Transcripts
1. OPENING: Hi, guys. My name is Nina, and I will be your T shirt for today's class. Today will be continuing on with the second cost off the Siri's, and we're going to be painting strobing off pastry using the same color palette as we used from the previous cost. I'm going to show you that we can create something that's totally different. This class is a step more difficult compared to the previous one, because we will be dealing with a bit more texture and also painting and tighter spaces. This painting does have a bit more detail, but I will break it down and take you through step by step, each lesson so you can create something that you will be proud of if you have checked out the first class off the Siri's. I just like to mention that this causes format in the same way, in a sense that I will provide the outline for you to download and trace, and you can use that pain along with me before we start. I'm just going to take you through the basic outline office costs just so you know what to expect. So, like usual before we start I'd like to go over this eyes that I will show you how I trace that image to watercolor paper. Once we're done with all the prepping, we're going to go straight into painting the shoe pastry. They're going straight to the dusting off icing sugar, then meant lease and the strawberry garnish. After that, we're going to go over the filling first by painting the stormy slices than the strawberry jam and then onto the cream to finish off, then take you through how I paid the chocolates world, as well as the final touch ups before the painting and then closing with class projects. If you're new here and you've never seen any of my classes, I would like to suggest for you to watch. I heard the full class first or individual essence before painting along, because there will be some instances where I speed it off or skip to the next step just to get the cost going. There is a setting in school share where you can slow down the video, but I think the most effective way is just watch one step at a time, pause, paint along and then go to the next step just so you can work at your own pace that you're comfortable in. This class is geared toward students who has a fair understanding and watercolor. So I will set this as intermediate level again. However, if you're new and you would like to give this a go, there's the one stopping you, and you can just try to work at your own pace that you're comfortable in. There's no rush in this. Just enjoy your time and you might surprise yourself with what you create at the end. So I hope you guys enjoyed this class and let's begin.
2. SUPPLIES: in this lesson, I will quickly go over the tools. I'm going to be using the exact same tools as the previous class. But if you're new here, here are the items the first thing that we need as watercolor paper. And here I also haven't print out off the outline and a scrap paper. Here's the paper that I'll be using its 300. Yes, I'm canceling Excel watercolor paper, and I've cut it down to the size off 5.9 by 4.5 inches, just like the previous class, because I want to keep this collection consistent and uniform. Next. Iss the print off the cream puff outline, which I'll provide in the downloadable section so you can print it out and trace them. I'd suggest to also have scrap watercolor paper handy right next to you, just in case you need to swatch colors before applying it. Next year. The brushes. I'll be using my Vitek size, too. This is basically a just a cheap synthetic brush. It's a local brand, so you might not have access to it, but you can use things like Greece or Liar a which is very affordable the next brush I'm going to be using is by reefs on this as a size two. This brush is fairly old on the bristles are a bit opened up, but I'm only going to be using this with a dry brush technique, so it actually helps that the bristles are a little bit damaged. I will also be using the small brush, which is a Windsor needs in sector gold size zero, or you can use any small brush that you have. You will also need a jar off clean water, and I also always have a tissue ready to control the paint and water load on my brush to trace. I'll be using ah, heart pencil. Mine is an HB. Also, be using a masking tape to stick down outline and paper on also a razor in case they make any mistakes. I'll also be using my usual tracing tablet. If you don't have this available, you can also trace against the window or download an app if you have a tablet like screen light, which she can use as a tracing tablet. Lastly, you will need a pellet with some watercolors. Here are the list of colors that I will be using. But of course, you can adjust with the colors you have available at home. The colors. I'll be using a spurned Santa by whole bine. Mineral violet, My whole body suffering My whole mind has Yellow By Daniel Smith Ultra Marine Did my whole bite not full read by M. Graham, Crimson Lake. My whole bine, Maggie's Blue by Windsor Newton Vermillion by whole bine, cadmium orange by ones Or Newton and Quinn, read by Daniel Smith. I'm also going to be using an opaque white color, and for this I'm going to be using my white designer squash by Windsor Newton. And here's the list off supplies, which you can take a screenshot off if you need to.
3. TRACING: in this lesson, I will go over the tracing portion off the painting. Here's the paper that I've cut out, and I also have the print out off the puff pastry for this particular one. I find that the best format would be portrait. And like before, I'm going to only stick one side securely so I can always open and close the outline to see smaller lines and minimize mistakes. You can also print the outline twice if you find that having one right next to you would be a better option to check the correct line placements trace. I like to use my mechanical pencil so the peasants stay sharp. My pencil here is the pencil sharp lit, but you can use whatever you have on hand. I also feel like I prefer using heart pencil like an HB or a lighter pencil so it doesn't distract from the painting Lead. Run well tracing. I will leave the lines inside of the shoe pastry because I want to only use that as a rough reference to my painting. Later, Ron, in order to create the puffiness off the pastry, I tried to keep my lines very clean and light. However, if you have more off heavy hand or some parts off, your painting is looking a little bit too dark or rough like my during right here, you can go over it again with Yuri Razor and tough lightly on top off the darker park to take a bit of the color off. As I mentioned before, there are several ways you can go about tracing. If you don't have a tracing tablet, you can place the outline against the window to get some daylight through, which means he will only be able to do this during the day or if you have a tablet available. You can also download an APP cold screen light, which will just basically turn your screen white, and you can adjust the light so you can basically turn your tablet into a tracing tablet.
4. CHOUX PASTRY: wear red, it's paint. I'm going to start with a shoe pastry first. And for this, like the previous Kate Bass, I'm going to use the same color mixtures, but I'm just going to apply it in a different way. So I'm going right in with the mix auf hansa yellow and cadmium orange to slightly warm up the yellow and at lots of water to make a mixture nice and then, as we're only painting the base and also toe what the surface as I apply the light yellow color, I want alternate between paint and just water so I can make the yellow even lighter during application. And I always want to re went any areas that starting to try because I want to do a little what on my technique after this, and I'm also going to work on the top pastry first so we can work quicker to get the what effect. Next I'm going to be working on the puffs on the pastry, and since those parts puff up more, they're more golden, brown and cooked compared to the other parts off the pastry. So for this, I'm mixed and some Quinn red burnt sienna and also some cadmium orange together to create a really nice golden brown color. And again, I want this to be a very light consistency, which means I added lots of water into it. I'm going to use my outline as a rough reference, just so I know where I want to create the puffs. Because the base layer is still wet, the paint will create a natural, subtle transition, So I like to leave out a fair bit off gap in between each puff, so some off the light yellow color still shows through. I like to first apply the paint very lightly. However, like here, I feel like it's about to let you can just pile on top later. But it's always easier to paint light and add compared to subtracting with water colors. So just be mindful of that. I like to keep mine very light. That is why I like to build on the colors little by little, or else you're painting might look a bit heavy, as you can see when the paint settles, the golden brown mix is starting to spread a bit more, which is why I suggested before to leave out some negative spaces for the light yellow colors to still peek through. However, mistakes can be made as sometimes the pain can spread a bit more than predicted, depending on the tilt off paper or even how what your people your brush load is. And when this happened and the paint is blending more than you want it to like the top part off my painting. Here, you can take off the access using a dry brush to absorb the wet paint. At this point, the surface off. My people are still slightly damp, so I'm going to add a slightly thicker consistency off the color just at the tip off the puffs to create a soft gradation while leaving out some of the negative spaces in between. I'm just going to show you a quick example off what the Contour will look like. Just so you have an idea off what I'm thinking about when it comes to each individual puffs , I want the tips off these pops as you can see the parts, which has more curvature to be a bit more burnt as it is in contact with the heat more than the ones inside or the cracked parts off the pastry, so and those parts that is protruding out, that is where I want to add more off the golden brown color. I'm going to still build on the golden brown again, but this time I'm going to create a slightly darker brown color by adding a touch off mineral violet to the mix to deepen it even further. Then I'm going to apply this to what I imagine to be the top contour or the tips off each puffs. And I want to slightly alternate the dark brown with the more orangey brown from the previous lier, but in a thicker consistency to bring some life into painting. I'm going to let the pain settle and dry at this point. So while I do that, I'm going to move on to the bottom pastry. I'm going to first begin with the light warm color mix again, just like what we did for the top pastry. Then I'm going to build on the golden brown color. In terms of application, though, this part is slightly different. Instead of puffs, I want to create small cracks, which basically parts of the pastry that didn't puff up. You'll notice that at the bottom off the pastry, there are two lines. That's not exactly a crack. That's Ashley, what I would suggest as a jab that is slightly dripping down. But for the cracks, here is how I would go about it. I just create really random shapes, just like the puff pastry before at the top, but much smaller and a bit more rough. I'm also going to leave us small negative spaces on the sites, just so the paint doesn't lead together. I'm going to mix the same golden brown color as before, but you've seen mixing this on my palette, which has a bit off yellow. But that's okay, considering that is a very watery mix, and it will only make the golden brown slightly brighter. It would also help if the base paint is slightly dry. As you apply this, it doesn't have to be completely dry. But if it was at the same stage off deafness as top pastry, there's a good chance of it bleeding like the first few once that I painted. But just like before, when it does happen, you can take off the access using a dry brush. Now I'm going to build up on the golden brown color again. I still have some spare color mix from before, so I'm just going to get some for my palate. But I'm going to mix a little bit off water because I don't want it to be too thick. And then I'm just going to reply this on the brown parts off the pastry. What's the paint is almost completely dry. I just want my brush slightly so it's a little bit damp and I'm going to run it along the negative space or the lines. Just soften it up. But whenever you do this, be careful with the amount off water you have on your brush. You don't want it to puddle. You just want slightly glide on the surface. Then I'm going to add a thicker consistency of the same color near the top and the bottom off the pastry for a bit of shadow, and also because the bottom off the pastry is slightly more brown than the rest, since it has straight contact with the hot pan. But keep the dark brown fairly minimal. At this point, I'm going to go back to the top pastry again and this time I'm going to bring a new color in the palate, and that's manganese blue. I want at this to the brown color to make it a cooler brown and set off a warm brown. And with this color, I'm going to be painting the cracks. I'm going to also switch to my smaller brush for this so I can make them lines for the cracks. It's up to you where you want to create the cracks, but I would suggest to make it where the lighter part off the shoe pastry is where, due to the expansion off the puffs as they're getting baked, the lighter, less cooked parts off the pastry separates and create those cracks. I'm going to navigate around where I think the larger, more distinct cracks would be, but you're free to create your own to. I always like seeing a little bit of personal creatively from students, and I encourage you to make your own interpretation at any given stage off the painting because it's only a guideline on how I personally paint particular subjects. And it's always open to your interpretation, too, as I create the cracks. As you can see, I don't necessarily make one long line, but instead I'm going to sometimes make random disconnected lines or just small, jagged dashes, and also play a bit with the weight off the lines in terms of the thick and thin nous to keep the cracks nice and organic. - I'm going to do the exact same for the bottom pastry to, but because the lighter areas off this part is a bit smaller, I'm going to create thinner lines. I try to also use a lighter consistency so it doesn't stand out more than the cracks on the top pastry. I. I don't really want the bottom pastry to be incomplete focus, which means the line shouldn't be two distinct here. I'm adding a bit more off the warm yellow color, and I glaze it all over the pastry because I feel like it's looking a bit burnt. So the yellow glaze should create sort of like a filter to make the overall painting, or at least the browns look more golden and warmer. I'm only going to put a really light consistency off this and just build on the color slowly, little by little, which is why you will see me putting more off the warmer or the darker brown on top, and this time I'm applying it a bit more randomly because it is on a dryer surface and you're able to see a bit more off the texture. This part of the painting depends on the state's urine. I'd like to make certain parts of the pastry more distinct. I'm layer by layer just so I don't accidentally over work a certain area because the previous layer was created using a wet on what technique it crace more off a flat base to work with. So this is the time to build on the volume and to add darker colors along the edges, the puffs and also the cracks of the pastry. I'm not creating any new color mixtures at this point. I just use the thicker consistency off the existing mixes. So for the puffs, I use the golden brown color with the Queen red and also the brown with a slight mineral violet, just for the tips to make it a bit more cooked than the rest off the pastry and further cracks. I used the dark brown with the ST Maggie's blue, and I also change up the ratio between the manganese blue and the mineral violet. Just incorporate a little bit of a different hue. Now that we can see a bit more volume and distinction between the shapes, I can see that the yellow is still looking dull compared to the rest. So I'm going to be a bit more generous this time with my hands yellow and cadmium orange with a like consistency still, but whether but more pain compared to the previous application to balance it out with the rest off the painted piece tree.
5. ICING SUGAR: in this. Listen, I'm going to go straight in with painting the icing sugar. For this. I have my permanent white wash, my Windsor Newton, and for the brush, I'm going to use a size to brush by reefs for the first application off the whitewash. For the first application, I want to use freshly squeezed white wash because the color is usually more opaque instead of trying to reactivate a drug wash paint, which would most of the times be a touch more transparent. I only what? My bristle slightly because I want the bristles to be fairly dry in order to create the drug texture off the icing sugar. The reason why I use this brush first instead off using my sense zero brushes because this is a slightly larger size on, it will cover the area Foster. As you're applying it, though, you will see that the white spots might look a little bit stiff. Andi Unnatural because the size off the white dots are quite similar, which is why we're going to use this as your brush leader on after most of the surface. That I want to be covered by the is a sugar is almost completely painted this way. You save time, and you also add a little bit of dimension and interest by mixing up the size off the white dots. I usually get out my white wash a bit later in the painting when I'm almost done. But because the icing sugar is such a huge part of the painting and it's almost one of the main features off the shoe pastry that we're painting here, I place them early on just so I know how to balance the colors later on, because it will make the pastry look lighter in terms of weight, because off the amount of white we're going to be incorporating into the pastry now, I will be talking about weight in terms off how lie the painted area looks so usually when there's more lighter color or more white that is similar to the color of the paper. The painting will tend to look lighter in terms off wait and the more darker color and a larger area that you paint with a dark tone. It will tend to make the painting look a bit heavy. Notice that I'm placing most of the icing sugar on the puffs off the pastry because those are most likely protruding outwards. Whereas the cracks are deeper. Parse off the pastry, which would be hard to cover by the icy sugar. When I'm painting, I like to imagine myself creating the desert and dusting the icy sugar from the top and imagining which parts off the pastry and would mostly cover. So in this case, the top part should have most icy sugar compared to the rest. Even though I am placing a lot of white dots, I still care about the placement. I tried to make them as random as possible, leaving some areas and covering others unevenly and also thinking about the curse off each puffs to make the dusting look nice, unnatural. Once I've got most of the areas I want covered, I switch to my sense your brush, and because this is a smaller brush, it will create smaller dots, and I want to use this opportunity to cover smaller spots, which I've missed with my previous brush and also softening the dusted areas to have smaller white guts around random spots. Then I just continued on until I've got most of the puffs covered. I think this step is fairly self explanatory, so I'm going to speed up the rest because it did take a while to cover the whole area with such a tiny brush. But of course, you can take your time to just do this part of the painting. This is actually quite enjoyable and therapeutic for the bottom of the pastry. I decided to also pay some specs off white, but I'm limiting myself because the bottom would usually only be slightly dusted from excess icing sugar, which fell from the top. And that's basically it for the stage. Don't worry if you feel like you might want to add more, because you can always do that later on.
6. MINT LEAVES: next, we're going to tackle the Middle East. These won't take too long to paint. As you probably know from the previous class at you have taken it for the green mint leaves . I like to make mine a little bit off a bright warm green, so I'm first going to mix in sap green hands, yellow and the slightest bit off ultra marine. Deep together, I applied the light green on the leaf as the base color. Then I realized I needed to Ashley mix a dark green color, too, just so I can work a bit faster. So I'm also going to mix a smaller amount off a dark green mix. I'm going to be using the same colors ultra marine, deep sap green and a touch of hands yellow. But this time I added more sap green and ultra marine deep compared to the hands of yellow . I just please the darker green at the bottom, just so I can alternate between the bright green and used to start green to layer on later . So, as you can see by just alternating the ratio off each color, you can already create different tones off greens, getting back to the painting when I was applying the yellow green for the base color. I don't want my brush to be puddling. What? But I want to create just the flat wash that could try out quite fast. So while the first layer is drying, I like to add a diluted mix off the dark green color and paint on top of it like what I'm doing now with the darker green. I like to start out by painting the mid rib off the leaf, then continuing to paint outwards for the veins. I want to create thick lines with my brush, but leaving thin negative spaces in between the lease and those negative spaces are Ashley what's going to be the veins instead off the thick lines, I'm doing this roughly so the lines doesn't look to equal or symmetrical. So everything looks nice and natural, and you can also still see the gesture off the water color. I want to repeat the steps for all of the leaves and leave them at the current stage. I forgot to also mention that I also like to follow the same pattern as I'm painting the base color, even though I want the pain to be a flat wash. I tried to still create the brushstrokes which follows the veins off the Leafs. Just so any negative spaces that are left will also help with the overall shape for the larger leaf. I do make my lines slightly thicker just so you don't end up with too many small lines for the veins, which might give it a different texture altogether. So I just like toe work according to the scale. As you can see before, I like to also add another layer. Just add a bit more vibrancy to the green. But if you're green as already at the stage that you like, then you can skip that step for the final layer. I like to create on even darker green. And for that I just added a bit more ultra Marine deep and sap going into the mix. And I also used a slightly thicker consistency, and I switched to my smaller brush for this just so I can get the really thin lines for the mid ribs and the veins of the lease. And now I'm going to add a touch of Quinn red and altering deep to the dark green mix, and I'm going to paint this in between the leaves to separate the shape slightly
7. STRAWBERRY GARNISH: in this. Listen, we're going to be painting the half strawberry. I love painting best as you can see both of the details off the skin as well as the flesh of strawberry. To start, I want to create a really light based color with a very thin consistency Vermillion and I want to paint this just along the flat surface off the strawberry interior. Once I'm done, I'm going to take some duffel red and vermillion, and I'm going to use a medium consistency to first paint the edge off one of the sides. For this, I want to create a thin line with small curves. Then I'm going to continue on with the same color to paint the base off the strawberry skin to paint the strawberry skin. I'm going to follow the curvature off the strawberry downwards, and I'm painting small strokes so I can leave negative spaces, which can act as highlight to the strawberry skin. Using a touch more vermillion. I'm still using a thin consistency but darker than the first layer. I'm going to apply this in the midsection off the strawberry, and while the top part is still about what I'm just going to blend it out with more water. Next, I'm going to show you how I'm going to paint the strawberry flesh. This part has such an interesting pattern. So basically, I want to leave out a line across the center of the strawberry where we're going to leave as negative space for the sides. I'm going to first paint or in this case, draw dashed lines. And then I'm going to continue on with the individual dashed line and directed to the center of the strawberry whilst leaving a thin negative space in between and next to the strawberry center. I am also going to need an out close to the center and disclose off those individual sections. Now I'm going to add Crimson Lake in the mix, and I'm going to make quite lengthy consistency to pay the dash lines along the side off the edge. Then I clean my brush until I only have water loaded. Then I use the wet brush to activate the individual dash lines, and I paint towards the centre off the strawberry while still leaving negative spaces in between the dash lines and also leaving a space alone. The center of the strawberry now a lot of those Reds bassist I'm going to had some like consistency Vermillion. So I have a slight gradation between the Crimson Lake and the vermillion, which is much more off the warm, orangey rent. Here I felt like the sides are fading a bit too much, so I ended up adding a bit more of a 1,000,000. But the sun I also mixed it with, um, some not full red, so it's not as much as a cool red as it was before. After that, I'm just going to do the same for the other side. - Now I'm going to build up the color of the strawberry skin by adding a thick consistency off natural red, and I'm going to apply it to the bottom off the strawberry where I feel like it's in contact with the surface. So it has a bit of a shadow, and I also clean off the edges by creating a curvy line. Once the strawberry flesh is completely dry, I decided to add more vermillion to the center of the strawberry again because I want to create a deeper surface. As I built the separate sessions off the strawberry, I realized I also want the sections along the sides to be a bit more vibrant. So I added a mix of over a 1,000,000 a touch of not for red but in a quiet if inconsistency just so I can redefine those edges. I'm also making center lines just to create a bit more texture. I'm going to introduce the mineral violet to the ballot now, and I'm going to mix it with the currency lake that I already have ready. I also added a little bit of Vermillion that's a bit diluted. So is only just touch just to warm it up a little bit. And I'm going to add this to the shadow along the skin. I also added it to the center of the strawberry, except going to be adding some seeds for the strawberry. And for this I'm going to use some Hansa yellow and a bit of four million that I already have in my palette, and I'm going to mix it with the whitewash that I used for the icy sugar. It's OK that's slightly dry because I don't want this to be completely opaque with the creamy color. I'm going to Pete slightly elongated dots to represent the seeds. I'm just painting along the skin. I also like to play some along the edges off the cut strawberry, moving along to the leaves. Now I'm going to use the same mix as the mint. But this time I'm going to add more ultra rain deep because I want the green tone to be different to the mint leaves as the strawberry leaves time to be a little bit cooler, but I do want to have some warm green ready on the palate so I can alternate the bass color . I'm using a medium to thin consistency for this, and I'm painting it vertically following the curves and tips off the Leafs. I also switched to my larger brush because I want the Web texture of the watercolor to show through. Then, using a darker green mix by adding more ultra rain deep and also a bit off burnt sienna, I added a layer off the dark green while still leaving out some negative spaces so the previous color still shows through. I also decided to switch to my smaller brush for this so the paint doesn't puddle up because I still have a little bit off excess water from the previous layer. I decided to also add more off dark green mix by adding more ultra Marine deep, and I painted close to where the leaves are connecting to the strawberry. Next, I used a warm green by adding more hands yellow, and I use that color to paint the stand off the strawberry. I'm just going to paint the whole thing first, and then I'm going to add a little bit off red. That's on my palette. It doesn't matter which type of red, and I'm going to paint that where the stem is connecting to the Leafs and the strawberry. I built upon this mix again by adding even more red, and I used it for the bottom off stem again, as well as the butter parts off the Leafs. So we have both the warmer tone and the cooler green zones. I'm going to get some whitewash again, and I want this to be fairly opaque. So you do want some fresh wash and I'm going to use the dry brush technique with my small brush. This dry brush will create really nice random textures, which can create some highlights on the strawberry flesh to know that you have dry brush. You should feel that the paint is very hard to glad across the paper, but you still manage to get some paint on. If the paint doesn't transfer, it means that your brush is just like tea tree drive, so you do want to dampen it just ever so slightly and then try again. I also added some white along the edges just to separate the flesh on the skin.
8. STRAWBERRY SLICE: Now we're going to pay the strawberry slices that this is so much easier compared to the previous one. So let's start by mixing a medium consistency off vermillion. I'm using this small brush here because the areas where painting will be small. I am going to use this to pain the surface off the flesh, and I'm going to pay in lines facing towards the centre of strawberry slice, just like how we painted the half strawberry before. And I'm going to apply this to all the three slices. I'm going to show you an example off the next up, which is the strawberry skin. I'm aiming to leave out some negative spaces here, just like the previous debris, but I want the negative spaces to face the tip, so imagine it as tiny ovals facing the direction off all three of the slices. I'm going to make some duffel read to the vermillion, and I'm using a medium consistency. Still, with this color, I'm going to paint the strawberry skin. And for the application off this, I want to direct my strokes towards the tips off the strawberry slices, just like how I dread out before. And I'm continuously thinking about the direction and also leaving some empty spaces as long as you follow the direction, those empty spaces should follow the direction off your brush strokes next I mixed and some comes in late. Two. Been awful red, and I'm going to paint the skin against separate them from the fleshy part off the slice, and I'm applying this the same way as before. For all of the three slices tour different ledges, I also created curvy lines along the sides. I'm going to mix in some Crimson Lake now with manganese blue and also vermillion Decree, a muted burgundy color that's almost close to a brown. And I'm going to apply this where this Lasses are in contact with the cream, just to give it the slightest bit of shadow. Next, I'm going to build the depth by adding some comes in late to the natural red that's on my palette, and I'm going to paint the skin again. But as I paint with the darker colors, I always cover less paces and leave up more negative spaces so the previous layer still shows through, and that's how you can create this. Now I'm going to create the seats on for the color mixture. I'm going to use the same one as before, and that's with whitewash. With a mix auf hansa yellow and four million, I'm going to apply a few to each off the slices. Then I'm going to clean my brush and use fresh white wash to paint some highlights on the flesh and the edges, using a dry brush technique.
9. STRAWBERRY JAM: in this lesson, we're going to be painting the gym on the cream puffs. I've accidentally left the right side off the pastry. Those I'm just going to make three jam look like it's covering that any area off the pastry . Then I use the mixture of cadmium orange and Quinn red to paint that part. And then I also build it up by mixing a little bit off burnt sienna into the mix so it looks like a little bit of the pastry is showing through underneath. After I'm done with that, I'm going to move on to the actual jam and for the base color. I just used a light to medium consistency off vermillion. I wanted to be quite running because I am using my small brush so it won't puddle up. And for this I want to create mostly a flat wash. But I'm also leaving out somewhat areas for highlights. If it's a bit confusing for you to create the highlights, you can also draw it out with pencil first. But basically I just full of the curvature off the jam. So the gem looks nice and juicy and plump instead of it looking flat I'm also going to extend the jam at the top to the sad slightly because I feel like the space on the sides seem a bit too empty for the next layer. I used a mixture off Heftel, red and Crimson Lake. I'm going to use medium consistency, and I'm going to apply this to the deeper parts off the jam and also going to apply it as a slight outline. So I still want to leave out some of the life where Mulan color from before, because that color will help accentuate the highlight. The next color make sure will be manganese, blue and vermillion, and I use this to create a very muted red. It might be a bit weird, but I'm going to use this as shadows where the rent is reflected on the cream and also on parts of the jam that is near the pastry. I also decided to place specs off the same color on the center of the gem to create a translucent if it then using the same mix of Crimson Lake and awful red. I placed this on top off the pastry underneath the jam as a reflection off color. But make sure to only use a bit consistency of this, so the color is translucent enough that the pastries so shows through. Then I used for 1,000,000 paint and the area where I draw lines on the bottom pastry again . I want to keep the paint nice and translucent, suggesting that the gym is lightly dripping off the side. Then I added, The cruising leg Enough will read mix again to give a slight bit of volume to the dripping John to finish off. I just used the meted red mix again that I already have on my palette, and I just place them in certain areas, like the top pastry near the jam and also close to the bottom pastry to define and separate some of the shapes.
10. CREAM: in this lesson, I'm going to be painting cream. I like to include several different hues when I am painting white objects with watercolor and because whipped cream has this like creamy yellow color. I'm going to start with a mix of hanzee yellow and cadmium orange, and I apply this lightly on the left half off the green. First note that there's always a thin line in between two thick lines on the cream outline , and I want to always avoid painting that thin line, as I want to make that line, suggest the tip off the folds. So I wanted to be lighter than the rest of the cream. While getting with different use. I want to make sure that I always apply very thin layers because I don't want to overwork it as it will become very muddy of all. The hues are piled on top of each other thickly, so if you're new to watercolors, I would suggest to always start your paint mixtures before applying it, because I will be building a lot of layers into this. The next color I'm going to use is a very, very thin consistency off manganese blue, and I'm going to apply this to areas where I feel are slightly hidden from the light for this color in particular, I want to be very careful with because blue isn't the most appetizing color, so the consistency should be just off a slightly tinted water. This shouldn't scream blue, but it should act more like a gray shadow. Next, I'm going to build on the shadow area by adding more off a purple tone. And for this I used a mixture of four million Quinn, red and ultra marine, deep in a very thin consistency still so we can keep building and layering to just the color balance. I just basically applied this where I applied of the blue before while avoiding a tiny fold on the left side of the cream. So I made the mixed slightly more red to make a muted purple tone. Next, I took some of the yellow mix from before, and I lightly glazed all of the areas that we've painted because I don't want to lose the warmth off the green color, and I'm still working on the left side for now because I want this part to be darker than the right side since I'm imagining the light coming from the right so the cream should be a bit darker on the left side and it should be lighter on the right side. So just be mindful of that. While if I the colors for the cream here I went back to the purple mix from before, and I painted under the cream puffs and also outlined some of the folds to make them a bit more visible. Please excuse my here. In this lesson, I tend to look at the painting very closely when it comes to painting white areas in a very thin consistency because it is a little bit hard to see which areas you've actually painted , so you'll get a glimpse of my here. This'll listen from time to time, and I apologize for that if it's a bit distracting anyway, getting back to the painting I use the light magnesium from before to paint some shadows on top. Part off the cream, which is the pastry, is slightly covering it. And then I moved back toothy yellow mix to start painting the cream on the right hand side . This time since we've now established some off the shadows on the left side, off the cream. But please keep in mind to paint lightly, especially on the right hand side. Here I start introducing a light red hue to the cream. Andi, I want a bit off this red to show, since there are a lot of friends from the strawberry and the jam, and I imagine that the reds would be lightly reflected on the cream. I feel like the Hugh also bring a cohesiveness to the painting as a whole, and I just applied some off the reds close to where the cream as touching either the jam or the strawberry for the red. I actually just used the color that I already have on the strawberry, so I didn't mix any more paint on my palette. Since the paint is quite thickly applied on the strawberry, I just loaded my brush with a bit off water, and I slightly reactivate some of the paint from the strawberry and spread in areas where the cream is positioned close to the strawberry or the jack. If you feel like you're taking too much paint from the strawberry at any point and it's starting to fade, you can also take some off the reds from your palate. Ease for other parts of the cream, like what I'm doing here so you can work both ways. But I personally like having the color from the strawberry on the cream to just to give it a bit more unity. So those are the color mixes that I used for the cream. I'm going to just build on the color slowly wells thinking off the points that I mentioned before where the area isn't shadow. I like to use the manganese blue or the purple mix where the cream is not a Cetto. I like to use the yellow mix for the tips of the cream. I like to leave as negative space or just white on the papers so the point will look like it's the lightest part off the cream and parts of the cream that are close to the strawberry. I like to use light reds to reflect the color. After I've placed down the base colors, I also stopped to my small brush this way I get to create thin lines for the folds to make them visible, and at this point I just keep word of finding the fools and shadows off the cream. When in doubt off the colors, I would always suggest to wait for the color to dry first than taking a step back to look at the overall color scheme. If, however, you overwork a small area off the cream, we can also fix that later on. But there is a limit to how much she can fix without muddying it. So it's still best work layer by the year, slowly so at this point, I feel like I have a good contrast from the shadow on the left side and the brighter part of the cream on the right hand side. But I feel like some areas are looking a little bit too dark for my liking. So with the whitewash that we have before on a pallet, it's most likely dry by now. But if it's what it's also okay, I'm just going to reactivate it with water, and I want a thin consistency so it's still transparent. I'm going to apply it to the areas where I want toe, lighten up a bit. With more water, wash can become more transparent. And because we're using light, this one can tip the area to make it lighter. The limit off this is that if you want to erase some parts completely, you would need a thicker consistency to make it completely opaque, so it might give off a little bit of the texture. But if the area is small, like for certain high last, you can definitely use a thick or opaque consistency. Then, to finish everything off, I decided to make some vermillion with ultra Marine deep to create a muddy red color. For this, I use the slightly thicker consistency than before, and I'm going to use this as a very thin outline for some of the folds.
11. CHOCOLATE SWIRL: chocolate syrup is probably the easiest part of the painting. There are only two layers, and the key is to leave out the highlighted areas as negative space. I leave lines on top off the chocolate to act as highlight, and I place them at the top parts off the chocolate lines to give it a slight volume. It would look nice and glossy if you can manage to make the lines connect to each other, and the longer you make it, the smoother the chocolate will look so moving on to the first layer. I'm just going to use burnt sienna for this. I'm going to use a medium consistency that is quite vibrant, but it's also easy to glide for the application. I'm just going to do a basic flat wash, and I want to also leave out the lines as highlights, just like how I drew them out before for this because the space is very small. I'm only going to be using my small brush to get good control for this, just work slowly so you can create undisturbed lines to give a nice, smooth and glossy finish to the chocolate. - Once you're done applying the first layer. For all of the trouble drip. I'm going to move on to the second layer, and for this I'm just going to add some ultramarine deep to the bird Sana from before. And this will create really rich, dark brown color. The more ultra marine deep, the darker the brown will be. So just adjust accordingly. For the application, I'm going toe only paint the bottom parts off the chocolate lines. So this time the negative space you're leaving would be larger than four. Since you want to leave out a thicker line at the top part, so you can see both the highlights as well as the previously er off burnt sienna. You can also use the start brown colored too lightly out by in some parts of the chocolate . If you feel it needs a bit of definition,
12. FINAL TOUCHES: in this lesson, we're just going to paint some finishing touches, and this will vary with the stage that everyone's end. For this, I usually jump around from place to place doubt, additional definition, texture or just to needing certain edges. I mostly work with my small brush because I'm no longer covering such a huge area, and I usually use this time just to add a pop of color in certain areas. So for the cracks right here, I just basically took any off the reds that I have on my palette, and I mixed it with some burnt sienna. Basically, I want to create a really reddish brown so it doesn't look too muted. It still looks nice and warm to go with the pastry using the same color. I also play some shadows below the jam, just a separate it a little bit with the pastry. I had a lot of friends that is left on my palette. So again, I'm just going to use that. And this time I added a lot of water because I just want to do a light glaze on top off the pastry, where the icy sugar is covering it because I don't want the icing sugar to look one dimensional and just plain white. So I used this color, too. Graze on top off the white paint, which will make it slightly pink and give it a little bit more dimension. This shouldn't make such a big difference. It's just supposed to be subtle, so make sure that the paint you're using as very nice and light you can even swatch at first on a scrap piece of paper, just in case, because you don't want to ruin the pastry that you spent so much time. One. I'm also going to apply the same thing at the bottom pastry just to make it nice and cohesive. I'm using it very sparingly because I still just want the reds to be nice and settled. Now. I added a little bit of burnt Sienna into the mix. It's not as brown as the previous mixed before. It's a bit more red because I want to slowly soften the shadow between the leaf on the pastry and there no top off that closer to the leaf. I placed the color that is a little bit more brown, which is closer to the color that I used for the peace cracks next time mixing in a purple color. After that, I used manganese, blue and a little bit of Crimson Lake because I want the purple to be a little bit more muted, and I use this to paint the shadows underneath the shoe pastry. I made sure to paint really like coding first and then following up with a thicker consistency closer to the pastries. So there's a slight gradation. As for the shadow off the chocolates world, I like to mix in a little bit off the purple, but at the same time, I activated some off the thick paint that I already have for the chocolate swirled itself, and I pulled the paint that is already on the chocolate towards the bottom, so the shadow resembles a reflection off the color itself. Here, like I mentioned before, I like to jump in from step to step. So whenever I see that there's a lack and certain color, I just go back to it to fix it. Now, using a little bit off White Wash and I want quite a thick consistency, I'm doing more off a dry brush technique, and I'm just going to place this in certain areas that are completely dark, and I just want to separate the shapes again for extra definition. I also added some highlights for the strawberry slice and also the jab. This is also the time where you can fix the cream that I mentioned before. If you paints a certain areas a little bit too dark, he can use a thin consistency off the white wash to paint on top of that area. Using a thin consistency will make sure that the whitewash isn't completely opaque, so you can still see the color underneath, and it will just tone it down a little bit. I also decided to add a bit off burnt sienna to the green mix, and I use it sparingly on some off the mid rib on the veins off the mint leaves that is a bit closer to the stem, and the temperature difference between the green Andi. The warm brown will help define the Middle East a bit more. I use somewhat wash to paint some extra specs off icing sugar close to the cracks, because those areas can sometimes collect the dusting off icing sugar, too, to create a really dark burgundy color I mixed and Crimson Lake and ultra Marine deep, and I use this as shadow color for the strawberry, and I'm just going to place this at the bottom where the strawberry is touching the surface . Here I felt like the cracks that I put on before was a little bit too harsh. So I decided to soften some of the edges using a clean, damp brush. And I use a small rotating motion to activate some off the paint off the cracks. And this way I get to blend the color slightly with the pain that I have collected on my brush from the activation off paint, I just decided to do little dots around the cracks. This way I can create more off a rough surface to give additional texture to the puff pastry to finish it off. I'm just going to pay a little bit off white Wash to separate the strawberry from the really dark cream color, and that's it. This is the finish painting
13. CLOSING AND CLASS PROJECT: congratulations and completing this cost. I hope you guys enjoyed watching the second class off the Siris for the cost project. I'd love for you to paint along. This class is always open to interpretation. So feel free to practice your artistic license and create your own twists. In fact, that is the most interesting from C is that no matter what I create, you guys always come up with something that it's so unique to your own styles. Once you're done with the painting, I'd love to see it in the project section just so you can share with me and your fellow students. If you enjoyed this class, I would really appreciate it if you leave a like an interview just so I can keep improving and catered to the things that you guys enjoy watching. If you would like to see more tutorials by me, you can follow me on YouTube channel, where I post weekly watercolor tutorials. And if you would like to see more food illustrations, you can also just follow me on my instagram at g underscore Nanyang me Thank you so much for joining me today. Happy painting on. Hopefully I'll see you again at the next class, which will be the final cost off the Siri's
Nianiani, Watercolorist and Graphic Designer
