Strawberry Dessert Collection Paint with me PART 3: Custard Pudding

1. INTRODUCTION: Hi, guys. My name is Nina and I will be your teacher for today's class. If this is the first class that you've taken of mine, I would just like to mention that this is part of a serious of strawberry desserts that I've been doing this month and this will be the third and final one off the Siri's. Today we're going to be painting a strawberry flat or strawberry custard pudding, and I will take you through all the steps one by one, until completion for this class only I won't be, including a lesson on tracing, because I think the steps are quite straight forward. And if you would like to learn a little bit off tips and tricks on how I trace, you can also check out my two previous classes, which I will make down below. This class follows similar techniques, similar color palettes and also elements. I will also make this as the same format as the previous two classes as a paint with me, where I will provide you with the outline that you can trace and paint on. However, you can also draw your own. If you would like to create your composition. Before we begin, I will just take you through all the costs. Outline. So you guys know what to expect of this cost? So firstly, I will issue the supplies that I will be using for this painting, including the color palette. And if you're going to pain along, I was just for you to trace on. Outline your drawing first before moving on to the next. Listen, we're going to tackle this project by first painting the fund. Then we move straight on to the strawberries. I'm going to show you how I make the first layer. Then the next lesson, I will show you how I built on the second layer off the strawberries after that will finish off the strawberries by painting beliefs. Then we move on to the decorative elements by painting the Middle East and also the strawberry blossom and pedals. After that, we're going to move on to paint the cream, then moving on to the finishing off the painting. We're going to paint the car shadow. Then, in the next lesson will be painting the refinement off shadows and highlights, then moving on to the additional refinement off glossy effect on the then, to finish off the cost, I will introduce you to the class project, even though I will take you through all the steps one by one. In each lesson, I will so suggest for students to either watch the full costs or just watch individual essence before painting alone. So that way you get a fair understanding and steps that I'm going to take as I beings. I would also suggest for students to pause in between each step, just so you can take your time on work at your own speed before moving on to the next step . And then when you're ready, you can just Presley and then loopy dissents. In my opinion, this classes that suited for students who has a fair understanding and painting with watercolors, especially when it comes to painting strawberries. However, if you're new to water colors and you would like to give this a go, I would also in car she to do so because you'll never know what you can create. And if you would like to learn a little bit on how to paint strawberries before moving on to this came thing. I do also have a class on that which you can check out and I will make little. So I hope you guys enjoy this class as well as the rest of the series. 2. LIST OF SUPPLIES: in this class, I will go over the list of supplies that I used to paint. I will also include the tools that I used to trace with, but I won't go over it in this class because I went over it before in the previous two classes and steps are basically just the same. So this is the paper that I'm going to paint on. The measurement is 5.9 by 4.5 inches, and I'm using Cancel Excel 300 Years and watercolor paper. It's also a good idea to have a scrap piece of paper's so you can swatch certain colors that you're unsure of. On top of that, I also have the out fine off painting. Next, I also have a clean jar for my water and also tissue to clean and dry my brush with. For this painting, I'll be using two brushes. The larger one is free Text size two and the small one and Windsor and Newton Sector gold to size zero. The V Tech is a local brand where I'm from, so you might not be able to find it, but you can also substitute with any synthetic brushes like lira or reefs. Next, I also have masking tape, pencil and a razor to trace with. You will also need a palette, and here the colors that I'll be using. So firstly, I have Cat Me orange by Windsor Newton Manganese Blue by Winsor Newton Mineral violent by Hold Fine Quinn read by Daniel Smith, Nestle Read By and Graham Permanent ILO Deep by Whole Bind has the Yellow by Daniel Smith, Burnt Sienna by whole bind Sap Green by whole bind, Ultra Marine D by Holman and My Permanent Whitewash Buying Windsor Newton. Last but not least, I also used a tracing tablet to trace, But you can also use an app for your iPad or even traced against the window before we move on to the next lesson. I will just listen to the supply so you can take a screenshot of it if you need, together with supplies 3. FLAN: in this lesson, we're going to start out by painting the flat like usual for most vanilla desserts. I'd like to start with a mix of Hans yellow and cadmium orange for the base color on the side. I'm also going to mix and some Quinn, red burnt sienna and cadmium orange. I want this color to be for the slight caramel color, so I just want to have it prepared on the side. However, I don't want those two colors to mix for the time being, because I want the base color to be that really lie orangy yellow color like usual. If you're unsure if the color that you've created or your palate you can also switch it on the scrap piece of paper first. So I'm just going to first apply the yellow color on my painting. If at any point you find that you've accidentally created to think of a consistency, you can also continue on with just water to dilute it down. Like, for example, here I want to create the center off the flan a little bit lighter. This is to create sort of like a reflective effect. So instead of continuing on with the color that I already have on my brush. I end up cleaning it and took some clean water and then continuing on to pull the paint that is already on the paper for the center and where I feel the left side is a little bit too light. I just added more off the paint, and I continue on to the right side with the paint again so it has more paint compared to the center of the flan. I also want to be really careful with the sides where there are strawberries and the leaves around it. We are dealing with tighter spaces, so I'm using a lot off the tip of my brush so I can get to those tiny spots. Now that I've painted the base, I want to work quickly so the paint doesn't dry out. I'm going to mix in a bit off the caramel with the yellow color before, and I'm going to place it around the surface that I've painted. And because the surface is still wet, the pain should travel across on its own, but he can also help you out with your brush. I'm still using a thin consistency here because we're still in the first layer and we're going to keep building it up so we can create a nice contrast between the really light colors and the deeper Richard caramel color. Now I'm going to move on to the top part off the putting or the flan. And for this I just took the caramel mixture from before, and I use the color by itself, not with the yellow this time, so it's a bit of a darker value. However, I'm still using a thin consistency because again, we're still on the first layer. At this point, though, I do feel that the mixture looks like the caramel as a little bit to burn. So I did end up mixing a bit more off the cadmium orange, and I'm using a thin consistency again to just paint the base color all around. And I'm just going to do a quick wash with the center still being the lightest part off the flat. And like before, I'm going toe work on the wet surface, and this time I just added a little bit off the mineral violet to the caramel mix from before, and I added this color at the edges off the top part off the flat, so there's a slight shadow and a gradation when it comes to the side and the center. Next, I'm going to show you how I make the glossy effect. And for me. After looking at images and references from scrolling through Google images or Pinterest, I found that certain alliance gives off more of a glass and look. The reflection will obviously depend on what surrounding the flan. But I think simple lines would make the glass much clearer than if there were to be a lot of things going on. And I think simple, straight, curvy lines following the counter of the flan would help get the shiny look. So here I'm just going to roughly plan on about what I'm going to paint on top off the flan , just so I I don't have to think while painting later on, and this will really help in deciding where you want to place the lines after working on the top part off the flat decides should be dry by now. This time I used a slightly thicker consistency, but still quite light. I used the caramel color with Theo Mix again, and this is where I start marking the reflection on the sides, and this is what's going to give the shine or the glossy finish to the pudding. For this, you can look up references to see the different types of reflections, or you can also copy mine. What I have found is that gradations and kerf lines give a really nice, glossy effect, so I'm just going to stick with those lines around sites and the midsection off the flat. I'm also going to please the same color at the sides off the top, and this is to create a transition between the caramel and also the pudding. Because even if the caramel melts down, sometimes the mixture of the pudding also absorbed a little bit of it and usually creates a self degradation near the top. Now this is when I start to build on the layer. So I took more of the caramel color again, and this time I used a slightly thicker consistency, and I tried to place a thin line next to those thicker reflected lines from before. I also want to paint the caramel or the top part off the flan and for that I mixed in some burnt sienna, cadmium orange and also a little bit off mineral violet. I'm going to first pay the connection between the top and the sites. After that, I also want to use a thin consistency to map out the reflection off the top, and for this I'm just going to make it a little bit random. But basically, I'm just going to follow the curvature off the top part off the friend and using a thin consistency. I want to map out the negative spaces or the reflections. I just want to create really thin lines, and after mapping it out, I'm just going to paint around it, using the same color. - Now I'm going to start building on the color, so I'm going to add in some mineral violet to the brown caramel mix. From before I'm going to place this color around the sights and also near the cream. I'm not going to use it for the whole caramel surface because it might make it look a bit heavy. So at this point I've basically gone the basic shapes off the reflection on the main colors . This is the chance where I elected buildup on the layers on the color intensity. So say for the sides. I used the Richard caramel color and I place it at the top off the reflection and then I to smooth it out downwards. So it has a very, very slight gradation. But you can also make a bit more off contrast between the value, if you would like to. That will also make it look nice on it gives a nice pop to their affection. And as for the caramel top, I like to switch colors, for example, in some darker parts near the cream and the edges off the caramel. I like to add more mineral violet, whereas towards the middle, I like adding more off the queen. Read to the caramel mix so you can play around with this and see what works. If you are unsure about the placement, I always like toe work in thin earlier so I can build it up slowly old a little, the caramel top. I also like to use a thick consistency off the camel mix with the mineral violet, and this will help you create better definitive gradation on the side. Uh, 4. 1ST LAYER OF STRAWBERRIES: in this lesson. I'm going to start painting the first layer for all of the strawberries before we start, though I'll just explain briefly how I would go about this. You do want to know and understand the contour of the strawberries, especially when we are dealing with a lot of them and one go. So if it helps, you can sketch it out on the outline first. As for the highlight, I like to usually place them on the area where the curve on the contour is most curved, or where the peak off the curve iss and at that area I like to indicate it by just lightly drawing on Ah highlighted space. So once you figure that out, you can paint straightaway, but again, because we're dealing with a lot of thumb all at once. I want to actually draw it up with pencil first very lightly, because there's a chance that I might forget. If this is the first cost that you've taken off mine. I do have a very detailed cost on how to paint strawberries. This is the simplified version of it, and it's also on my YouTube channel, so you can also refer to either the tutorial on YouTube or the class on skill share for a better understanding off the subject anyway. Getting back to the topic for this one. I want to keep it simpler than my previous classes because there are so many strawberries. I'm just going to start with two colors, which is Hansa yellow and not feel red. If you want to make your strawberries more orangey, you can also use Vermeulen. But I really like the rich color off Ethelred. I like to start with the medium consistency. You can use the NFL red straight away, but I always like incorporating different hues. So I painted the bottom with Hansa yellow. Then I continued Street with enough will read while the yellow paint is still wet while I paint with enough will read. I want to avoid the area where I've drawn out the highlighted space, and at the same time, I also want to create negative spaces for the strawberry along the sides. So you do have to multi task and think about those two things at the same time, which is why drying out the highlighted area would make the task much easier to accomplish . here. I didn't have enough paint on my brush, so I just went over it again with a thicker consistency so I can spread the pain better. I like to also stop painting before reaching the very top peak off the strawberry, because the top part off the strawberry is exposed. I want to create a lighter area by waiting for the paint to dry. Then I continued on with a very thin consistency, hands a yellow and painted on top. It's OK of the natural red reactivates, because I actually want to achieve a little bit of an orangey tone. You can also makes the color yourself using a thin mix of hands yellow Ethelred and a touch off like wash if that would make it a little bit easier to control. I then continued by painting small ovals on the highlighted area. I make sure that the ovals are following the contour of the strawberry to give it a nice volume. So just till the ovals, according basically, I'm just going to repeat those steps for all of the strawberries. However, just be mindful off the position off the strawberries because some might have the top a little bit more exposed, and some course of strawberry might also have the bottom covered. So you want to be mindful of the colors you're using. If say, the bottom part is covered, then I would start by using the natural red strayed away instead of the hanzee yellow. And if more off the top is covered, then I might not have to create such a light top part off the strawberry as the one that I painted First, really take your time when painting the ovals, because this plays such an important role in creating the volume off the strawberries. So if you want your strawberries toe look very juicy and plump, I would suggest to exaggerate the curvature off the oval placement. Again, I went over this in detail my previous Phil share class on how to paint strawberries. So if you're interested in the tips and tricks on creating the volume from the texture of the strawberry, you can go to the class link that I've placed in the about section of this class. I do go over with small steps from drawing to painting, and it also includes exercise sheets. If you feel like doing additional practice so I'm just going to paint the rest off the strawberries and hopefully you can follow along. They all basically used the same method and just take your time painting, sometimes painting something quite repetitive. Lee is kind of therapeutic, so just enjoy your time painting them, and I'll get back to you in the next lesson where we'll be building up on the second layer off the strawberries. 5. 2ND LAYER OF STRAWBERRIES: for the second layer. I'm going to make a burgundy color, and for that I use the methyl read that I already have in my palette on I added ultra marine deep and also a touch off Quinn red to create a really deep sort of like a wine or burgundy color. And if you've been following me from my previous classes, you've probably noticed that I'm using a different color mix for this on the second layer of the strawberry. That's because I want to show you that you don't have to have the exact specific color, but you can just mix other colors in that are similar in terms of tone to create that sort of burgundy mix, I think previously I used Crimson Lake and Ultra Marine deep. However, you can just take the essence off the red and the blue as long as they're a bit muted and it will create this nice deep wine color. I actually prefer this color mixture compared to the Crimson Lake, because I find that this red actually gives more off a muted tone, and I like the fact that I can just change of the vibrancy by adding more off the queen read. If I want to make it less muted, and if I want to make it more meted, I can just add more of the natural red. So for this one, as you can probably tell in terms of application, I did the exact same thing as the previously or with enough will read. But this time I'm only adding it to the parts that are in shadows. So parts off the strawberries that are hidden behind or is at the bottom and where the strawberries are a bit brighter with enough lloret. I just added little dots to represent the seats, especially at the bottom part where there's a yellow. I like to draw the seeds of bit closer together and use the darker color instead off the yellow that I'm going to place later on for the strawberries at the back. I like to make the red a bit darker compared to the ones at the front. So for that I just added more all terrain deep into the mix in terms off ratio. So this is why I like using three colors instead of just two, because I really have control over what tone I want to create notice that as I'm painting, I'm fooling the curvature off the strawberry in terms off where my brush is facing. And this way, the texture and the negative spaces that you create will also follow the curvature and thus creating the volume off the strawberries. This also applies to the dots or the ovals. It really helps if you're unsure off the visualization that just by controlling your brush and placing them in the same curvature, it will really help a great deal in terms off the positions off your textures for the additional yellow seats. I like two weeks in some off my whitewashed into the hands, a yellow, and I also mixed in a tiny bit off the natural red so the yellow isn't completely yellow, but it's more like an orangey or a cream color. And I used this very sparingly on the areas where the strawberries are closer to the light . So I don't really paint this as much where I have the burgundy color because as you get to those curves off the strawberries, sometimes the seeds aren't too visible. I like to paint the seeds as small as possible and Instead of doing just pure dots or circular dots, I like to create sort of like a long line to create a really mini oval and that oval, I would place it in the same direction or the same curvature as the strawberry. Also, if it's a bit hard for you to use your larger brush for this, you can also switch to your very fine brush to make it a bit easier for you to control the paint flow or else if you're not used to it, you might create a puddle when you're trying to paint such small areas. In addition to the seeds, I also like to fix some off the strawberries that I've painted already for some of the exposed tops off the strawberries. Sometimes I felt like it was a bit empty, so I ended up adding some textures or a little bit off unfinished ovals, also in the highlight of areas. I don't want it to be completely white because it looks a bit out of place, so I soften it by activating the pain that I already put down on paper with a damp brush, and I just brush it very softly, not too much. I just want to activate very little bit off that paint to make the white a little bit more off pink tone. And after that, I just continued on with painting the rest of the seats again . You can take your time painting this, and once you're done, you can look at it again as a whole and fill in places that you feel needs a little bit off fixing. But if you miss some that so so OK, because he can also go back over it again during the finishing touches. 6. STRAWBERRY LEAVES: before I start paying two leaves. I like to always have my colors ready, so I'm just going to prepare them, especially when I know I'll be using a lot of it. So as my main colors, I always like to start with sap green and hands yellow, then moving towards the bottom. I'm going to Stoli. Add in some ultra marine deep for a cooler green and on the side. I also added some off the red that I already had my palette to create a muted green to paint the Leafs. I like to alternate between these colors for the base color, but I do want the base to be fairly light, so I want to mostly paint with mixture of hands yellow and sap green. I'm still going to alternate between the different temperatures off the green, but I do only want a tiny amount of it so it doesn't look too dark at this point. Like usual, I always like to include small negative spaces to lighten the painting, and I like to also paint the leaves that are in shadow with a slightly darker green and because I'm using my small brush and I only use a little bit off water for each of the leaf is going to dry out quite quickly so I can go straight on with the second layer when it already starts to dry. For this particular strawberry, I just felt like the top was a bit empty, so I ended up adding some off the ovals. But if you're just look fine, you don't have to do that. I just accidentally missed up from the previous lesson. As you can see, some off the Leafs on the strawberries have folds. And whenever I encounter that parts off a painting, I always like to give a little bit of space in between to separate the fold on the strawberry so it doesn't blend together, and it also helps. He used a different type off green. So where the full distant pending on where the light is coming from, you can either painted a little bit darker or a little bit lighter, so the rest of this is fairly simple. I'm just going to continue with the rest off the leaves, and I'll get back to you when I start painting the step for the stem. I want the green color to be different than the Leafs, and for this I'm going to use a warmer green that is closer to a brown. So I'm going to use a mix off sap. Green has a yellow and also a tiny bit off the red to give it the slight brownish color, and I'm going to apply the colors to all of the steps. Next, I'm going to build up on the layers, and for this I do want to create a darker green. So I decided to add more ultramarine deep to the green mix that I already have on my palette. And I like to apply this to the leaves that are hidden at the back. And as for the folded leaves, I like to make them lighter, depending if the light is hitting it. The idea is just to separate the fold so it doesn't become silhouette off leaves. But I want the separate shapes to still be visible for the second layer. Even if I'm painting a large amount of it, I still try to leave out some negative spaces, so the base color still shows through. - For the last step of this painting. I like to add quite a lot afraid to the green mix that I already have on my palette. And I'm just going to apply this on the strawberry as shadow from the leaves to give it a different tone off red. And sometimes I liked also apply this in between the leaves to separate each off the leaves and also the folds. 7. MINT LEAVES: mint leaves are super simple for this one. There aren't many of them, and they're quite small. So for this I use the leftover green that I had from painting the leaves off the strawberries. And if you're green, mix is a little bit too cool. I would just add some hands, yellow or a little bit off sap green to adjust. And I am going to follow the direction off the mid room and veins just like the previous classes and leaving out some white space in certain spots randomly and once I'm done with the base layer, I also used a darker tone of green by adding some ultra marine deep. Or if you want the leaves to be a bit warmer, you can also add a touch off burnt sienna. 8. STRAWBERRY BLOSSOM: the flowers are quite simple. I'm going to first mix an array of different muted hues. The 1st 1 I use is a mix off manganese blue at ultra Marine deep and then to meet the green . I took some off the brownish green mixed that I had from before, and I use that to slightly dull down the color. Then I used the same blue that I already mixed up here with a little bit off red that I already have one my ballot to to create a muted brown purple color. And you can just adjust this according to what sort of purple you want to create. So if you want more of a warm parable, you would add, but more of the red. If you want more of a bluish purple, you can add more of the ultra marine deep, and then just use the colors that you already have. Like the greens too muted down. You can basically use any colors, which has components off the complementary color off that particular one too muted down. So for the next one, I just made like an orangey brown mix, and for the last one, I created a yellowish brown mix. I can't really tell you the exact ratio of this, but hopefully this video will give you some reference off the toast that I used to paint flowers. So even with those separate colors, I end up taking some off the meter purple and the muted bread, and I use a very, very thin consistency off that to paint parts off the flower petals. I tried to avoid the folded ones because I want to separate it like I did with the strawberry leaves. The way I apply the paint is to create lines following the curvature of the flowers, and this will suggest the curve pedals. And even if the color is light, I'm still going to leave out some white spaces to create soft textures to Britain. The flower slightly. I use a little bit off the muted yellow color to either glaze or apply it the same way, with fin strokes on top off the previous layer, which will create a nice soft cream color. Then, using a really thin consistency off the muted blue, I apply it to the folds on the pedal, and I also use it to paint in between the pedals to separate it to finish the flowers off. I use a very thick consistency off permanent yellow deep, and I wanted to be close to a dry brush effect to paint on the yellow center. Off the flour, I'm painting short lines, which is directed to the center of the flower where the petals together. 9. CREAM: like usual. This probably the trickiest part of the painting as we are going to deal with a lot of flight colors for this, I'm just going to use the colors that I've already premixed for the flowers and switch between those great tones. The first color that I used is the muted purple, which looks most great in my opinion, and I just placed it in one side of the fold on the left that is facing down slightly, and I also placed them on the small folds at the bottom. Next, I use agree that is a little bit more purple by adding a bit of mineral violet to the muted yellow, and I place the very thin consistency to create a gradation from degree. Before here, I used the muted orange or red color, and I created a gradation by continuing with clean water as I get to the bottom off fold and then next to it. I add a touch off ultra marine deep, and I painted a small portion off the fold and then soften it with clean water again. And I also added a light and between two supreme difference moving on to the fools of the bottom. I added some gray purple, and this time I painted in accordance to the direction off the bottom fold. So instead of painting downwards, I paid sideways. Then I used the same color to paint the tips off the folds of the cream. On the right hand side. I like to alternate between colors so the fools aren't quite defined. I'm working very lightly because I want the cream to stay nice and light so it looks more off white and the rest that we're painting are just shadows. In certain areas, I always like to add a line for shadow or for the folds inwards. I like to also add more of a cooler great on the left side, off the cream and on the right side. I liked add warm, agrees, and also where the cream as close to the strawberry. I want to have the red reflected on the cream, so I used some off the light pinks. The points that I just listed are basically was going on in my head as I paint the cream for this particular painting, I like separating one side with different temperatures off Gri and also sometimes leaving the opposite side off the fold on the cream just plain white. So there's a difference between the folds. In my opinion, one of the hardest things to do here is probably getting the really light tone. You can practice this on a scrap piece of paper and see how light off a value you can create and how watery that value looks like on your palate. I used to not understand this, too, when I first painted with watercolors, but you can think off these colors more like tinted water than paint. It's always safer to switch on the scrap piece of paper first, if you're unsure off how the cholera bolter not on your painting. I included my palette here while I paid the cream, because it's quite hard to explain in words. But as he can probably tell from the colors, they're very watery. And whenever I need to slightly just the color, I just pull from either one off the puddle. And I just had a touch of the hue that I want to have for the outlines that I created. I mentioned that I like to please thumb on the inward fold if you look at the outline. Their folds with two thin lines unfolds with one line. The folds with one line defines the fold inwards. And those are the areas that I like to add the light outline, or sometimes a gradation, as outlined if I decide I want the bottom to be light colored. I also like to define the freely folds at the bottom off the cream because I think it just adds a delicate touch to the texture of the cream. 10. CAST SHADOW: in this lesson, I'm going to be painting the main shadow off the customer putting in the strawberries. I like the warm purple great colors, so I'm just going to create that again by using the colors that I have left on my palette. I used the red that is left and also the muted blue from the flowers, and I first apply a medium consistency near the strawberries, leaves and flowers. I want the pain to glide really smoothly with quite a bit of color, and after that I clean my brush and I loaded with clean water to soften the edges. - After I finished softening the adjust, I took a slightly thicker consistency off the warm purple color, and I buy it closely. Too old, the strawberries and flowers. While I do this, I like to use my small brush to get into the small groups and in between the pedals to sharpen the edges. I also like toe outlined, some off the folds off the flower petals slightly. At this point, I want to use what it's left on my brush so the color is very light. I also took my time in going over each flower petals slowly, because the shadow will make the white color pop out more from the painting. Old 11. REFINEMENT: SHADOWS AND HIGHLIGHTS: in this lesson, I'm going to go over the final refinement off the painting, cleaning up, just redefining shapes, increasing contrast and so on. I like to jump around between steps and this one, because the refinement will really depend on how you're painting look like and the finishing touches that you need to make. This is mostly based on intuition, and this is the step which will make your painting look finished and cleaned up. I've also divided this lesson into two, just so it's a little bit easier to digest because I'll be jumping around through the steps to. So before what I was doing was just cleaning up the ovals off the strawberry. I also erase some seeds at the bottom of the strawberry because I feel like it was standing out a little bit too much against the dark red color, and I redefined some off the seeds, which I think needs a little bit more definition in the highlight of areas. And here I feel like the caramel looked a little bit too bird, so I ended up using a little bit of Quinn red that I mixed with the colors that I have left of my palette, so it's not too overly bright, and I use this to not only give a different hue to the caramel to brighten, and I also took the opportunity to define the highlights Once I'm done. I used to make sure off mineral, violent and burnt sienna, and I use this to clean up the edges near the cream for a little bit off the shadow and also the sites. So I want edges and the sides to have more off the purple E brown color, while the middle has more off a reddish tone for the caramel. Next, I'm mixed in some cadmium orange to the reds and the browns that I already have on my palette, and I use a medium consistency to be in the top parts around 1/3 down. Off the reflections, I then clean my brush and definite with clean water to create a subtle gradation. You can also take this opportunity to make additional details to the reflection, but don't go too overboard. I just decided to add a thin, curvy line and also very lights wished to soothe. I use the dark caramel color, which is a mixture off mineral violet and burnt sienna, and I use the light consistency off this to paint the shadows off the strawberries against the flan, and I first to use a like consistency just to basically what the areas. After that, I will go over it again with the darker consistency, paint closer to the edges off the strawberries and also the flowers to clean up and sharpen the edges. I also like to add a little bit of a red tone close to the strawberries because I always like that mixed off Hughes, and I think it gives the strawberries a little bit off the glow from the reflection here, I used a dark red mix, or you can also just add a bit off red to the brown purple mix to clean the edges. Again. I really tried to look at spaces where, if you zoom in, the lines are a little bit jagged and unclean, which might make the painting look unfinished, and the star color will also enhance the shapes off the flowers instead of it blending with white background off the paper. Then, here I do the same thing with the Leafs. I added red to the green because that's the shadow mix that I used for the Strawberry Leafs . Sometimes I like to fix the tips off the leaves to make them sharper or outlined certain parts off the leaf to separate the shapes. I also like to add a bit off the warm green color for the bottom off the stem where it's connecting to the strawberry. It's timeto at the highlights. Now for this. I want freshly squeezed white wash so I can make sure to get good. Okay, paint. And I want to use this life dry brush to the white so it doesn't puddle up. And this way the lines can also come out a little bit thinner. I like to line the tip off where the caramel is ending or the edges off the flan, and this will give the look off the shiny caramel that is puddling on top off the flan. I also like to do little specks off white along that area to give it more of a brightness and reflective effect from the light. On top of that, I also added some white lines as reflections and also as definitions to some off the lines that I painted before with the spare paint that I have on my brush. I also use it to separate some off the center of the flower where the yellow is. You can see that it looks a little bit bulky, so I use the white to break up the shapes here. I'm just doing the same steps as before in areas where I missed, uh 12. REFINEMENT: GLOSSY EFFECT: in this lesson, I will add the additional shine off the fan and also a bit off glow in color because I do want nice, vibrant colors for this, I'm going to first clean out a section of my palate to make sure that the colors are clear . I use a mix of hands yellow and cadmium orange again, and I'm going to apply it as a glaze at the top part of the fun to create a vibrant gradation downwards. I also play the same thing from the bottom up so the middle shouldn't be as dark as the top and bottom part, then take a slightly thicker consistency on. I apply it to the reflections this time to also brighten it up because I applied thin layers. Previously, I'm just going to keep building it up until I get the vibrancy that I want. I don't want this to be overly bright, so I am working and thinner layers, and I'm just waiting for it to dry and settle. And if it's a little bit too light, I just add on another layer of it. Next, I took a fairly thick consistency wide wash, and I decided to add more reflections with the white. I just created random kerf lines following the contour of the flat. After I'm done with the white reflections, I decided to go over it again with the golden yellow color. And I'm going to do this to define some off. The white lines are letting too much with the color off the fund. So where the finest light and the background is also light, I decided to just add a darker color to make the white pop out a little bit more. Lastly, I just added some white speckles on the caramel to give it a little bit of Schumer to the reflection. And I also added more off the golden yellow mix from before to glaze the bottom part off the flan. And we're done with the painting. If you feel like you need to touch upon certain things, you can also do that. But I think I can call my finish 13. CLOSING AND CLASS PROJECT: congratulations and completing this cause I hope you guys enjoyed watching me take you through my process off painting the strawberry flan or strawberry custard pudding for the cost project. I would love for you to inte long to each individual lessons. Feel free to also incorporate your own twist and any additional elements that you would like to add to the painting. Once you're done with the painting, I would love to see it posted in the project session so you can share it with me and your fellow students. I find it really fun to see how you guys interpret the painting. And it's always a pleasure to look at your individual styles. If you would like to see more art by me and follow me on my instagram at gender Skorney Ignani. I also post weekly watercolor tutorials on my YouTube channel. Janjalani Thank you so much for watching till the end. I hope you guys enjoyed the Siri's. As much as I enjoy putting it together, I hope to see all you were explosive. The project section. Once you're done having a day and I will see what the next class. Bye