Strawberry Dessert Collection Paint with me PART 1: Strawberry Swiss Roll

1. INTRODUCTION: I guys, my name is Nina, and I will be your teacher for today's class. Today we're going to be painting a strawberry Swiss roll in a loose and whimsical style with soft colors and textures. In my previous class, I went over how to paint strawberries without a reference, and a lot of people came to me and ask for more food illustration classes. Which is why I've compiled this cost. Today I excited to turn this into a collection or a Siri's off strawberry desserts. So this will be first out of three strawberry desserts that I will be publishing in the coming weeks within the strawberries. There, Siri's. I'll be including similar elements within the painting, and I will also be using similar color palettes, if not exactly the same. So within the collection, students get to familiarize themselves with using the same colors and also similar techniques. This class, with the rest off the Siri's, will be formatted as a paint with me class, which I will provide the outline for the illustration and students can trace it and paint alone with me. So before we start, I'm just going to go over the outline first so you know what to expect of this cost. Before we start painting, I will first go over the supplies and colors that I will be using. Then I will be going over the tips for tracing the illustration. I then will take you to paint one element at a time. We are going to start by painting cake first, as that's the main element, then moving on to the mint leaves the strawberries and then the cream base. Then, after that, I'm going to move on to the feelings than the garnishes on finally the strawberry blossom. And then, for the final touches, we're going to paint the shadows as well as going over the whole painting again to clean up any definitions and also to balance out the whole painting, even though I will be going over the steps one by one. With you, I would suggest for students to watch the whole class first before painting along with me. If not, just watch well, listen at a time and then rewatch it and paint along at the same time. Because that way students will get a fair idea off what's coming up. I will be speeding up if not skipping through certain parts, if it's a bit too repetitive just to get the class going. So that way you get to brace yourself and knowing what's coming up. And also, if the speed is a little bit to foster, can either slow it down within the settings or you can pause in between so you can catch up to the stuff that I act. And I would suggest for students to continue and paint like that throughout the whole Siri's. This classes geared more towards students who has fair experience in watercolor painting, so I will set this as an intermediate level. However, if you're new and you're curious and you would like to give this a go, there's no stopping you. I encourage you to do so as long as you have fun painting a lot. I hope that this Siri's will be something best students can relax while they paint along, too, as well as learn something new about the way so you can pick up the techniques that I will go over and the whole Siri's and apply it to your own food illustrations. So with all that said, I hope you guys in jokes cost 2. SUPPLIES: in this lesson, I will go over the list off painting supplies you will need in order to complete this class . The first thing you will need as watercolor paper to paint your art. I'm using her 300. Yes, on Constant X, a watercolor paper with the slides. 5.9 times, 4.5 inches on the right. I have a scrap piece of paper for you to test the colors he will need. And I'm also holding here a print out off the outline which I will provide in the downloadable session. I've caught mine this way because I have printed this along with other things. But you can keep yours in size that you want. You will also need a queen jar or any container you can use for water. For this class, I will be using two brushes. The 1st 1 is V tech sized too. And the small one is Windsor needs and such a gold to size zero. You will also need water, color, paint and appellate. Here are the paints that I will be using. It's mainly my usual hope mindset with some additions from different brands, along with my white wash in case I need add or fixed sub white parts off the painting. I understand that you might not have the exact same colors and and might also very slightly from brand to brand, so you can substitute for similar ones if you need to. I will now go over the colors. The first color is has a low by Daniel Smith and then Cadmium Orange by Windsor Newton. Burnt Sana by Hold Mine Quinn read by Daniel Smith Mineral Violet by whole bine Sap green My whole vine Manganese Blue by Windsor Newton Ultra Marine Deep I hope Bind, Not feel read by M. Graham Vermillion by Whole Bind and Crimson Lake by Hold mine. In addition, I always have next to me some tissue or paper towel to take access paint or water off my brush when I need to. Just the consistency. If you're going to trace from the picture in the downloadable section, you will also need a masking tape, hard pencil minus an HB and also in a razor. And of course, I will also be using my tracing tablet. But if you don't have access to one, you can trace against the window or even download an app for your iPad, which turns the screen and to bread light so you can also use that to trace. Here are the list off supplies on colors that I will be using. You can also take a screenshot off this, and it's a bit easier for you. 3. TRACING: So here I have my paper ready that I've cut up into the measurement off 5.9 by 4.5 inches. And here I have my cut out off the outline. You don't have to follow this exact dimension. You can turn it either landscape portrait or even squared off or cut it to size. Since I'm going to be making this into a Siri's. I just wanted to have the same format all throughout. But you can do what you feel would look best because my outline is cut out instead of squared off paper, and it's smaller than the paper that I'm going to trace it on. I'm going to first secure it and to position before securing the watercolor paper so I can position the subject accurately when I take it down. I also only do one side, so what? Certain parts of the outline is not too visible. You can flip it open to check the outline without taking off any off the tape. If your outlined to speaker than the watercolor paper, I would suggest for you to tape the watercolor paper down on the outline instead of sticking it down on the tracing tablet so you can twist it around to any risk position that you're comfortable and entry. Sedin. However, my paper is larger than the outline, so I had to stick down the outline on the tablet and work around it. So let's you're happy with the position you can start tracing. I always like to use a mechanical pencil because it always stays sharp. And when it comes to sketching for watercolors, I'd like to keep my lines really nice and light, and I'm not worried about straight lines. It's OK if the lines are of the jagged and I'm using my pencil very lightly to give it a subtle outline that can be hidden behind the paint. Especially for these types of paintings, where the subject is mostly quite light in color, it's important to be able to keep the lines hidden unless you want your outlined to show through which you might want, especially for completely wide subjects. Maybe, but even then you don't want the outline to be completely harsh. So here's my finished outline. As he can see, I even chose to leave a line where the end off the cake is folding into the cream filling because that part of the cake won't have any crust and therefore and will stay like yellowish color. If, however, you're a bit heavy handed and all the lands turned out a little bit harsh, you can take your razor afterwards and erase or tap lightly on the lines to soften it up. So that's it for the tracing tips. Now let's get to painting. 4. PAINTING THE CAKE: I'm going to first start out with these colors. These colors are has a yellow cadmium, orange, burnt sienna and Quinn red. The first mix I'm going to make on my palate is mixture of Hans yellow with a touch off cadmium orange to warm it up, a touch for all these colors. At this point, I want to make them very watery because I want the cake to be nice and light so we can build up the value and the texture slowly without overworking the colors. Remember that he always have to scrap paper next to you, which will become very handy and switching your colors because the colors on your pellet might be a bit hard to visualize sometimes because it will seem darker, even though you put a lot of water into it. So make sure you have a good distribution on your brush than tepid lightly with tissue first before switching it. Meanwhile, I'm also going to take a bit off Quinn red and place it on the side separately, also in a lack consistency so I can have it ready when I want to incorporate it into the cake base to for the base color of the cake. I want to continuously change the colors from the yellow orange mix to the very light Quinn red and also sometimes I just use clean water. So there's an array of Hughes and values for the inside of the cake. I want to keep the surface quite wet, which means I won't be dabbing the extra water on tissue. I will only be doing that if I feel like I have access paint. But once I take off the paint, I will what? My brush again with water so it can still distribute nicely. Notice as I paint, I'm keeping my strokes random on light, and I also follow the curvature off the subject. While painting, I want to leave out very small negative spaces or white spaces, which can make the cake look more light and less dense. Here, I've told you in the previous listen. I intentionally left the outline of that area, so don't forget to end the line at the right place. It's also a good idea to have the outline still close to you so you can check out things that might not be clear enough on the traced work as you paint, you will notice some parts puddling up and looking darker than other areas. Don't worry too much about that because it will even out as it dries. In fact, I actually want them to have darker spots to, because it will actually create a nice texture. Another tip is also to be very careful with your Quinn red, because in general the color itself does have a darker value compared to the yellow. Make sure that the queen read that you're using is very, very light, and if you find that it's looking a bit dark, as he put it on, paper, either blended slightly with the yellow next to it, or continue with clean water to distribute it. The Queen Red is only supposed to act as a small, subtle accent, so use it sparingly. Once I've covered the whole surface, I'm going to go back on parts where the paint has dried up a little bit, and this time I'm going to make smaller, separated strokes with the same mixture so I can create some subtle textures on areas which have tried a little bit flat. You can think of it as small and even ovals which suggests the soft crumbs off the cake. Next, I'm going to be working on the top part off the cake, which sometimes has a darker brown crust. So for this, I'm going to mix all of the colors that we have on the palate, starting with the burnt Sienna and the queen read, because I want the based B brown with slightest bit off pink. I also want to create slightly orange color by adding the hands of yellow and also the cadmium orange. It's up to you what ratio you want to make, but personally, I want mine to look like a brownish pink slash orangey color. So just watch and adjust the certain Hugh that you want on your brown. And once I'm happy with it, I added water to make sure that the consistency stays very light so I can still adjust the values by layering at lead run. I want the left side off the cake toe look a little bit lighter compared to the right, just so there's a bit of contrast, so I'm going to first distribute the really light mixture for all of the surface in that area and then continuously build on with a darker consistency off the mixture. The lines here might be a little bit confusing, so make sure you're full of your outlines, so you don't forget to paint some off across speaking through on the middle part off the kick. This part of the painting has so many thin lines, so make sure you work slowly and use the tip off your rush to even out the lines and be ages. Now that I have the base color, I'm going to build on the darker value by adding more Bird Santa into the mix, and I'm going to apply this to the right side of the crust. Then I'm going to clean my brush and use a bit off clean water to create a softer transition. Sometimes the crust will peak through the sides as well. So now I'm going to switch to my says zero brush so I can get a very subtle, delicate line, and I'm lining the outer part off the cake with the same mixture of paint. I'm keeping my pressure off the brush very light, so the tip just touches the paper, and I take off my brush whenever I start to feel like I'm going to put too much pressure on . It's actually better, in my opinion, to leave out some off the white spaces so the crust doesn't follow through evenly as a well placed outline for the crust on the inside. I only placed a tiny bit on random spots because we will be painting the light colored cream after, so I'm just going to build it up later on. It's also okay to rotate the paper around to find the position that you're most comfortable painting in now that the base off the cake is completely dry and you get to see how light it drives compared to one was still wet. I'm going to build on the texture again, using the same yellow mix. But this time I'm also going to alternate by adding some burnt sienna into the yellow and orange mixture. I'm going to apply it the same way as before, with the same uneven oval strokes. Meanwhile, I'm still trying to keep the white negative spots that I've left out, so I'm going to avoid those areas, and I'm also going to try to create textures and areas where the paint looks flat. I like to add the darker mixture close to the edge is because I'm just imagining that there's a light transition off colors from the edges to the inside of the cake. However, you can adjust it to how you like, since this is more of a loose interpretation office. Visceral, I'm going to build of the dark value off the top part again because now the top crust ISS completely dry. I'm going to introduce another color in my palette, and that's mineral violet. I'm going to add burnt sienna into it to create a darker brown that I can use to increase the contrast off the cake crust on that right hand side. Like before. When I'm applying this, I do want to leave out some negative spaces to show that it's not a completely smooth surface. I'm also going to add this color mixture on the area off the crust where's slightly hidden behind the cream because the cream will be why and I want to build the contrast in order to separate those shapes. Then, on the left side of the cake, I'm going to layer a mix off cadmium orange and Quinn red and then glaze the left side off the crust to give it a variation of hue, then mixing the yellow from the interior of the cake and the colors that I've used for the crust. I'm going to mix those colors together and create a bit more texture on the cake by during out small and even ovals in random areas. But I'm doing this very sparingly, so it doesn't cover the whole surface. I want to make sure that the paint is very nice and light, so the texture of the cake still looks soft and pillowy. Ever start around the edges with something lines or ovals to create that transition of color again, from the crust to the like interior. Then after that, I moved to add slightly larger ovals at the center of the cake to show a little bit of trapped air bubbles. But I do try. It's still keep these colors very subtle, or else it'll stand out too much and distract from the whole painting. If, however, you made the mistake off adding too much brown, he can always go back with it with a slightly damp and clean brush to reactivate the paint to soften and blend the texture together. 5. PAINTING LEAVES: for the leaves. I'm going to out submarine and ultramarine deep to my palette, and I'm first going to use the submarine to mix into the yellow that I already have mixed for the base of the cake to lighten and warm up the green slightly. Before we start to paint, though, I'm going to show you how I'm going to go about painting it when I paint, even though I'm trying to cover most of the surface while leaving a little bit off white space just like before, I want to make sure that I apply the paint following the grain or the veins of the leaves. This way, whenever you leave any white space, that white space will also follow the shape off the green. So even if the color blends together and creates a flat surface, that wide space that you left will give a little bit of form to the leaves from the slight texture it creates. The sites off the mid leaves are a bit pointy, as I've drawn and trace them before. As I paint following the veins off the leaves, I'm keeping the sides uneven to create the uneven, jagged lines along the sides. It doesn't have to be accurate or follow your exact outlined. The outline is simply there to remind you that the sides are not straight or smooth, and since the outline that I created are really light, even the first coat of paint will cover the outline. So I'm just going to apply this for all of the mid Leafs while leaving the leaves on the strawberry, because we're going to be working on that separately and limits lesson. - You can also alternate the color slightly by adding more sap green or more hands yellow to warm up the green. So there's a slight variation for the leave colors like the top one here. I decided to lighten it up and warm it up by adding a bit more hands yellow to the green mix, and you will see that the change is only very subtle, so you can adjust it to how you would like it. I'm going to add the second layer for the Leafs to redefined the leaf textures, and for this I'm going to build up the value by adding a darker green, and I used the mix off the same colors. But this time I added ultra marine deep to darken the green slightly. For this, I also swapped to my small brush because I want this to be a bit more accurate and painting the texture whilst leaving more negative spaces. So some off the bottom layer with the lighter green still shows through to paint it. I'm still following the texture of the leaves by first, starting with the mid rib than following up with the veins. But this time you can also leave out larger parts of the leaves so it doesn't look fat if they're too leaves or three leaves clump together. I like to also build up on the valley behind the leaves so the one of the top still looks separated from the rest, and they still look like individual leaves here. I also played around with the ratio off the ultra Marine deep in comparison to the green mixture so I can get variations to build up the contrast in belly 6. PAINTING THE STRAWBERRY: moving on to the strawberries. I'm going to start with the stroke release, and for this I'm going to add some hands a yellow and ultramarine deep in the mix. I basically want the strawberry leaves to look different from the mint leafs. The strawberry leaves tend to be a bit darker, so I decided to add, but more ultra marine deep in the mix and on the side, I have a slightly warmer green, just in case I want alternate them At the beginning, I just used both of the colors and alternate between the colors, so the base of the leaves have a slightly warmer and also the darker green. And I'm coloring this flee without leaving any of the folds off the leaves, because the consistency is still fairly light on water at this point, and therefore the paint will dry quite light, as the base color after the base have dried. I'm also going to add more ultra marine mix on top off the second layer, and this time I'm leaving out some white negative spaces following the contour and green off the strawberry leaves. And this time I'm also going to leave out the folds so the full stays lighter than the rest of the leaves moving on to the strawberries. Now I'm going to introduce the reds to my palette, and that's for a 1,000,000 natural red and crimson lake. Firstly, I want to start by putting some vermillion onto my pellet. Then I took a bit of hands yellow and makes a tiny bit of the vermillion to warm up the hands yellow. And I use this to paint the bottom off the struggle, been continuing with where 1,000,000? It's stuff. I tried to let the different colors mingle with each other, but somehow still pulling in, helping them blend slightly for a nicely transition. And with this four million, I continue to paint up the strawberry whilst leaving a section off the top part of the strawberry white, with also some negative spaces scattered around. I'm also making sure that the large highlight that I left follows the contour off the strawberry. Then I'm also going to feel the large white space with some ovals distressed the little dips off the strawberry. If you would like a more detailed explanation on how to be in strawberries, you can also full of my other class on how to pain realistic strawberries or my YouTube tutorial on how to paint strawberry doodles. I flicked it in the description box, so if you're interested, you can also try them for extra exercise. After I'm done with the base color, I moved to a slightly darker red, and that's the knuckle red. And for this I'm going to first paint a bit of shadow where the strawberry is such in the cake, then built onto pain, the dips or ovals around the area where the base color have tried up. Meanwhile, I still want to keep some of the white spaces so it stays as highlight as I paint the ovals towards the bottom of the ovals become smaller and closer with each other, and the oval should also for the contour or curvature of the strawberry to give around volume for the strawberry. For the next layer, I'm going to do the same thing. But this time I added Crimson Lake, which is an even darker and deeper red to paint the darker values and to deepen the dips off the strawberries in certain areas. Then to finish off, I'm going to go back to the leaves again now that they're completely dry to where to find the folds by painting the rest of the Leafs with darker green. And for that I just basically added a bit more ultra Marine D and I painted following the direction and curvature of the lease on the last bit here, I noticed I accidentally got a bit off red on the leaf part, and I'm just going to raise it with clean water by reactivating the paint and observing the color with my brush. 7. PAINTING CREAM BASE: we're going to be painting the base color for the cream now. And of course, this is the most interesting part because we all know that painting white and watercolor is quite difficult. The key is to use different hues of gray very lightly, as long as they're light enough and applied loosely with nice plans. The eyes will adjust to understand that the color is supposed to be white. So here have taken some manganese blue all terrain D, and I've mixed it with the Chinese bit off hands and yellow to create a grayish color with a slight bit off turquoise. Hugh, if you're blue, however, is a little bit too light. You can also add a touch of crimson linked to mute the color further and just like any other light colors. I always want to switch it first by just adding a tiny bit off another hue like here. I'm going to add a bit more ultramarine deep. You can really change the tone of the great, so just check what tone would suit the color of the cake by watching it right next to each other. I prefer mind to be a bit more turquoise so I'm just going to re just the color again when you're painting white. Even this, like three blue color, will still look quite dark. So I'm going to apply a very wet mixture to the area where I feel would have the darkest part off the cream, which is the right hand side, just like the crust. Then, while distributing it instead of freeloading my brush with more paint, I'm going to continue with clean water and let the pain slowly trouble across, creating a really soft blend. I'm also just dabbing with my brush, leaving a lot off white area. Remember that less as more when you're painting white, so be very sparing with your colors. A little can go a long way. The next you I'm going to add, is orange or a warm yellow by mixing some hands, a low enough will read that is already left on my palate because we've already established the gray color. I'm just going to add really lightly different types of Hughes to sit next to the great, and this will create more interest to your painting. I'm going to apply this the same way by damping my brush lightly on paper, leaving loss of negative spaces and also avoiding the strawberries that we're going to paint in the next lesson. Right now, it looks a bit odd because one side is healer in the other side as the bluish gray. So to unify this, I'm going to bring the blue grey across, and I'm going to use the green mixture to paint some lines near the edges off the cream. I'm still using a like consistency here, but it's okay to go a touch darker because we're only going to apply thin, delicate bites. 8. PAINITNG STRAWBERRY AND CREAM FILLING: Now we're going to paint the strawberry filling and also add on the details for the cream for the strawberries. I'm going to start with Vermillion. I want a medium consistency off this, and I want my brush to have a large load off water so the paint runs smoothly. Like any part of the painting, I'm going to follow the grain off the strawberry cuts. I'm just going to create lines rotating around the curvature off the strawberries. While I paint this, I want to leave out some negative spaces and hopefully by painting it within the direction off the grain. The negative spaces that I've left will also follow the direction and can help serve as highlight where the strawberry flesh is closer to the skin. That part will always be darker. So if there any excess paint puddling up, I would move it near where the skin is. And on top of that, I'm also adding some natural red just around the edges. This is why I want the base pain to be quite wet so the nuff will read, can travel across naturally. I'm also working with two sizes at a time because I don't want the painted surface to be completely dry by the time I add the NFL red, but also at the same time, I don't want it to be too wet that it'll travel uncontrollably as I apply the Nofal red. I like to work with my small brush so the distribution off paint is more accurate and the paint is also less watery. I want the nephila red to just travel across slowly and because we've created the white negative spaces before following the green, the NFL red will also follow the direction off that if, however, certain parts were already drank slightly or like here, I want to also create the extra vibrancy by adding another layer I want. Apply the Nofal read in lines following the grain, as before Onley close to where the skin iss and where is moving towards the center. I want to blend it with a clean and slightly damp brush to reactivate the pain slightly and pull the edges across for a smooth transition. I'm also going to add a curvy, uneven line where the strawberry skin iss by using cruise on lake only, and I want this line to be very delicate and thin, and it should also follow the ref gradation off the strop slices and just clean up any areas where you feel needs a bit off blending and also a bit more definition. Just make sure to still leave tiny bits off white because it will give the juicy texture off the strawberry flesh. At this point, I want the strawberries glasses to be completely dry, and I switched to my larger brush again, and I'm going to dampen it. Slide be. And with that, I'm going to reactivate some off the red paint on the strawberry with just that dent brush . So I get a little bit off red, which I'm going to pull towards the cream area. The more what your brushes and the more you put pressure on, and Europe the area of the strawberry, the more paint you're going to activate. So be very delicate with this, because he only want a tiny bit off the red on the cream. Then, using clean water, you can also soften and blend it with the rest of the cream. Then I'm going to go back to the blue gray color again from before, and I'm going to paint small, random ovals at a very thin consistency and before it completely dries, I use some tissue to take off the excess paint, so the painting is only slightly stained from the really like consistency picked. There's a really awkward area on the left hand side, so now I'm just going to fill that in with a little bit off yellow and stuff in it just to smooth out the area off the cream. I'm also going to define some of the edges off the crust with orange brown mix from before , while the creeps surfaces still slightly dunk and I'm just going toe, let it slightly blend with the cream. 9. PAINTING CREAM GARNISH AND STRAWBERRY SHADOW: in this lesson, I'm going to be painting the cream garnish at the top, and for this I'm going to use the same mixes asked the cream filling. So the main shadow color I'm going to use are the warm yellow mix and also the blue grey mix from before. I placed the blue green mixed mostly on the right hand side and a little bit on the left, and I first applied a two areas Where is going to be in shadows? So between folds and areas where it's covered by the strawberry and on the left hand side, I'm going to mostly use the light consistency off the warm yellow, and I spread it across to the right so the warm yellow is a little bit lighter on the right hand side compared to the left, where is the blue is slightly more visible on the right. Meanwhile, I'm also building the definition of the cake cross to separate it from the cream and for the shadow off the cream on the crust, I use the mix off mineral violet and burnt sienna, just like before. I'm also using my small brush to get into the very tight folds off the cream, and I'm going to add the cross shadow colored to define the folds and give it a bit more volume instead of it. Looking flat. I'm also adding the last layer off shadow for the strawberry, where it's laid flat on the cream, and for this I used a mix off Curzon Lake and Ultra Marine. Now that the strawberry ISS more defined and slightly darkened, I'm going to go back to the cream again and add more of those hues from before to balance out the color again with the rest off the painting. And for areas off the white cream where the edges seems a bit ambiguous, I also decided to add a very thin outline with a thin consistency off the blue gray color. 10. PAINTING STRAWBERRY BLOSSOM: onto the strawberry blossom. Now I'm going to use the exact same color mixtures as the cream, and I firstly use the same blue gray mixture to paint the right side off the flower. Because the flower is white, like before, I'm going to use a very thin consistency than I full load up with the warm yellow color on the left pedals. I also left a touch of white space to lighten it slightly and also left the fold lighter than the rest off the flower for the center of the flour, I used a thick consistency off permanent yellow deep by whole bind. However, you can also use a mixture of hands alot and a tiny bit off her 1,000,000. As you can see, I use the very thick consistency off this with my brush being slightly trying. Then, to find the yellow, I added a bit off mineral violent to permanent yellow deep with the touch off for 1,000,000 use this to paint a tiny bit of shadows using my small brush, then to finish off the flour. I'm just going to add a little bit off detail to suggest the veins off the flour and for this, I'm painting lines using a very thin consistency off the blue green mixture from before. Last but not least, I also added a bit of shadow to separate the pedals, which are slightly touching, using a mixture off the warm yellow with the blue gray in a slightly thicker consistency compared to what I used for the flower. So it's a little bit more visible on top off that I also added a very thin not lying to define the flower. But this is optional. It depends on how you would like the flower to be, but personally, I like to separate the off white color from the background. 11. PAINTING BLUEBERRY: Asi no does. There's this round things to the strawberry. For this, I'm going to paint a blueberry, but you can also throw this into a chocolate bowl if you would like to. So anyway, for the base color off the blueberry, I'm going to use a mixture off ultra Marine deep with a little bit of Crimson Lake. I'm keeping this fairly watery in terms of consistency for this layer, and I'm also going to apply it for the whole circle. And I want to create a what surface that wouldn't dry instantly. So I do want a little bit off a puddle. Then I used the same colors again to make a thicker consistency this time. But because the color turned out a little bit too vibrant for the dark do that I want. I'm going to meet it down with natural red and also a little bit off hands yellow that is left on my palette, and I use this to apply to the size of the circle, letting the dark in color spread and also helping it move with your brush. You can also take off some paint if and spreading too much with a clean dry brush. Meanwhile, I also left over at the top to show the end off the blueberry. I'm keeping this simple, but you can also do a little star or a flower shape that is a bit more appropriate for a blueberry on top, if you would like to. While I wait for the blueberry too slightly dry, I used a bit of crimson lake, and I decided to add more shadows between the cream garnish and the crust. You can keep adding to your painting slowly layers at a time until you get the right balance that you like. And once the blueberries try, I'm going to finish off using the same dark color. And I'm just going to fill in the Oval D, leaving the negative space at the top off the oval to show a bit of dimension. 12. FINISHING TOUCHES: wear close to finishing this painting for the last little details. I'm going to add a very subtle shadow at the bottom, off the cake and flour for the shadow. I used a mix off the same great mixture, but because I don't want it to be completely the same as the flower color, I added a touch off whichever orange mixture I had left on my palette because you only need a bit to slightly change the hue. And because of that, the color becomes slightly more mutual great than what it was before. After I run the line across, I clean my brush and used clean water to slightly softened the color downwards, then added a slightly thicker consistency and painted the very edges off the cake and flower word touches the surface. I also used a bit of what wash that I already have on my palette to add to the blueberry. I'm going to first line the oval very lightly, and I also painted some white on the fruit because I felt like it was a little bit too dark and heavy. Then I softened the white, and I just used a clean, damp brush to soften the edges. This part is optional, and it depends on the state off your painting. But I used the mixture off Crimson Lake on ultra Marine deep to darken the ovals for the group's off the strawberry. But if yours is already dark enough, can skip this. The last thing I'm going to do for this painting as to paint some off the mid ribs off the mint leaves. And for this, I use the dark green mixture that I have left before from the hands of yellow, ultra marine, deep and submarine. Then I used a mix off purple that I have left on my palette already to further mute on dark in the green. And I used my small brush to paint some additional details to the Middle East as well as the strobe release. I'm going to apply this for some off the mid ribs, as well as the veins or the shadows to separate some of the leaves. Try to not overwork the dark colors, though, or else the painting will lose its dreamy and Wim school field 13. CLOSING AND CLASS PROJECT: congratulations in completing this class. I hope you guys have fun watching me paint through the first class off the Siris for the cost project. I would love cream to paint along to the strawberries, visceral painting. And if you would like to, you can also incorporate your own twist on. Also add new elements to the painting. The key is just have fun and learn something you will all the way. I will be posting to more strawberry desserts in the coming weeks. For next week I'll be painting a strawberry, she pastry. And for the next coming week, I will be posting a custard pudding with strawberries. So if you had fun painting along to this one, I hope you guys little to join me and those two classes to Once you're done with the project, I would suggest for you to post it in the project section just so you can share with your fellow students. And I can also take a look at your beautiful creations if you would like to see more art by me. I also post weekly YouTube tutorials on watercolor paintings. It's mostly based on beginner watercolor tutorials. So So if you're new. You can also join me there. If you would like to see more food illustrations, you can also follow me on my instagram at my gender scoring Janjalani, I hope you guys have fun with this class and hopefully I will see you again in the next coming class.