for the cherries just behind the blueberries. Continuing with the sepia blue for the rest of the blueberries. And with these, we added with the outline for the blueberries. Now going in with the black for the bottom part of the blueberries, now feeling in the sky blue for the blue berries. Blending the sky blue with the black from the bottom and the sapphire blue from the outlines. Filling the sky blue for the blue berries at the back, plending the sky blue with the black from the bottom and the sapphire blue from the outlines hiding the sky blue for the last two blue berries. Going over the blue berries with the sky blue wherever required. Going back with the saphia blue to redefine the outline for the blueberries. Now to add the highlight, you can use the light purple or white. I'm using white, Todd, the high light. Adding the highlights for the blueberry on the top left side of the blueberries with these P, with the white for the highlight of the blueberries going in with a little bit of light purple. Finally, to finish the blueberry, adding the safire blue at the center of the white high light with these are done with the blueberries moving on to the cherries, starting with the golden yellow for the cherries, adding a little bit of golden yellow for the top part of the cherry. Now going in with the vermilion surrounding the golden yellow with the vermilion and overlaying a little bit of vermilion on top of the golden yellow, now going in with a scarlet to fill the entire inside of the cherry. Adding a little bit of more vermilion for the top. Now blending the vermilion and the scarlet for the top, using the golden yellow. With these, we add with the basic coloring for the cherry. Later on, I'll be adding white for the highlight. Adding the stems for the cherries. Starting with the olive yellow for the stem. Now going in with the moss green, adding a little bit of moss green for the stem. Finally, adding a little bit of reset for the stem. With these who are done with the basic coloring for the stem and the cherries for now. Later on I'll be adding white for the highlights. Now moving on to the gem starting with a vermillion for the top, adding a little bit of salmon pink. Adding the salmon pink carefully near the blueberries. Continuing forward with the verminion, creating the outline for the dripping sep of the jam. Now going back with the salmon and adding it near the end of the jam drops and near the edges, mistakenly I have created some smudges, placing the smudges with the eraser. Now continuing parted with the red for the jam. Filling the entire jam with the red, blending the salmon pink with the red, filling the entire jam with a red. Blending the salmon pink with a red. Now going in with the white, two end highlight for the gem. Removing the dust. And with these had done with the jam, for now, moving into the piece of the cake, starting with the ocher for the outline. Moving to the side with the ocher. With these had done with the ocher for the bottom and the side. Now going in with the brown filling a little bit of brown for the inside. Finally, going in with a reset filling the entire base in the side with the reset, blending the reset with the brown and the occur by overlaying it on top of it. And with these are done with a receipt for the bottom in the side, redefining the sep of the jam a little bit. Now let's paint the inside of the cake, adding the random streaks of red for the inside of the cake. Now going into a sapphire blue, creating more random streaks with the sapphire blue. Finally going in with the salmon pink, starting with surrounding and overlaying the salmon pink a little bit on top of the red and the sapphire blue carefully filling the Selmon pink near the jem, moving onto the front side of the cake, now filling the entire area of the cake with the Selmon pink. Finally adding the salmon pink required. And with these, we are done with a cake. Now moving on to adding the beef for the cake. For this, I'm starting with the green. Using my finger to blend the green, erasing some of the merged color. Because of my mistakes, some of the red from the jam got mixed up, so I decided to add more gray. Continuing to add the gray and blending the grey with my finger and with these two are done with a gray. Redefining the seat of the jam a little bit as it was merged. Redefining the upper part of the jam. To finally going in with the white to add the high light for the jam. Adding some highlight for the chili with the white release the oil pieces, mugs if you have any. And with these, we're done with our Fi project. See you in the next video. 20. Blueberry Cake with Red Jam: Starting our sixth project, Blueberry Cake with the red jam. It's divided into two parts. This part consists of blueberry and the cake, the other part consists of jam and the leaves continue forward the light pencil cage for the cake. For this project, I have schemed and forwarded some of the repetitive part as the whole video was too long. And with these who are done with the rough sketch, lighting the pencil skit, now let spin, starting with the plucin blue for the cake, creating small shapes with the prortin blue throughout the cake. Randomly adding the pertin blue here and there. Now going in with a purple, creating small shapes with a purple and adding it adjacent to the procine blue. Now going in with the occer, doing the same, creating small shapes with the occur throughout the cake. And randomly adding the occur here and there. With these, we had done with the occer and the procine glue, this time going in with the salmon pink. Repeating the same, creating small shapes with the salmon pink here and there. Randomly adding the salmon pink here and there. This time the side of the randomly set with the salmon pink is comparatively bigger as compared to the sapphire blue and the acer. With these who had done with creating the random sealed with the sapphire blue salmon pink and the acer going in with the salmon. This time ending it beside the salmon pink and the acer and covering most of the area. Hiding the salon beside the salmon, pink in the occur and covering most of the area of the cake. Finally, going into the white as the final color for the cake. Filling the white throughout the cake, blending the crucen, blue, purple, salmon, pink and salmon with the white. Blending the crucen, blue, purple, acer, salmon, pink and salmon with the white by overlaying it, applying heavy per, partially overlaying this white on top of all the colors with these two had done with the middle layer for the cake. Now adding the white for the upper section of the cake, some of the colors were smushed, erasing the smulged color, defining the outline for the sea of the cake, with the white completely covering the upper part of the K. With this white applying a thick layer of white hood, upper part of the key. With these, you aden with the upper part of the kick, with the white. Now moving onto the lower part of the kick with the white blending the white of the base to the colors of the middle. Applying the same thick layer of the white for the base layer, defining the outline of the bases of the keke. With the white blending the white of the base to the colors of the middle. And with these, we add with the basic color for the K. Now moving on to the blueberries, starting with the prucian blue, defining the outline of the blueberries. With the prucian blue adding a small dot for the center. I'm now going with the purple for the blueberry, adding random strokes of purple inside the blueberry. And with these, we are done with the purple for the blue vary for now. Finally going in with a light purple, completely filling the inside with a light purple, adding the light purple for the last blue berry, overlaying some of the light purple on top of the procine blue outline. And now to add the contrast, I am going in with the black for the blueberries, adding the black on one side and on top of the blueberry, finding the black for the last blue mary. Redefining the shape of the blueberry a little bit with the black. With these we had done with the black for the blueberry for now. Going back with the purple for the blueberries. Adding the purple to decrease the contrast created by the black. Lastly, adding some Prussian blue. Adding the Prussian blue to blend it a little bit with the purple, the light purple and the black. Later on, I'll be adding highlight for the blue berries and add some more final touches. See you in the next video. 21. Blueberry Cake with Red Jam part 2: Starting our second section of the sixth project with the scarlet. Adding the scarlet for the jam, carefully adding it in between the blueberry and beside it, carefully adding the scarlet in between the blueberry and beside it by overlaying it on top of the white. Now sketching out the complete guideline for the jam with the scarlet, Adding the scarlet inside the outline, not completely, filling the inside with the scarlet, adding a little bit of arm in. Now, going in with the brown for the jam to indicate the shadowy parts, adding the brown below the blueberry and on one side of the jem. And with these, we're done with the brown for now. Now going in with the white foot, the highlight of the jam, creating long streaks of white foot, the highlights of the jam, adding some white for the upper part of the K behind the blue berry, blending the jam a little bit on the top using the white. Now going back with the brown, adding more contrasts with the brown for the jam. Mainly focusing this brown below the blueberry and on the right side of the em, hiding the highlight. Once again, this time I'm using P yellow. Moving on to the blueberry with the pale yellow for the highlights. Adding some more highlights for the jam. Blending the excess highlighted portion of the jam with the vermilion. With these, we are almost done with the kick in the jam. Continuing forward with the grip for the bees, starting with sketching a straight line below the Kk, Now filling the green below it. If you prefer, you can smug the green with these, You are done with the grief with the base. Moving back to the blueberry with a light purple. Adding it to decrease the contrast more adding the white by ever required. You can leave the sixth project as it is the painting is finished. Or if you prefer, you can continue with me to add more blueberries and leaves, starting with the Prussian blue for the outline of the blueberries, and filling a little bit of Prussian blue for the insides. You can add more blue berries if you prefer. You can add it here, or here, or here, whatever you prefer. I decided to add one more blueberry with these. Who had done with adding the berries? Now going in with the purple. Adding the purple like we did earlier. Now going in with the light purple and filling the rest of the inside of the blueberry. Adding the light purple for the last blueberry, and with these, we are done with the light purple for now. Continuing forward with the black. Adding the black for the bottom on the right side of the blueberry. Blending the black with the purple, the prorucine blue of the outline. Using the light purple, the outline of the blueberries would not that car. So I redefined the outline of the blueberries, doing the same for the blueberries at the top, defining the seep of the blueberry with a distinct outline for at least one side. Now left at the leaves, starting with the grass screen for the leaves, skitching out the outline for the seep of the leave. Sketching the outline and defining the shape of the leave. With this grasscreen, you can add more leaves if you prefer. You can add it here on the right side, whatever you prefer. Now adding the veins coming out of the madres of the leaves, continuing forehead with the olive yellow for the insides of the lean, filling the entire insides of the leaf with the olive yellow. Moving on to the leaf on the top with the squad with the olive yellow for the leaves. The two color for the leaves, the grass green and the olive yellow did not create that much variation and seems to be somewhat. I decided to add dark green, defining the outline of the leaf with a dark green as well as going over the mid and the veins of the leaf to create more variation and contrast for the leaf. And with these, we're done with our sixth project. See you in the next video. 22. Pistachio and Cream Cake: Starting our seventh project. Paso and cream cake with a green jam. Starting with a pencil. Skies for the top of the slice. Adding the slides for the front. Moving to the back to skee the slides now sketching out the guideline for them and the jam. Adding some more details, adding the layer for the key and with these who had done with the rougher key for the keke, lightening the pencil marks. Now let's paint, starting with the lemon yellow, Going over the outline with the lemon yellow, thickening the lines using the lemon yellow. Now going in with the lime ring, adding the lime ring inside the lemon yellow. Now going in with the white, filling the rest of the area with the white. Blending the white with the lime green, defining the tip of the cream with the white. Now going in with the olive, defining the outline with the olive. And with these, we are done with the olive containing water, with the lime green, adding a little bit of lime green beside the olive. Now going in with the olive yellow, filling the entire jam with the olive yellow, I forgot to add the outline below the green, going back with olive yellow to add the outline. Going back with the olive yellow, blending it with a lime green and a little bit of olive by overlaying it. Blending it with a lime green and a little bit of olive by overlaying it. Filling the entire chair with the olive yellow. Doing the same for the other streak of jam, filling the entire jam with the olive yellow. Now going over once again with the olive yellow river required extending the site of the jam a little bit. With these two are done with the jam phone. Now moving onto the top of the key, starting with olive, defining the outline with the olive, adding a little bit of olive near the edge and beside the cream. Now going in with the lime green, filling the entire top with the lime green, filling the entire top with the lime green, finding the highlights for the dam, with the line green with the square done with the lime green for the highlighter in the top. Continuing forward with the olive, defining the outline for the rest of the key, starting with the outline for the top layer, adding a little bit of olive for the inside. Now going in with the light olive, filling the entire top layer with this light olive. Surrounding and overlaying a little bit of light olive on top of the olive tree. Moving onto the other side, repeating the same surrounding and overlaying a little bit of light olive on top of the olive tree, carefully adding it near the jam. With these, we are done with the top layer moving onto the middle layer, continuing parted with the outline with the olive, adding a little bit of olive for the inside. Now going in with the lemon yellow, Starting with surrounding the olive streak with the lemon yellow. Now going in with olive yellow to fill the entire middle layer. Filling the entire middle layer with the olive yellow and blending it a little bit with the lemon yellow and the olive carefully, adding it near the jam. Adding the olive yellow where ever required. And with these, we are done with the olive yellow. Now going back with the olive yellow to redefine the jams outline. Now moving on to adding the outline for the third in the final layer, The earlier two layer filling a little bit of olive for the inside. With these two are done with the olive continuing form with the lime green for the ate layer. Starting with the front side. Filling the entire front side with the lime green and overlaying a little bit on top of the olive. Moving onto the other side, doing the same. That is filling the entire front side with the lime green and overlaying a little bit on top of the olive color. Carefully filling it near the jam. Now adding it wherever required. With these, we had done with the lime green and the layer for the K, I was not satisfied with the top. So I'm going in with the light olive, adding the light olive over the middle outline now for the Pistaciu. Starting with the dark cream, adding the pistaco for the base. Moving onto the cream with the dark green to add more pistaciu. Adding some more pistacio on the jam, adding a few more pistaciu here and there. Later on I'll be adding pistacia on the top. With these you are done with a dark green for the pistacio for now now containing Ford with the lemon yellow for the pistachio, surrounding the dark green with a lemon yellow and adding a little bit for the middle. Moving onto the top with the lemon yellow. Repeating the scene that is surrounding the dark green with a lemon yellow and adding a little bit for the middle. And with these, we are done with a lemon yellow. For now, going back with a dark green to add some mortistasiu, moving under the top layer with a dark green to add some mort pistachio. Going back with a lemon yellow, doing the scene, doing the same, that is surrounding the dark green with a lemon yellow for the pistachi, and adding a little bit for the middle, adding some more lemon yellow wherever required. With these, we are done with the dark green and the lemon yellow for the pistacio. Moving onto the bees, starting with a green, carefully adding it in between the pistacio and the jam, carefully adding it in between the pistachio and the jam. Now, blending the grain with a finger carefully, some of the creams from the pistachio will be blended with the grain, so don't worry about that. It will give more realistic so effect legally finding the set of the pistachio with a dark green new going in with a lemon yellow once again for the pistachio. And finally filling the rest of the beast with the grain. Carefully filling the rest of the beast with the gree. Carefully filling the rest of the best with the gree. Now let's Glenda agree, somehow I could not record the last part completely. I just blended the gray with my finger. And with these who are done without seven in the last project. See you in the next three years. 23. Strawberry with Red Jam Bonus 1: Let's start with the pencil skees for our first bonus slice. This two bonus project are a little bit complex. This two will be both multicolored and multilayered project. As you have been familiar with my process and steps, I'll be keeping the instruction short and simple. Moving onto sketching the jam. For the jam, I'll be using seeds of red and brown, making some changes to the top of the slice. And with these, we are done with the basic set for the slice. Now let us s the strawberries. Apart from the strawberries, I'll be spreading some pomegranate seeds for the top and the bas, skinching the pomegranate seeds, sketching the strawberries for the bas. If you prefer, you can add or subtract the number of strawberries as you prefer. And with these, we are done with a sketch, lightening the pels and Mark. Now let's paint. I'm starting with the flame rate for the strawberries, going over the outline of the strawberries with the flame rate. Moving on to the best, with the flame red, going over the outline of the strawberries with this flame red now for the bisected strawberries. Adding flame rate for the middle part. Adding some streaks of flame rid near the edges with these two are done with the flame rate for now. Now going in with the white, applying heavy pressure with the white to blend it with the flame rate of the middle, as well as the flame rate, streaks from the edge, doing the same for the last bicected strawberry. Now going over the flame light of the middle and the sight once again moving on to the strawberries. At the, as with the flame red, I decided to skitch one more, the strawberry. Now going in with the white for the strawberry at the base, reapplying a little bit of flame right now. Going into the car mine, adding the car mine on one side of the strawberry to darken the edge. Moving onto the rest of the strawberries, starting with the yellow. Adding the yellow for the top of the strawberry. With these, we are done with the yellow now going into the salmon pink surrounding the yellow, as well as blending a little bit of yellow with this salmon pink. Now going in with the flame rate, creating random crecen with this flame rate for the strawberries, overlaying this flame rate on top of the yellow and the salmon pink, as well as covering the rest of the area of the strawberry with this flamed Now moving on to the strawberry at the base, doing the same. That is creating a random crescent shape for the strawberries and overlaying it on top of the flame red and the yellow. As well as filling the rest of the empty area of the strawberry with these, we are done with the flame red. Now going in with the scarlet, now adding another layer of crescent shape on top of the other three colors. Moving onto the strawberry at the top doing the same. That is, adding another layer of crescent shape on top of the other three colors. With these, we are done with the scarlet. Finally going in with the car mine, creating darker shadowy regions for the site of the strawberry at the base. Now going in with the brown, adding the brown on the side of the strawberry, as well as a little bit on top of the scarlet going on to the strawberry at the top, with the brown going over the outline of the strawberry on the side, as well as adding a little bit for the inside. And with these, we are done with the red oran in brown for the strawberries. Now let's add the leaves, starting with the olive for the leave, skitching out the outline of the leaves with this olive. Moving on to the strawberries, set the bees with the olive, erasing some of the smerged colors. Now going in with the light olive, filling the inside of the leaf with this light olive. Blending the oliva of the outline with the light olive. With these square done with the leaf at the base, moving out to the strawberry at the top doing the same. That is blending the oliva of the outline with the light olive. And with these we're done with a light olive. Now going in with a lemon yellow, adding a little bit of lemon yellow for the bees, and the tip of the leaves. I was not satisfied with the strawberry, so I decided to use a little bit of car mine for the outline. Now going in with the brown, adding the brown near the beach of the strawberries. Going over the outline of the jam with this brown. Defining the edge of the slice and adding a little bit for the base. Now let's paint the jam going in with the flame, right? Applying heavy pressure with the flame, right, to fill the entire jam and to get a smooth consistency of the jam. Blending the brown of the outline and near the base of the strawberry with the flame red. Continuing parter with the rest of the jam, applying heavy pres with the flame red to fill the entire jam. And with these, we're done with the flame rate. For now, removing the oil pastel dust, adding the flame red for this side. Adding another layer of down near the bees of the strawberry to darken the region a little bit. Now, blending the brown with a flame, right, to create a gradient. And with these, we are done with a jam. Now going in with salmon for the pomegranate, adding the salmon for the ways, Now going with cream for the pomegranate seeds, adding the flame rate for the top, out the side of the salmon, going back again with the salmon sub doing the flame rate a little bit. With this salmon for the top, I'm going in with carmine for the sea. Adding it on one side of the Pm Garanate sea. Later on I'll be adding a little bit of salmon adding the carmine on one side of the pomegranate seat for the base. Finally, going back with the salmon for the pomegranate sheats on the top. With these, we are done with the pomegranate seat for the top and the base. Moving on to the rest of the slice, going in with the ocher going over the outline with the ocher. Now adding random large streaks of occur for the inside. With these, we are done with the occur now going in with the orneous yellow, filling the rest of the slice with this orneous yellow. Applying heavy pressure with this orneous yellow to blend it with the ocher and to fill the rest of the slice. Partly blending the occur with this orneous yellow. Carefully adding this orangeous yellow near the jam. Adding the orangeous yellow for the last side, carefully adding it in between the strawberries and the leaves. With these, we are done with the orange is yellow. Now going in with the brown for the as in the side, carefully adding it in between the strawberries and the jam. Carefully adding it in between the strawberries and the jam, adding the brown for the side. With these, we are done with the brown. Finally going in with the reset, applying heavy pressure with the reset to blend it with the brown for the site and at base. And to achieve a smooth and final consistency. Moving onto the side with the reset with these who are done with the base in the side with the set and the brown. Now for the final touches at the color, wherever required. In my case, I'm going over the outline of the jam with this flame red, adding a little bit of a highlight for the germ. With the salmon adding the highlight for the strawberries. With the salmon adding a little bit of green for the leaf. And with these who are done with our first bonus project, see you in the next media. 24. Orange with Orange Jam Bonus 2: Moving on to our second bonus project, starting with the pencil is skin for the slice. This too, is a little bit complex project. This is also going to be multicolored and multilayered. For this, we'll be drawing a bunch of orange slices, sketching the side and the base. Now let's sketch the Oran slices. Sketching another half slice. Sketching the orange slice for the layer. Sketching the guideline for the jam. Sketching the jam for the base. Adding another slice. Adding another slice. Sketching the jam for the base, lightening the pencil marks. Now let's Spain, starting with the orange, going over the outline of the orange lights For the orange slices of the layer, I'll be adding the orange later on. Now, going in with the golden yellow, filling the inside of the orange with the golden yellow, while leaving a small portion in between the orange and the golden yellow. The tab be filling later on using the same golden yellow and Lv, blending it with the orange of the side. Moving on to the full slice with the golden yellow. Now blending the golden yellow with the orange of the outline. Now going back with the orange, with these, we are done with the golding yellow. Now going with the light orange, adding the light orange by overlaying it on top of the golden yellow. Moving on to the other slices. Finally, adding the light orange for the full orange slice. Now going back with the orange, adding it near the edge of the light orange. With these, we are done with the orange in the light orange. Finally, going in with the flame rate, starting with adding a little bit of flame rate for the edge, now adding small streaks of flame rate coming out of the center. Moving on to the weak slice with this flame in somehow my big orange slice became loop sided. Now moving on to the slice at the base, starting with a golden yellow, filling the entire slice, as well as blending with the orange from the outline, now going into the light orange, overlaying it on top of the golden yellow. Now going in with the orange, creating streaks of orange on top of the light orange. Finally going into the flame. Red, starting with adding the flame red streaks for the center. Adding a little bit of Oran for the inside, overlaying it on top of the light or an with these, we are done with the slice moving onto the top of the slice, starting with a gray, going over the outline. With this gray now going in with the white, applying heavy pressure with the white to cover the entire top, as well as to blend it with the gray. With these, we are done with a white, now going into a yellow, going over the outline of the jam with a yellow. With these, we are done with the yellow. Now going in with the ocher, defining the width of the layer. With this occur now adding a little bit of ocher for the inside. Finally, going in with the pale yellow, using the stripling technique to cover the entire layer with the pale yellow, partially blending the pale yellow with the ocher. Moving onto the base layer with this peel yellow, doing the same, adding a little bit of pale yellow where they were required. With these, we are done with the top end of the base layer for the slice. Now moving on to the middle layer, starting with the orange, flitting large tendum strokes with the orange for the middle layer, with the square done with the orange. Now going in with the salmon pink, filling the entire layer with the salmon pink, partially blending the salmon pink with the orange. And with these, we are done with a middle layer moving onto the orange slices inside the layer, starting with the orange, now going into the golden yellow. With these, we are done with the golden yellow, the overlaying light or in, on top of the golden yellow, moving onto the other slice with the light in. And with these, we are done with the light orange now going into the orange, finally going into the flame rate, subdoing the flame rate a little bit with the orange. Defining the edge of the slice with the orange. And with these, you adine with the inside slices of the orange. Now moving onto the jam, starting with reapplying the yellow, now overlaying the golden yellow on top of the yellow, and widening the jam a little bit, widening the jam a little bit. Now going in with the orange, adding the orange on one side of the Em, and blending it with a golden yellow. Finally, adding a little bit of flame red. Blending the frame red a little bit with the orange with these are done with the jam in here, movement to the jam on the base, starting with a golden yellow. Now adding a little bit of oring, sub doing the orange a little bit with a light oring and blending it with a golden yellow. Blending the three colors together with a golden yellow. With these, we are done with the jam and the paste. Now moving onto the leaf, starting with the olive, skitching out of the guideline for the leaf. Now going in with the olive yellow, filling the inside of the leaf with the olive yellow, blending the olive yellow with the olive of the outline. Now going back with the olive to go over the outline and the veins, as well as adding the meat rips coming out of the rain. Now moving on to the base, starting with adding the brown near the base of the slice and the jam. Now blending the brown with the finger to disperse the color. Now adding the final touches. Adding the color wherever required. Adding a little bit of golden yellow for the jam. Adding a little bit of orange for jam and wherever required. And with these, we are done with our second bonus project. See you in my next class, Happy painting. 25. Thanks and conclusion : Congratulations on completing this class and thank you so much for taking my class and sharing your time and creativity with me. I hope you had fun with this class and learned something new and exciting. Please leave a review so you can help me and let other students know how you feel about the class. You can do this by going to the review section, then check on the Leave review. I did really appreciate that. If you have any doubt or queries, you can ask me in the discussion section. Also, if you have drawn any of the project, please upload it in the project section. Don't underestimate leaving a project work and review your reviews and project work makes me really happy and also help my classes to reach other students. Thank you again and I hope to see you in other classes.