The Beginner's Guide to Watercolors through Cookies

1. Introduction: Hello. Have you always wanted to learn how to use watercolors? But felt too intimidated to start? Did you ever not know what materials to purchase or even felt that your drawing skills were not good enough to even begin painting? This course is exactly what you need to begin your watercolor journey. Hi, my name is Alisha Paran, and I'm an artist who works primarily in watercolors and ink. Many times over the years, I've heard people comment that they heard watercolors were a very tricky medium to use, or that they found doing still live subjects, like painting a vase of flowers, for instance, too complicated and boring. Exactly why I decided to design a course specifically for watercolor beginners. And what subject could be more enticing to introduce you to the principles of drawing and watercolors. Then painting cookies. To me, cookies are this magical food that have the ability to evoke these really fond memories, such as baking with loved ones, Holidays travel, or simply sweet treats to lift our spirits. This course is broken up into several projects that paint different cookies. In the first project, I will teach you how to draw a simple butter cookie with Smarties in it to build up your confidence and then apply water colors slowly to it. Our second project will teach you how to work with darker colors and how to produce texture such as the cracks in a delicious chewy triple chocolate cookie. Our third project will teach you how to create a brand new color by mixing colors in a palette to create a smooth and three dimensional look by painting a blueberry macaroon from the side on profile. Our fourth project will teach you how to create the look and textures of icing and sprinkles by drawing a hundreds and thousands biscuit. Our final project will be a very fun Christmas them cookie. Teach you how to create the illusion of transparency by sketching and designing a stained glass Christmas tree cookie. This class is designed specifically for beginners, but in my opinion, anyone who loves cookies and wants to draw and paint them is more than welcome to join in, whether you're a complete watercolor beginner or like me, a cookie lover. Let's begin. 2. Materials: Hi everyone and welcome to the material section of our course. Now in this course, we are going to be doing five different cookies, but they are all going to have certain materials in common. I would like to list those first before listing the other specific materials for each cookie. I'd like to start first with the paper that I'm going to use. Now I love using this three pad of watercolor paper with a weight of 300 grams/meter square by the brand, Anson. I really love it because I find it very convenient to have all my paintings inside here. But what's great is it has a dotted line that makes it very convenient if you want to tear the painting out. Now I'd like to list the drawing materials that I'm going to use for this course cookie. I tend to use Pilot super grip pencils, which have a thickness of 0.5 MM. I tend to use HB Lead. I also have, this is a brand statel, but you can use any soft eraser you want, but this is something that's very convenient. And this is my tombobrandnozero mechanical eraser, which makes it very handy to erase very small areas. Now I'd like to talk about the materials that you're going to need for painting. Now let's start with the obviously water Now, I tend to have jars of water just for convenience, so I don't have to keep changing the water when I'm working. I'm also going to use a ceramic palette. Because they are great for mixing paints and they don't stain. I tend to use a rag to absorb the extra water from the brushes when I rinse them. What's great about this is you can just throw it into the wash afterwards. For the paint brushes for this course, you're only going to need these three round brushes. I'm using the brand silver black velvet. They are wonderful brushes, I can use them. Each of the cookies, the size 12 is wonderful for wedding large areas as well as applying paint for large areas. The size four is perfect for detail. The size eight is great for everything in between. Now I just want to talk about the paints that I'm going to use. I happen to have this very handy Travelers watercolor ceramic dish here that's full of little paints. Now, these are all artist quality paints. I tend to use the brand Dell Brownie or Windsor and Newton, or even art spectrum. You don't have to use the same brand that I do. But the only thing I request is please use artist quality paints because they really do make a difference in your work. Now I'd like to just list all the specific paints that you're going to need. Starting with our Smarties cookies. You're going to need the colors. Raw, sienna, brown ocher, burnt umber sepia sap, green, Alizarin, crimson, cadmium yellow, and indigo. In addition to that, you are also going to need to use a size ten white gel pen. I have the brand jelly roll, but you can use whatever white gel pen you want of this size. For the triple chocolate cookie, we're going to use the pains. Ultramarine violet, French ultramarine burn, umber sepia, Naples, yellow and indigo. We're also going to use a sepia pen. I'm using this brand by Faber Castell. It is going to help you with the details next. For the blueberry macaroon, we are going to use the Pains Serulian blue indigo, ultramarine violet, and Pains gray. We using a white El pen which is 0.5 MM. To add some details later on for the hundreds and thousands cookie, we are going to use the colors of, of rose madder, genuine raw sienna, burnt umber indigo, cadmium yellow, cadmium orange, Hookers green, cerulean blue, and pains gray. For this particular cookie, I am going to use white gel pens of various sizes. Finally, for the Christmas tree stained glass cookie, we are going to use the raw sienna, raw umber, burnt umber, cadmium orange, cadmium red. Pains gray, sap green, and hook is green. We are also going to white gel pen. We're also going to use the same dark fine liner pen. We are going to use a silver metallic glitter pen. I've got this one by jelly roll and it is. I'm going to be used later to add some really cool detail into your Christmas tree stained glass cookie. Those are all the materials that you are going to need for your cookies project. If you're ready, let's begin. 3. Butter Cookies - Sketch and Base Coat: Hello. We are just about to start drawing our butter cookie with cute little Smarties in it. Let's begin by just drawing a shape that's just between a circle and an oval. Because these are obviously handmade, I'm just using broken lines to draw that. We really are not aiming to draw the exact same shape. It's just about capturing the essence of the cookie. As you can see, I drew something that looks like this. That is absolutely fine because our cookie is a rough shape. It is handmade. I just wanted to make sure I made it big enough so that I could just show a little things I would like to. Effects and the techniques, something like that is good enough for this because it may not look like much. Now, I'm just going to erase all these excess lines just to keep it clean. Just so we can really see the cookie coming to life. With each step that we take, just try and keep your lines nice and clean because this is just a very simple cookie. Outline. What you will notice when it comes to food is that it's actually the imperfections of the food that make it look more real. Something that's not completely perfectly circular, perfectly oval, perfectly cubish. It will make it all look more realistic. I'm just going to now add a little Smarty. I'm just using one of my pictures of my cookies as a guideline. The Smarty is going to be roundish once more. We're not aiming for perfection here. Like this is just a handmade smarty cookie, which I thought would be a perfect example to use for beginners. Because we're going to show you a few techniques here. Or rather you're going to learn a few techniques here, because this, to me, is a great starting point. Another thing that I'd like to add, now, you don't have to add this now. It's just worth noting there's a little crack here. Okay, now these are little things that I would really like to add in. You can do this later as well. You don't have to do it now. I just wanted to put that there. I also see there's like a bit of a like a crease here on this boundary of the cookie. These are just a little things that are worth noting. But once more, we're not aiming to follow this cookie exactly the way it is. These are imperfections. Well, might just do this line here. Okay, this is okay. I want to, it's another little crack here that I'm doing now. They can be added in later. Just noting, oh, there are all these couple of these interesting little lines here. My cookie is not even exactly the same as this cookie as you go along with this process. You can also add your own imperfections in. You don't have to follow the photograph, Whatever reference photograph, it's good to look at a reference photograph. You don't have to follow it exactly. Now that we've drawn our simple cookie shape, I'm now going to get my palette out. I'm going to put it over here. Want to make sure that you can see it? I might just move my painting over here just so you can see everything. Now, the colors that we already tested earlier that I would love to add, I want to start first with raw sienna. All I'm doing, here's my paints, by the way, I have this tiny little travel palette, but I do know all the colors that I'm using. This one is raw sienna and I'm just going to put it into my palette just to help. Just so it's there, it's available when I need it. Another color that I'm going to be using, Brown. Oka. As we tested earlier, it's a beautiful brown with reddish tones in it. It's still a different red to burn. Siena. I also want to get my color. I'm going to be, this is a pretty light cookie, but I just want to get this color as well. This is our burn umber, which we will be using sparingly. I'm just going to have it ready to go sepia with sepia. I might just leave it over here in this little corner here because we don't need a lot of it and we don't need to use it just yet. Give your brush a good rings. Now, with my nice clean brush, I'm going to just drop in some water in all the areas of the cookie except the Smarties, because we are not going to paint them yet. And how much water would you put in? I load my brush water. This is all this will come with practice. You want to be able to just wet the area you want to paint, for it to have a nice glaze. It, you don't want it soaking with water where it's like a puddle sitting there. You just want a glaze it. As you can see, once you have a uniform glaze, this is good. You want to work at it now before parts of it dry. And if you want, you can just add a little bit more water. Because I'm talking a bit here. I just want to make sure this has a nice to it is what I would say to look for. Once you got that, we can start dropping in our color. I'm going to start with our lights color, which is raw Sienna. This is going to give us our cookie dough Look. What I would do is to even make it you're moving the paint around with your brush. As you can see, I had a pretty a diluted version of raw sienna in there. It was not concentrated at all. I'm getting this nice light color here, but I want to load up my brush again with the same concentration of it. I want to start, as you can see, dropping in some more towards the edges. Because even though a cookie may look flat to us, it still has some dimension inside of the cookie tends to stick up more than the edges. The edges are where it was in contact with, the edges are going to be a little bit more depressed than the middle. I'm just adding that in a little bit because all these little things are going to give you dimension to your cookie. I'm done with that color. I've used quite a bit of it now. I'm just going to rinse my brush and I'm going to drop in this brown ocher color very sparingly. I'm going to put it in, as you can see near the edges because this is going to give the illusion that this part was cooked slightly more than the middle, which is why it has this color, which is slightly darker. All these are going to trick the viewer's eye into thinking that this is a real three dimensional object. We don't want to make it look too uniform, but I want to put it in areas like the crack where you have a little bit of a depression there. It all starts giving that feeling that this is starting to look quite real. As you can see, the glaze is still going on here. While that's happening, I just want to use this time to just yeah, just add the little burn parts where I feel like I need them. This is not even that burn, it's what I mean, the areas that are just cooked a little bit more. We're just going to let that just dry a little bit now because it's very wet. Let's just leave that for a little while. While that is happening, we can start thinking about the next step. I'm just going to rinse my brush, another color that I want to use. I'm only going to use this sparingly. This is drying, it's, I'm going to leave that there for a while. I want to add this color, which is burn umber. This is also a very rich chocolate color. You want to use a very small round brush and you're going to just use the tip of it to drop in a little bit around the edge here. The reason we're doing this, we're working wet on wet, is because we want this to spread a little into the middle of the cookie, not just stay to the edge. I'm putting some of this here. I'm also going to put a little bit here, just a little careful with how it spreads. This is fine, but if you feel it spread too much, just use a clean damp brush. Let me just repeat that. A clean damp brush to soak up a little bit of that. If you feel it was too strong, as you can see, it's still wet. But we are adding some nice dimension to alkokie with this color. I just want to go slightly around here. I don't want to create a very obvious circumference or anything like that, but I want to add it to these little areas where you've got the cracks. I also want to add some here. As you can see, the color is still very, very wet here. But we can use that to our advantage. We can just add a little bit around here. I'm also going to use the color burn umber to just drop it in a little bit here and there in our cookie just to create a bit of texture. Just some dimples in the cookie. A little bit of imperfections here and there. Because this is all going to add texture. It's going to trick the eye into thinking that this is a real cookie. We don't want to overdo it though, but it depends. You don't have to follow my reference photograph. You can even make your cookie look like it was a little bit more burned by adding in more of these colors, the darker colors along the edges. As you can see, I'm adding a bit of texture while waiting for all this to dry. A, waiting for the cookie. I'm already calling it a cookie. I'm just waiting for this whole area to dry nicely. We've got more concentrated colors here. I think. I want to just drop in a little bit over here. Okay, so that's looking good. What you can also do now is maybe add a little bit of that darker color just around each Smarty, because it gives the impression that the smarty is sticking out. It is sticking out around this darker area that's looking really nice. Bear in mind, this is supposed to be a reasonably light cookie. We've used a base of raw sienna, which is quite a light color. It's a light sandy color. This exercise is helping you learn how to drop in the right amount of pains to create a varied wash. It's okay. Don't worry too much if this starts spreading a little bit into your Smarty, that's absolutely fine. We can totally pain over that. I'm just using my brush now to encourage this area to spread too evenly to come a little bit into the middle of the cookie And not just stay there, but right now, I'm actually really happy with this. I would like it to just dry a little bit more before I introduce any more darker colors to it. So see you in the next video. 4. Butter Cookies - Final Touches: Hi, and we're back. The base coat has dried, and as you can see, we have these cool little colors on the side here, which are really nice that give it a bit of dimension already. But before I add on to this cookie, I actually want to start on the really fun part, which the smarties, the smarties that I have in my cookie that I chose to follow, are yellow, green, and red. You don't have to follow these colors, Obviously, you can choose to do whatever colors you want. Let's begin. First by I've decided I'm going to go with a nice green Smarty. I've got a green Smarty over here. What I want to do first is use a clean brush to just this Smarty area. While I do that, I can actually wet each Smarty area because this is a relatively small area that I'm wetting. It shouldn't dry that quickly. While this is, as you can see from the sheen, I'm going to drop in a bit of this beautiful sap green color to give this really cool smarty here. I love this green color. This is like a really bright, fun green. I'm just slowly get absorbed by the paper. Before I add anything to that, let's just rewet this area. And I've decided to go with a red. The red that we have, I've decided to go with a color called Alizarin Crimson, which is actually quite a strong pinkish red. I'm just going to drop that in. As you can see, it's already spreading. But I'm going to need more of that. What I'm doing is, as you notice for the green, I pretty much laid a flat wash in. But this one I'm going to just start putting some red around the edges, leaving the middle to be lighter while the green is still sitting there. I'm going to now do this one, which is a yellow, just deciding or should I make it blue for fun? All right, I'll just go with my reference photo for now, just to demonstrate this. As you can see that yellow is nice, very rich. I'm just going to pretty much lay a flat wash there as well with the green. Now I can see a lot of colors. I can see some parts of the green are darker than others. This is where I'm going to use my shadow color of indigo. And I'm just going to put it over here just so you can see it. I'm going to start just going near the edge carefully with the tip of my brush. I'm going to let this indigo outline it with just the tip of my brush. That's a bit difficult to do, but you just have to go very slow with little strokes. You don't have to do a continuous stroke. Do something like this where and you want to try and stay in the perimeter of the green Smarty. But this part, you're now going to start dropping a bit more paint in here. What we're doing now is we're going to encourage the pain to spread a little. But I'm going to make sure that what I'm doing is I'm just trying to drop in this pain around the edges, but I'm going to make sure that I leave. The middle of the Smarty clear. I'm not going to add any shadow color there. Then after that, I'm just going to let this slowly dry. I'm going to move on to my red. And I'm going to do a similar thing where I'm going to take some of that shadow color. I'm also just going to go around the perimeter. What this does is starting to build some dimension to the Smarty. Start to let the viewer think that, hey, the inside of the Smarty is, is lighter, which means that it probably sticks out more. There we go. As you can see, some beautiful spreading of the colors here. Once more, just take care to not do the middle of that Smarty yet. I'm also going to do the same thing for the yellow. I'm just going to go very gently with the tip of my brush. As you can see, it's already starting to get a bit, it's starting to look less flat. Once I do that, I can start dropping in a bit of the paint here and making sure that you leave the middle untouched as well. If you feel that these marks are too obvious, you can use a damp, clean brush to help spread the color a little bit more. I think that's fine because I don't know if you know this, but water colors tend to dry lighter than they apply on. While I have the indigo on my brush, I just want to start emphasizing things like these cracks that you see here. Indigo is the color that I would use to do these little subtle cracks. You could just very lightly with your brush, your brush is almost floating over. We are going to emphasize these tiny imperfections or little pores in the cookie, if you want to call them that. I'm also going to use it to outline lines and also just the edge, the very edge of our cookie. Don't worry about that part that goes out, it's fine. As you can see, it already is starting to make our cookie look a little bit more believable. It's starting to look less like a flat object and more like it has some actual dimensions. All I'm doing is this color, which is indigo. It's such a brilliant color because it really does add a very subtle shadow. Now, you don't have to outline everything or do it evenly, but I would just use the indigo to go around it gently in little broken lines, not too dark. We're just going to trace around it. Also in areas where you see like this edge looked a bit darker over here. We're going to add a little bit more of our indigo over there. I can see that it's a little darker here. We're going to add some here to. And I'm just taking a step back and looking, and you can see that our Smarty cookie already looks like it's starting to come alive. It looks so different than it did when we just painted. Like when we just laid the base coat down. Even more spectacular than when we drew a rough circle. All I'm doing now is using my brush, which has very faint light amounts of indigo left on it. From all the outlining that I've done, I'm gently, in a very random manner, to make this look natural. I'm slowly, this area around it starts to look like pores of the cookie, of the cookie dough when it's baked, where the air would just escape. As your brush has fainter amounts of pain, you can start to see that, yeah, this is looking really nice. What I want to do now that the layers, these smarties have dried is I just want to go back with my shadow color. Once more just re, emphasize the perimeter of my Smarty because this will, don't do it too dark, but this will help to make your Smarty just stand out. It also makes it look three dimensional. It's okay if this looks like it's smudged here because that's actually what we want, because some of the coloring from the Smarty would have actually bled out into the cookie. That's actually a cool effect. That is great. In fact, I was actually going to emphasize that as well, just a bit over here. This red cookie. I just want to take a bit of that Alizarin Crimson that I laid down before. And I just want to let it intentionally bleed out like this into the surroundings. You may think, why am I doing this? Because it makes your cookie look even more realistic. Like I said before, it's these little imperfections that make your food look real. As you can see, I just made it look like it bled out there. I'm also going to do the same for the yellow. I'm just going to look, it looks like some of that coloring came out during the baking process. That's really cool. Also, let's repeat with the green. I think I got a bit of a thick concentration there. It's always good, which is why your brush should touch the palette. When you lift the pain out of its pans, just so you can see the color, how concentrated it is. Because sometimes you may end up lifting a huge gloup of paint out that's too concentrated. This is looking great. I'm really happy with this. I feel like, hey, at this stage I can use a bit of my brown ochre. Just make sure you have your spare piece of paper for testing. In fact, you can leave it there if you want. Mine was just hiding. I'm going to even use some of this color. Just testing it. You can, you can are on if you want, you want your cookie to look a little bit more burned and if you feel like, oh, that's like the lines are looking too obvious, take a clean, damp brush and just quickly try to spread it. As you can see, it adds this beautiful effect. I think I might put some more here. It just makes our cookie look like, hey, this part got a little bit more burned at the edges there. You can do this as much as you like to your heart's content. But I just warned you a take a step back and have a look at it, because your painting can look very different from a foot away. If you just got up of your chair and stared at it like downward, you can see things like, hey, maybe I'm getting a bit carried away putting imperfections in, which is something that I tell myself sometimes right now I'm getting up again and having a look at it, but I am very happy with how it's turning out. I still do feel I might take some of that brown that I had and I'm going to go a little here and there with my brush. I would just warn you don't even have to use the brown Oka. You can also use some of the raw sienna to that was our main base coat color. And I'm just going to also add it in like that specs because it adds to the whole look of the cookie. If you find that you have any line or any brush stroke that looks a bit too obvious, just take a damp brush and go over it again with water to help spread it. Now I, for the very final touches of this cookie, I want to a little bit more of the indigo. Because as I said before, watercolors tend to dry a little bit lighter than they apply on. I'm fine to just go around once more. By the way, it's always better to work with a concentration first rather than going on with a really dark concentration. Obviously, it's easier to build up layers than to have to remove layers is how I feel, if you feel like the first layer. Wasn't dark enough. You can always just add on later, which is what's wonderful about watercolors rather than going really strong at the start. I just want to outline this again, just to emphasize that Smart, yeah, Smarty cookies, they are a great memory, like childhood treat, adult treat for me too. I might just add a few of these tiny lines that look like they, they came from the oven. All right. Now I just want to add something that's going to give our cookie even more dimension. That is to give it a slight shadow. Because this cookie is being viewed from above, you're not going to see like a full shadow around it. You're probably going to see the shadow is going to be near the edge of the cookie, but it might be a little bit thicker on one side. In my reference photograph, I can easily see the shadow is a lot more obvious on the upper side of the cookie to make a shadow color, which is why I have the sepia shadow color. This indigo is a great color for a shadow, but I feel like I want a deeper shadow, which I'm going to mix in some sepia in there. Sepia is that beautiful, dark brown. It's a gorgeous color that I also use for shadows. I use a lot, especially when I'm painting trees right now, as you can see, I'm creating a slightly wider shadow on the top of the cookie as opposed to all around the cookie. Because of the way the lighting is in the reference photograph, the bulk of the very thin shadow that surrounds the cookie has ended up at the top here, just at the top edge here. I'm just going to follow this shape around here very gently. I don't think it's going to get any thicker there. Then the shadow is going to start tapering in here to just on the edge of the cookie. Just by doing that, you can see that once more we've added more dimension to our cookie. And I'm just going to take a step back and I'm like, wow, that cookie is really starting to pop now because of this little trick of putting a shadow around it and not in a uniform way just at the top there. I'm just going to use my shadow color to now just outline the cookie right at its edge. We're not going to give it any thicker barrier there like we did up there. This is just the shadow color that we're using. I'm loving what I'm seeing here. I think the cookie looks so cute. If you want, you can even use this mixture even though if you're happy with how your cookie looks now, don't overdo it, is my advice. All right? I'm happy with my guy. I think he's looking really good. Am I going to stop? I use a bit of the shadow color to add a bit of cracks around the cookie, but I already think the cookie is looking good and if you're happy with it, feel free to stop. I think I will stop myself. Now, if you like the shadow, if you like the darkness of the shadow, you think it's dark enough and it has that right thickness, then you can stop. But I just wanted to point out like one more little thing here. I just want to add a little bit more color to this green Smarty here. I just feel like it could use a little bit more color. What I'm doing is I'm using some of the green. I'm just dry brushing it on, but I'm making sure that I'm going to leave the middle. Lighter because that to me, it adds just that roundness to it that makes the middle stick out. If you feel now that I look at it, I wouldn't mind just building up some more layers for my other Smarties. One small. We are going to leave the middle area. We're dry brushing on. It's fine. If you see these bold. I can see the white reflection. It's like a square shape. In that case, I'm fine to leave that square quite obvious there because I'm about to show you another trick. I'm just going to do the same with the yellow dabbing on yellow around the circumference, but just leaving the middle if you want. At this stage we can just drop in a bit of. All right, just test it out. Dry brush on a little bit of indigo. This will blend in with the green that's already wet. And do the same with the red Smarty because all we're doing is we're t making this look more realistic. By, I can see from the reference photograph that when the Smarty is baked, it just gets like this darkish color, the shell gets dark. I don't know whether that's because of the sugar in the Smarty, if that's doing that. But I'm really happy with how it's looking. Now this is almost dry. We're just going to let it dry while it dries. I just want to show you one of my favorite tricks, which is using a white gel pen. And I happen to have this one here. If that's pretty dry, this white gel pen is just like magic. It's going to help us add some shine, those little white lines that you see, white areas that you see because the light is reflecting off it in a photograph. I'm just going to use this now to add, I hope this turns out here. I'm going to use this, well, it is a bit faint to see this on this area, but it's going to have this nice white. I think I can see it more against the red. If you feel like your pen. For me, my pen is not quite doing that. Now, I might have to switch pens, might have to add this out. I'm going to switch pens. There we go. Now you can see that white. It's a bit embarrassing when the pen does that. Sometimes it can misbehave and you think that you're going to add some white and doesn't quite come out. Here we go. The white is a little harder to see against the green, but it is there. As you can see, I've added the lines, and I'm going to do the same for the white. Here we are, adding some nice reflection that make Al Smarties look even more realistic. I'm just going to take a step back just to have a look at it and I'm like, wow, that really does look like it's just popping and coming to life. The white El pen is just a trick that I love us. I have white gel pens in different sizes. This is my largest one. Another thing you can do is if you feel that the line is too obvious, you can blend it in by using a damp, wet brush. And the tip of the brush, just like that. As you can see, it's blending in much better than just a very bold, big line for this. I don't really feel I need to blend it because it's quite light already. I'm just going to blend the yellow into, I'm taking a step back, I just think this looks so cool. It really does look like a cookie. Now, if you have something that resembles this, if you followed the steps, this is really awesome. You've turned a circular scratch of pencil that you just laid down, a very simple circular shape that you drew. You've turned it into what anyone can tell, looks like a butter cookie with Smarties in them. If you've got this product, you should be very, very happy with yourself because you've just painted your first Smarty cookie. Congratulations. In the next section of this class, I'm going to teach you how to mix colors so that you produce a very dark chocolate color that you are going to use to paint your delicious triple chocolate cookie. If you're ready, let's begin the next section. 5. Triple Chocolate Cookies - Sketch and Base Coat: Hello and welcome back. We are just about to start doing our triple chocolate cookie. Now this is like one of my personal favorites, not just to paint, but to eat. Obviously, the thing about the triple chocolate cookie, which means it has cocoa powder in its batter, which makes it look very, very chocolate. And it also has chocolate chips added to it. The one that I'd like to draw is one that has both milk, chocolate chips and white chocolate chips added to it. Because I feel like it will really stand out against the dark cookie dough. Now the first thing we're going to do is we are going to sketch the cookie. I have a reference photograph, but honestly, this is something that you can do without a reference photograph. If you can just, I'm going to make my cookie quite big. I'm going to draw a rough circle shape. I'm really not copying the exact shape of this, of the reference photograph, I'm just using it as inspiration. We want something that looks roundish with edges like that minus is clearly not like the reference photograph. I just want to try and smooth this a bit. There is one thing I like in one of my reference photographs, which is this little dip here. I might just keep that just because I think it looks interesting. If you're happy with the shape of your cookie, I like that it goes in a little bit here. You can now use your eraser to erase the extra lines. That could be a bit confusing. Like I said before, it's the imperfections that will make your food drawing and painting look more realistic. I'm happy with that shape. Now I just want to look at the reference photograph to get just a few more little details that I want. Which is there is a bit of a dip here and a chocolate chip sticks out, a nice white chocolate chip. I really do want to add that in. You don't have to even use the reference photographs that I've included. You are more than welcome to just want to make this stick out a bit more because I just think that would look cuter and more striking. Like I was saying, you don't have to use my photograph. You can even draw this just from your own imagination. I also want to include there is a hidden chip here which has a very strange shape. Which just looks a bit like this, because it's covered with a bit of batter. This is what is going to make it look realistic. I have one here where you can see almost the whole chip, it's just sticking out a little over here. These are a little white one here. There's one that's almost completely covered here, it just sticks out a tiny bit. It is the same chip, but you only see a bit of it because it's all covered in batter. I'm just going to go up here a bit. There is a bit of cookie batter covering this one. This is the cookie batter part, and this is the chip. And we got one over here in the middle. Feel free if you want your chocolate chip. If you want your cookie to be studded with chocolate chips, please go ahead and put as many in as you want. Going to add little here and there. I'm going to deviate a bit from one of my reference photographs and go up here to add the chip here. Over here we have like a bit of batter covering it. That's the chip. Yeah, I've got a couple here already. Maybe I can even add one up here. This guy can be like a chocolate chip really sticking out. You see there's a pointy bit here. There are bits, Just to add a bit. You don't have to go overboard, but I feel like it's a little empty here, so I can add one in here. This shape is like the bottom of the chip just sticking out. If you're happy with the chips that you've got, you can now start doing a few things like adding some interesting cracks to look at. If you look very carefully at your cookie, I'm sure you're going to see a lot of crack cracks everywhere. From the reference photograph, I can see a lot. But what I'm doing is I'm just taking inspiration from it. I'm not going to copy every single crack because that would be quite a lot of cracks to cover at this stage, I would recommend you only focus on the big cracks that you want to emphasize. You don't have to do all the tiny cracks because we haven't even painted it yet and you don't want to put so much effort into drawing every crack that it gets covered by the dark paint. I would say just do the cracks that are very obvious or that you want to emphasize. Now as you can see there are a few really big guys that I want to there is like this massive crater of a crack here that goes up here, goes all the way out into the cookie and it gets pretty big. But these are all very early stages. Now, we don't have to do a lot of detail right now. It's looking very much like what happens to a street after an earthquake. It's zigzaggy crack lines. Like I said before, this is very early stages. You don't have to add all of it in now. But it is good to have an idea of where all your prominent cracks are. I just want to there are a couple here that end up becoming a pretty big guy that ends up joining here. A few cracks over here. We got some over there, yeah. Have fun with this. Do this in a relaxed manner. As I do this, I'm also just also reemphasizing the boundaries of I can add a little chocolate chip there. I think that would be a good idea. Make our cookie look even more delectable. That's a lot of cracks now. I don't think I need to do every single crack now. Otherwise we won't be painting yet. I'm quite eager to start painting because I think this is going to be very fun since this is a dark colored cookie. It is a very beautiful chocolate brown. Compared to our last Smarty cookie that we did, which was relatively light in color, we used very light colors for the base wash. Well, with this cookie, it's going to be a little different. Now, the very obvious color that we see from a triple chocolate cookie is the really beautiful dark brown cookie dough. But rather than just paint browns over it, I would like to do a base coat that is going to add some cool shadows and also reflect light. I'm going to wet my brush and I'm going to actually take the colors of ultramarine violet. I hope you can see this. Yes, ultramarine violet is this beautiful, bluish tone purple. It is such a great color because it adds some shadows. It will also help darken the browns of the cookie dough, but it also light of this color will reflect through at x as a shadow color. I also want to add a little bit of French ultramarine, which is very similar to ultramarine. If you don't have French ultramarine, it's just that with French ultramarine. For me, I just love the color because you can use it for skies and stuff. It's a really beautiful blue. I want to now use my brush to wet the whole area of the cookie except for the chocolate chips. I'm just going to wet around this area. You don't have to be too precious about it. If a little bit of water goes onto your chocolate chip, it's not the end of the world. The reason I'm doing this is because I just want the chocolate chips to be preserved, just so their color really comes through at the end. Now to do this, you're just going to wet your brush, the chocolate chips. This is good practice of your brush control. But like I said before, please don't feel like this shouldn't be a stressful process. This is the area and as you can see, I'm not being too precious about it. If a little bit of water goes onto the chocolate chips, it's really not going to affect me. But we want to practice saving some white areas so that we can paint them in for later. I could have used something called musking fluid for this, but I didn't feel that it was necessary yet. We will be doing a project coming up that will use muscling fluid. I thought we could do this without it. If you don't have to use muscling fluid, I would highly encourage you not to use it because muscling fluid can leave very hard edges. It depends on the art that you're doing, whether you want these harsh edges. If this has a nice even sheen like what we talked about earlier, we can now drop in our colors. All I'm doing here is I'm just dropping in the ultramarine blue in a very random way. Not really thinking too much about this all I just helping the color to spread a bit. I'm not doing every single area. As you can see, I'm leaving some whites to shine through. I rinse my brush and then I'm going to add some. I'm going to probably need a bit more purple. I'm going to add some purples in. What this is going to do is it's going to add beautiful shadow tones. When I finally do paint over this, it will also make our chocolate color of our dough, of the cookie dough look even darker. This is just a real cool step. The only thing that I am doing is I am leaving a slight area around the chocolate chips because I feel like the chocolate chips are going to stick out. I feel like that area could be a little darker, but not thinking too much about it. As you can see, we've got these beautiful colors going on. Even that looks very lovely, I feel like I don't think I need to put anymore. I'm also going to concentrate the colors a little bit around the cracks because the cracks are going to be darker areas. That to me, is already looking really good and I don't feel like I need to do anything more to it. I just want to leave this now to dry. Now that our base coat is dry, we can the nice chocolate layer on top of it. I'm just going to get some of this color burned. Umber brown has a nice woody look to it. I'm just going to get a little bit more of that out of my palette. Now I'm going to take some sepia. I hope you can see that color. I'm going to put some of that on my palette. Sepia is this beautiful dark brown. I use that a lot in my nature paintings right now. I'm going to use clean water and a bigger brush to just gently rewet the surface of the cookie. And once more, try to avoid the chocolate chips that are sticking out because you've already done all the hard work saving them last time. As you can see, if you have to move your body around, just so you can see the E, which parts have been painted, which parts haven't just wet with water. When I get a nice even sheen, I'm actually going to use this brush and I'm going to start dropping in some of this beautiful burn umber. I think I'm going to need a lot more of that. I'm going to. Intentionally trying to cover. As you can see, I ran out of it. I'm just going to get more of it into my palette. While it's still wet, I'm just going to layer it on top. It creates a very interesting effect because you can see that in areas where it's purple, it does darken it a bit, act like a shadow. But I don't feel the need to really be very particular about covering all the purple and blue. In fact, I don't mind if some of it shines through because some of the light will get reflected when you take a photo of the cookie that's looking good. I love that color. In fact, actually I think it's quite beautiful. I'm okay with some of the purple coming through. But as you can see, if our cookie looked very stark, blue or purple to you just now, now we only see like little glimpses of that light. I'm just going to add this, I can start putting more of the color, especially around areas that are cracked. But remember, this is still not the final, we're just having a play around. Now, I'd like to introduce some of the beautiful sepia. With the sepia, as you can see, it's a dark color. I'm letting it mix with this burn number to produce an even darker brown. It's a very beautiful chocolate color. I'm going to need more of that as well. So as you can see, the color is really coming along. You can use this time to also fill in the little areas around your chocolate chips. As you can see, this is like a, a beautiful color. I'm just going to keep adding more of this beautiful, dark color edges. Watch out for the edges there. Try and use the tip of your brush like this when you're near the edges or when you're areas that you have to be a little bit more careful painting. If I look at my reference photograph, you do see that the edges tend to have more shadow. This is just because the way the cookie sticks out in the middle would make the edges look a little darker. Also, the edges would be the part that was in contact with the surface of the hot tray. This is all about creating illusion. As you can see, it's produced a beautiful, beautiful chocolate color to it. I'm just going to use the dark color of the sepia. Now as you can see, I'm using a thicker concentration because I just want to start doing these cracks even though I'm adding this wet on wet just to the big cracks. Because I feel that now we can just slowly lay down the areas where we want to re emphasize that were cracked. As you can see, our cookie is really starting to come to life. Now it's looking much less like a globular shape and more like a cookie. I can't wait for you to see what it looks like when we start really having fun adding the chocolate chips in. I can also last time I didn't draw every single line, but now I can start choosing where to drop in some more of these markings. What we can also do now is we can also darken the area around the chips because those areas would have a more depressed look. Again, contrasting with the chocolate chips. As you can see, only some of that purple and blue are coming through. I want to keep that because I think it adds some nice reflections. Yet it still gives our cookie this beautiful chocolate appearance. Yes, I'm loving that appearance. I think this part actually is part of the cookie batter that's around the chocolate chip. This is actually very fun. You should feel relaxed like this. Fun, relax painting. I've done pieces that were very stressful because I had to either color area within a very quick amount of time or there was a lot of painstaking detail to do this to me feels very fun and free. All I want to ask you to do as well is from time to time. This is a great habit to have stand up and have a look at your painting from just a short distance away because it will really help tell you whether you're putting down too much pain, whether you're overdoing the painting. You'll get a little bit more perspective by just stepping back. Sometimes as you can see Al Cookie still surface is still wet, but during this time I want to use a bit of concentrated sepia. What we've been doing are the cracks, adding cracks here and stuff. You can add cracks wherever you feel like adding it. As you can see, we can actually paint this very much without even looking at reference photographs because it's actually really easy. And right now, I'm not even looking at my reference photograph, I'm just adding cracks where I feel I want to. I can see that beautiful blue, blues and purples are still coming through, which is very nice. I'm glad that we added that base coat rather than just starting with brown because that it all adds illusion to your cookie. It gives dimension and it makes it feel more like a real cookie, because a real cookie would also reflect light in certain places. What I'm doing now is now that I've done a few cracks here and there, I want to also add a few little dens to the cookie. Cookies are not perfectly smooth when they bake in the oven. Some parts heat up faster than others and cool faster than others. That's why we have these cracks. We also have these little imperfections. If you feel like an area here is too empty, you can add some cracks. This is just a very fluid process. We shouldn't be overthinking this. It's just as simple as, hey, there's nothing much going on in this area, I'm going to add a crack in there. We can also do things like adding the cracks from over here are definitely going to come from the very outer perimeter. And they're going to come in here like that. If any of your cracks are too dark, feel free to use a damp brush to help spread it, to make it look more natural. But I always say this, A water colors lighter, then when you apply them, that to me is already looking so alive. I've just taken a step up just to have a look to make sure I'm not overworking the area, not putting too many features in one area. I've been doing this while the paint is still damp. The reason I do this is because it doesn't create very harsh lines. Part of the lines will blend in with the background, but yet they'll still be visible. That's what I'm doing. But later on when this completely dries, actually going to on to add distinct cracks in. As you can see, my paints already starting to get, that's why you're starting to see these cracks more clearly. Now as I do this, just repeating that a little bit over the areas that I had already worked. Okay? When I'm done with doing the cracks, I'm just adding a bit of these markings here. They're just going to make our cookie look a little bit more imperfect, hands, a little bit more alive. But like I said, if you feel that you're overworking it, it's always good to take a step back, have a look at what you're doing. I just took a step back again. I'm really loving what I'm seeing here. This is already all I'm doing now is using a bit of my very dry sepia paint just to add some markings around the cookie so that it doesn't look too smooth or too perfect. Just little shadows. And I'm really not thinking too hard about this process at all. The only thing I would say is I would like the edges to be a bit darker than the middle just because it makes the middle look like it pops out more. But right now, I'm really happy with what I'm seeing. Now, I think I want to stop and let this layer dry before I add the very final touches to my beautiful, sorry, triple chocolate chip cookie. So we're going to let this dry and I will see you in the next section of our class. 6. Triple Chocolate Cookies - Final Touches: Welcome back. Now we are at the very final stages of finishing our cookie, our beautiful triple chocolate chip cookie. As you can see, the markings that I did in the last video have all dried very nicely. And we can really see our cookies personality coming to life. It's already looks so good. Now at this stage, I just want to do things like neaten it up a bit. I'm just going to use my eraser to get rid of all the unnecessary lines that I can see. Even though I have said in previous videos that I love seeing a bit of pencil marks and a bit of pain brush strokes going a little bit out because it just gives me insight into the process of making it, the process of creating this subject, which I like to see. But if you want yours to look really neat, that's fine too. At this stage, I want to darken just using a bit of dry brushing. I'm going to just dip my small round brush with a little bit of sepia and I want it to be quite dark just so I can see that very clearly right now. I just want to use my pen. I mean, my brush to darken. I'm just going over the top of the cracks that I had already created. I'm just going to emphasize them a little bit more. They are visible. A little tip with the cracks to make them look natural. You don't want them to look too straight as you can see from reference photographs. They do have a bit of a zigzaggi appearance. You don't want them too straight. It will break the illusion a bit, especially have some thick cracks here. I'm just going to emphasize that how detailed you want to make your cookie is really up to you. If you're happy with the appearance of your cookie, you you might not have to do this step. But I'm somebody that does love my art to look realistic, especially when it comes to cookies. Yeah, so we are really emphasizing those cracks. Now. We will even do more emphasis when I used my waterproof sepia pen. What am I doing now? I'm just going to once more emphasize those, those big cracks. As you can see, we got a great cracked appearance. It looks freshly baked. Yeah, it's almost like you can smell it. It's like a looks like a chew triple chocolate chip cookie, which I love. I'm sure we all have preferences. I don't particularly love really rock hard cookies that feel like they're cracking your teeth when you eat them. I do love those yue chewy cookies. All right. I am doing a bit of an outline, but I haven't quite done the shadow yet. We can add that in later. Like I said before, we are using a reasonably concentrated sepia paint. What's really pretty is that even after all these layers we painted on top, I can still see some of that blue, some of that purple coming through. I love that it really does make it look more realistic and I love that that contributes to some color variations in the cookie. Rather than if we had skip that step and did brown, we would not see all these other mirage of colors coming through. I've done quite a lot of detail work with the chocolate chip cookie, and at this stage, it's really up to you how much you want to do, because you could be here for like an hour. Still touching up your cookie. As an artist, you have to decide when it's enough for you. There's no set rule. What I'm doing is only guiding you. But if you don't have to do anymore of these details, you don't think they're that important. You think you're already happy with the appearance of your cookie, then go ahead. I'm just doing dry brush strokes that are hardly laying down any more colors. Even though I'm using a reference photograph of a chocolate cookie that has so many cracks, I don't feel like I need to replicate every single one of those cracks. Because I already feel like I've captured the essence of the cookie, I've captured the essence of my subject. And anyone that looks at this, even at this stage, can tell that, hey, this is a very Ugo chocolate cookie with cracks in it. Remember it lighter. So that's why I feel confident to go a little bit bolder with the lines. I just want to do this once and for all, just emphasize those cracks and it's looking great. I want to just finish up here. I don't want to spending the next hour just doing lines because actually it might work against me. I could end up overdoing it. As I said before, take a step back if you need to. If you feel that. I just want to add a little crack here because I just felt like there was nothing really going on in this section here. This crack connect here. But it's a faint crack, it's not as deep as the other cracks that you see. Feel free to have your cracks forming from the edges and going in like a little creek hitting to a river. When you are truly satisfied with how many cracks you have on your cookie, it is fine to then stop this step. I'm just going to now, I want to just outline my chocolate chips. Then I'm going to stop. Even after I finish doing this, I will look at the final product, finish coloring in these chocolate chips. And if I still want to add to it, I can do that later too. That's absolutely fine. But right now, I'm quite happy with it. I might have gone out a bit here, but these things really don't bother me because like I said before, I love seeing the process of how a sketch came together. We're going to stop this now. We are going to move on to the really fun part of painting the chocolate chips. Now for the chocolate chips, I have chosen to use this yellow color called Naples yellow. It is a pretty opaque yellow and as you can see, very light, it has a lot of white in it. I think this actually closely resembles the color of the white chocolate chips. Here we go. When you drop in your paint, and I'm doing this wet on dry, you don't have to color the whole thing. It's nice for some parts of the chip to be a bit darker than others because it adds more realism to it. As you can see, I left it a little wider on one side, on one end. If you feel like there's too much color here, clean your brush. Use a clean damp brush and just mop up some of that color like what I just did there. Yeah, I don't feel like you really need to wet the area that much, Wet each chalk chip. But this is really up to you again, because these white chocolate chips do look quite light a little over here. That nice little one over there too, that's sticking out at the side, which looks really cool over here. We also have a couple of t, milk chocolate ones that are sticking out. I'm deciding at this point you can still change your mind whether I want to make them into milk, chocolate ones or leave the white chocolate chips. But I think a bit of variation. Let's turn this guy into a chocolate. For that, I'm using burn umber, which is a beautiful chocolate color on its own. I just think it looks really cute. How's your cookie looking? Did I actually turn that all into where are the rest of? I only left two tiny milk chocolate chips. I could turn this over here, I guess, into a milk chocolate next to the crack here. It was just a little bit of a white area, but I chose to make that even here, this little piece of paint that's like sticking out here, I can also look like a chocolate chip. We don't have to have the same amount of milk, chocolates and white chocolates. I quite like the look of this already. You can see that there. Your chip cookies looking so good. I just want to do in on one end of the milk, chocolate chips one side, make it a little d because it adds a bit of a three dimensional effect. I'm just going to use a bit of the Naples Yellow, a more concentrated version, to just create a little bit of dimension by just putting it on one corner. A great tactic for trying to make it look more real, but I quite like what I'm seeing here that looks great, that just looks like the top of it. Let's just leave that side a little bit. Yeah, I'm quite happy with the way that looks now. There's little tiny things that we can do at this stage. Before we finish doing our beautiful chocolate chip cookie, I'm just going to take more sepia. I'm add little dots like I see. We actually not just sepa, I would also want to use some of this color of burn umber because I feel like I can see tiny little dots of it. In some parts, I guess that's where the chocolate was. It also adds a bit of an effect like, hey, the chocolate melted here. It's also adding a bit more color. I just love this little part there, this beautiful patch of burn umber that we created when we were first laying down the chocolate colors of the cookie. I also want to yeah, the reason I'm surrounding these chocolate chips in a darker color is because it's just going to make them stand out more. It's going to make them, all these little tips are going to, your cookie looks so real, it really does look like it's coming to life. And I'm just going to use this lighter color just to add a bit of what looks like a bit of a better from the cookie, better covering it. I'm just going to switch back to sepia now just to do the cracks and once more, this really depends on how much detail you want to add. I think now we can start adding a shadow because that will really make our cookie. Just just like in the last cookie example, I want to mix a bit of indigo. I'm just going to put it over here. Indigo, as explained in the last video, is a beautiful grayish blue color. When you mix it with sepia, it gives you a really shadowy color. I'm just going to put a bit of sepia here and mix. It might as you can see, it's become darker than normal spa, but I just want to put a little bit in to make it more of a shadowy color. There we go, my reference photograph and what we did for the last photograph. We can choose a small region of the perimeter of the cookie to make a slightly thicker border than the rest of the cookie that we're going to surround with this. I've chosen this one side over here. I'm just going to go slightly away from my cookies perimeter. Just take a little bit of care to make sure that you don't end up painting over one of your nice, what happened there? I'm just going to smooth that over. It should follow. There we go. Because I did this wet on dry. I just want to very quickly fill in the shadow color over here. Just be very careful around those white chocolate chips that you've painted. Obviously, you don't have to pick the same side as me to do the shadow. You can do whatever side of the cookie you want, but just make sure that you don't do the whole area, that it wouldn't really look like the light is shining, in this case a more on the top and a little more from this direction, which is what's causing this particular type of shadow to be created. There we go, one side is clearly thicker. What I'm going to do next is with the same shadow color, I'm just going to trace just the edge of my cookie. We're not going to go beyond the edge of the cookie because we're just going to use this color just to emphasize the boundary of the cookie. If you have to make up more shadow color, go ahead, just mix some up. Try and use a steady hand to do this. Easier said than done. Sometimes my hand shakes. I tend to use little broken brush strokes, so let me just gather them. I've got these sepia pens and they're all different whiffs. M I have, whoops, I've got the 0.3 which is a small I think I might start with a 0.3 Just so I can show you what it's actually, how thick it is. Let's say I can use this pen now. As you can see, a nice fine tip to really emphasize the, the deepness of the cracks. This is great for adding fine detail that might be. China, zigzag it a bit, that's what the cracks look like. This is just another tool that I love using sparingly to just add a little bit more dimension. Because it's such a fine tip, it makes it easier than using a brush to do these little tiny crack details to outline around or under the chalk chips. As you can see, it might be a very subtle difference that it's making. But I can see the difference from where I'm sitting, I hope you can from the camera. But yes, you can see it is one of those tools that I feel works so well with watercolors. I tend to combine water colors with ink pens to add little touches at the end a lot You see with these fine tip pens, you can add tiny little hairline cracks in your cookie. I'm just going to use it now to once more like outline the chocolate chips. Because it's so much easier than using a brush. I can go a little bit faster. I can do these little zigzaggi lines. I can even emphasize the outline of the cookie. It's great. It really is such a great tool. In fact, with water colors, there are purists out there who think that you shouldn't use anything else. But I just really do believe in combining a different media. Because sometimes one media may have qualities that another media doesn't. When you put them together, they can just create such beautiful that it seems a shame if you only want to stick to one or you don't want to mix two different types of media at the same time when you're doing something. As you can see, I'm just adding some little cracks. This pen I find with this particular pen, it also dries a little lighter than it comes on, But it's important to note this is a water color. It's a waterproof pen, meaning once you lay it down, it will dry. If you want to remove it, you have to work really quickly with a wet watercolor brush with water just to remove it. Now, I feel like I've done a lot of detail already. I'm just taking a step back. I just feel I might want to finish up here a little. As I said before, I can get a little carried away with water colors and with pens and with details. This really depends on how much you want to add, But I'm glad I used this sepia pen to demonstrate how you can just add on to your work. We used a white gel pen over there to add some nice light reflections. But here I'm going to use the sepia pen Now, now that I've emphasized a few more, little hairline cracks, I'm going to use it to add a few of these dots, which will actually add to the whole effect as well. I'm doing this in a very random way. As you can see, this looks so good, it looks so delicious. If you want to make it look more realistic, you can definitely focus, focus your dots on the edges, like darken them there, because it all adds shadow and dimension. The last thing I want to do is I think we've emphasized this big middle crack A. I just wanted to use it to go over like some lines that I felt were too straight. Wow, Honestly, I actually do feel like getting one of these cookies now after doing this drawing. Yeah, it's looking real good. So there's that crack. If you're happy with the dots that you've added in, which I call the dimples in the cookies, you can decide to just end it here. It easier said than done. While I'm still, I actually really love the way my cookie is looking. I feel like I am ready to just stop it now. The only thing I want to do, I would just like to use a pencil just to very lightly define the boundary of the shadow. I'm just going to mix a tiny bit more shadow color with my sepia and my indigo. This shadow area is fine. I'm very happy with that. I'll be very careful. As you can see, I want to emphasize just doing the shadow, the cookie. Oops, just be very careful because we don't want this to stick out too much. Then it's going to meet over that in the next video. We are now going to do something really fun as well. We're going to paint a different type of cookie that has a different texture and color as well. I can't wait for you to join me for the next video. Congratulations on your second cookie. 7. Macaron - Sketch and Base Coat: Hello and welcome to the next section of our course where we are now going to draw and paint a macaroon. For this particular class, I chose to try and get you drawing and painting a variety of different types of cookies in each stage. With each particular cookie, I wanted to teach you different things about water colors. The reason I chose this macaroon and this particular orientation of the macaroon was just to help you increase your drawing skills as well. To improve them, because the last two cookies we did were just top views and were roundish in shape. I decided to choose this particular side profile of the macaroon because it will know challenge you a little bit with your drawing just so you can you practice your drawing as well. Because I find that drawing and water colors, they go hand in hand. In the reference photograph which I've included, it is one of the side profile of a blueberry macaroon. I like macaroons a lot like most people, but I wouldn't say blueberry is my favorite flavor. But I chose this particular flavor of macaroon simply because I loved the color. And I thought that this would be a great opportunity to teach students how to mix a color like this. Because as you can see from the reference photograph, it is a beautiful bluish gray color and it has a few speckles in it as well. It just really reminded me of like a beautiful birds eggshell. And I thought it would be so pretty to paint. It wasn't particularly delicious to eat when I tried it out. But look, this is for the art to draw this. I've just moved my sketch pad up here, I hope you don't mind. Just I had space for my hands to just work for this shape. We want to try and simplify it by drawing. It's an oval shape I tend to draw. I want to make sure I've got enough space. I'm just going to draw something that looks a bit curved, a bit flat on the top, I think. I just want to make it a little bit bigger. And it's going to go down here like that. At this stage we're just smoothing out lines. It's a cool and we've got something that looks like a hamburger. Really? I'm going to draw this is in fact, I want to extend mine a little. I just wanted to go a little bit down just so we've got space to work. I feel like this should be a bit smoother down here, but don't get too hung up on the shape. Now we just want to do something that the top of a hamburger bun and now we're, there is a bit of a iht line here that's very curvy and broken. This is something that you really don't need to think a lot about. It's not something you should spend a lot of time on. Then we're going to have this little mid section here with the filling for this line. It's just going to be a straight line. I want you to just curve a little bit outwards like that. This just emphasizes that macaroon is three dimensional. It's not like a flat cookie. This is the beautiful fat filling in here that has a very beautiful dark color. Then we're going to do a little bit of a little layer here. This is the bottom part of the macaroon. We're now doing the bottom casing. This should also curve out. It shouldn't be a straight line. We're going to try and make it just curve. In fact, we can do the curved line first if that makes things easier. All right, this is a curved layer, so I've drawn my Macaroon quite big, but that's fine. I draw, it's a little thing of mine to draw big. Okay, and then we're going to, I'm sorry if I have to turn my arm here just to get this curvature right, Because the macaroon is going to out like that and it's going to then curve back in. All right, once more, I always say this, use your reference photograph as a guide. It's not something that you should religiously follow while I'm at this. I just want to curve this part slightly, outward slightly, but there is our Macaroon. I just want to use this time now. Now that we've got the shape, and if you're happy with the shape, just make sure that this does come out here to make it look three dimensional. Otherwise your macaroon will look a little flat. We have to have these curves coming out. We've got this section. We don't have to do a lot right now. As you can see with the macaroon part of the casing, the part that touches the filling has lots of holes in it. It looks very rough compared to the smooth top and bottom. These parts are what I'm talking about that end up being really rough. We don't have to now draw every part of it. That's the beauty of water color. We are going to let our panes, let the viewer know that this part, so this part is going to be rough. That's thing we will do later with the paint. But right now, if you're happy with the shape of your macaroon, you can just erase those lines that you don't need anymore. It just makes it cleaner to paint with. I just accidentally raised a bit of my line here, but this is the time that you need to just really look at your drawing if you're happy with it. There's anything you want to change now. Now's the time to do it. If you want to make these parts, these edges a little bit more define, Now is the time to do it. I think I just want to erase these lines here. I feel that macaroon. I don't actually have to do this with my watercolor. I just want to do a very light line here just to let me know that this is where the curvature changes of my macaroon. Yeah, if you're happy with it, you really don't have to spend a lot of time doing this on. I just want to emphasize that these parts are, are a little rough where the filling meets the top case. It looks a bit smoother down here, but I don't have to do a lot of crooked lines or anything. But once more, we are really going to let the paint emphasize all that for us. If you're happy with your macaroon, let's proceed next to painting it. Now, for the macaroon, you don't have to use the same color as me. You're more than welcome to choose whatever color you want for your macaroon. I just chose this blue simply because I thought it was so beautiful. And I thought it would be a great exercise as well for you to learn how to mix colors. This particular blue in the reference photograph, it's a separate color. I didn't have this particular color on its own. It's actually the macaron itself is comprised of so many colors. It's not just blue. For instance, I can see some indigo in it. I can see some ultramarine violet in the filling, and black to make it darker. But right now, I want to do the actual casing, if you want to call it that. To do that, I just want to bring my pains. I hope you can see them. I'm going to use this color called cerulean blue, seran blue. It's a beautiful blue color that artists love to use for like, clear skies. It's such a pretty color for shallow water. I want to mix my own color, my own blue that closely follows that by. I'm going to, whoops, that's the wrong color. Let me just get rid of that. Okay, I'm just going to mix some indigo. I love indigo. It's just this beautiful, very dark, bluish gray color, and it's perfect for shadows. I'm going to test this out on my scrap piece of paper just to get the color right. I'm going to some of this Serulian blue over here with a bit of indigo. I just want to test it on the paper here to see the color that is, to me, quite close to the color that I won for my macaroon. I might just mix a little bit more of it because there doesn't seem to be enough to go around for the whole macaroon if you get. This is the beauty of having a big palette to work with. It's just handy to mix colors on. Yeah, I'm not particularly fond of very tiny palettes. I just want to get the color, this is a bit darker now. I just want to add a bit more cerulean blue to it. Always like test your colors out if you're not very confident. But I would love to have a little bit more indigo actually in it because I do feel like it should be. Let me just test it. When I actually dilute this color, it is pretty close to that nice color that we see over there. I might just add a bit more. This is also up to you. Okay? But I feel that this is a great color now, now that I've tested it on the scrap piece of paper. What I'm going to do now, I'm going to drop in, I'm going to wet, I'm going to work with the casing or shells, whatever you want to call it of the macaroon. And I'm going to leave the filling untouched for now. And I'm going to do the same down here as you can see, I'm just putting enough water just to wet these areas until they have a nice even sheen. Which means that it will be now ready to help me spread my paint. I might use the same size brush for this. Now I'm just going to drop in my beautiful color that I've mixed. I'm obviously going to have to have mix more while I apply it. With my brush, I'm going to leave a bit of white, white spots. I'm not just going to put down a flat wash. Also, taking the time to just dabbing in pain here, I like to leave a little bit of white. It creates some dimension. What we have now is a very light te, that's fine. We can add more and more layers later. I've left a bit of white here, just to act as a shine. Now I'm going to do the same for the bottom. I'm going to add are the same thing. I'm not evenly adding the pain, I'm just using my brush to dab it in here and there. Maybe concentrating, I'm just mixing up more of this color. Now, I'm going to get the blue. I'm going to put the indigo here. I'm going to mix it up here. This color seems to get used very quickly. It's going to need a bit more indigo, I think, to give that beautiful blue. I'm going to dab in these little dots of color in places where I feel it could use more shadow like in those, what looks like a spongy area of, of the macaroon. Also down here, this parts darker. So I'm just going to emphasize that with the pains. Now if you feel like, oh, this is looking a bit weird, this is a early stage of the painting, it's fine. In fact, many artists say an ugly stage. I don't like using that word, But there is an ugly stage to painting where you might just think, oh, this doesn't look great. It's not looking like what I thought it would look like. That's all normal. I'm just going to also just pull this color down here a bit. This is all fine right now. It's absolutely fine. I just feel like I want to mix a bit more of my indigo into the mixture just to get that lovely grayish blue tone that you see. This has two shiny bits there. We're laying down the base coat right now. I'm just taking a step back and having a look. I'm very happy with that. I just want to let it dry a little bit before I add in a more concentrated version of the colors that we have. I would not recommend painting the filling now. You just want to leave that I'm going to use a smaller brush for this, my size four. I'm just going to get a little bit of indigo. As you can see, I've put quite a concentrated color here. If you're not confident doing this now, that's okay. But I'm just looking at my paper, looking where it is. I just want to use a tiny brush, concentrated indigo, to just add a few dots here along this little line that we've drawn. Because this is what's going to indicate that this area is a little bit spong looking and textured. These are all things you can do in the base now that will add a lot of impact later. What is great is it's spreading a little bit. Spreading a lot then I'm just going to do the same at the bottom here where there are shadows due to that spongy effect that was created. The reason why I waited a little while for some of the water to get absorbed is just the pain is not going to spread everywhere. This is something that will come to you the more you work with water colors. What I also want to do at this stage is bring some of that indigo color down here. Because the bottom of the macaroon is where we shadow more shadow here, just because of the way the light falls on it. Doing this lightly, I haven't actually done the beautiful shadow that you can see in this photograph, but all I'm doing is just adding a little bit more dimension with this color. I'm going to lightly also go along this very gentle line, very light line that I've drawn because this is where our macaroon curves down downwards. This part is going to be in a little bit more shadow. We're just emphasizing that this is the change of the curvature. I'm just going to put that over here also. Maybe just bring it up just along the side here. All these little things that we're doing, there is a bit of shadow here from the photograph. I'm just going to drop it in there a little bit. All this is doing is slowly bringing our macaroon to life and giving the viewer some dimension to look at. These are all you have to do is look at the reference photograph for where the light changes, things like that. I'm also, as you can see, my paper is damp, the pain isn't spreading too far. It's gotten to that stage where it's almost dry, but this is a great stage to add all these textures in right now because your pain, it's not going to spread all over. I'm just going to re emphasize a few of these dark areas because of the way the macaroons casing is, those very spongy looking things. As you can see, this is a base layer, but it's already starting to come alive a little. These dark areas are more focused towards the bottom of the casing. What you can do as well, if you feel confident, we can start using the very tip of your brush, holding it almost perpendicular to the paper is we can add just like a few of these little specks that you, as you can see, it's still blending into the background. It will dry, light, it won't be dark. But all these little things that you're doing, they are going to add dimension. I'm just re emphasizing certain parts as my paper just almost comes to a complete dried state. I can see that happening already. I might pull back a bit and just do a little bit of these dots here once more. Try not to make them look too well planned. Try and get a random look, but it's already starting to dry. I'm going to leave this now. At this point, that's our base do for our macaroon. When we come back, we're going to continue to add to the layers and this is going to look very beautiful. 8. Macaron - Second and Third Coats: Hello, and we're back. Our base coat has dried and it's looking really nice. We're now ready to add more detail and color to our beautiful macaroon and really bring it to life. As you can see, it's already starting to take dimension and form. As you can see, it's already starting to look three dimensional as opposed to flat. Now we're going to have fun mixing a color for the dark. Purplish cream was in the center of our macaroon. I've decided to use ultramarine violet. I hope you can see I'm just going to put the paint over here. Ultramarine violet is one of my favorite purples. It's on the bluish side, as in it's not a reddish purple, it's more towards blue. It's cooler. I love this color. We're going to once more mix to make a deep, deep purple. To do that, I'm going to use indigo mixed with this. This will, I might just use some of the indigo from here because I actually did set up my own. Is this a blue or this is indigo? Yeah, this is indigo. They do look very similar. All right. I'm going to mix a deep, beautiful violet color. It's so beautiful and deep. I would encourage you to test it out on a rough piece of paper that is quite a nice color just to help it spread better. I got this area. I'm going to just the cream filling center right now. And leave the rest of the macaroon untouched. We're going to drop in. Oh, look at that. I love that part. Looks so beautiful. When it spreads paint, the filling is a lot darker than the actual casing of the macaroon, even though it appears really dark. Now as I'm painting it, it will lighten up a lot when it dries. We will definitely have to do a few layers of this, but as you can see, it's already, wow, looking like a macaroon. While this is wet, I'm going to take more of my paint and I'm going to drop in color, focusing that color more towards the bottom, the bottom half, because it will tend to be a little bit darker here just because of the lighting, since the lights coming from the top. I'm just going to do that here using the same mixture of color. I now want to do things like try and create that very spongy baked look that you see over here at the. How do I describe this? How the casing is smooth on the top, but it has a very bubbly look. We just want to try and capture that by using this dark color and just focusing on the top part here. We're not going to go towards the area that's where the filling is, which is why I can do this because there's a barrier and they're not going to blend into each other. This is stuff that you can do while waiting for the filling to dry. Like we're going to try and make that airy poppy look. I got some of that going on there. If you feel like you might put too much color down, like what I did in this section, I'm just using a clean dam brush to just lift a bit of that color off. So it's very important that we leave a lighter area between the filling and this darker layer here. And I'm going to do the same for the bottom. If you look at the reference photograph, we can we see these more bubbly looking appearance down here? It's hard for me to explain, find the words to describe this, but trust me on that, you will make it look a lot more realistic. Yeah. Macaroons, they just a very interesting. I mean, I call it a cookie. It's just like a fancy cookie. As you can see, it's already starting to get that really cool appearance. We don't want it to look too uniform. Some areas will definitely be darker and bigger than others. But what you can do, holding your brush almost vertically, you can add little tiny dots trying to make them look random to create texture. This particular part of the casing, what I also want to do is just darken this little boundary here that just adds a nice look at that, It's just coming to life. Now I'm going to do the same at the bottom here. Just darkening That also like creating a bit, not doing a very straight a boundary that has a few curves in it. Just to make it look even more realistic, I'm just going to take a step back and I think the macaroons looking so good, it's looking really nice. Yeah. Believe it or not, the cream color, while I have this concentrated color, I just wanted to add to texturing. I just want to try. And this particular area here look even more bubbly by us adding a few dots of color, making sure you don't cover the entire area. But also using the concentrated color to darken certain shapes here, just to add a bit of variation to make it look real. This has actually been one of the most fun things I've ever painted. This is actually my first macaroon I've ever painted with all of you. It's quite special. I'm just going to try and do that spongy look just dotting along here because it helps to create that boundary. But try not to do it too uniformly, that's looking nice. Just to add a few dots down here just so it doesn't look too bad down there. I just want to also define this boundary. It's looking really beautiful. Even now, I want to try and add another layer of dimension to the cream. While it's drying, I'm going to just dab in more of this beautiful ultramarine violet, indigo mixture. I'm just going to define the boundary of the cream a little bit more, the cream center. It does stick out a bit here, doesn't it? All right. So I'm just going to, as I said before, it's the imperfections that make it look real. I'm also just going to use this dark color just to outline the bottom of my macron case over there. Just starting to put some boundaries down, that's looking very beautiful. I think I might do the same up here. I love the color. I just really love the color that we've created together. It's so beautiful. I'm just being very careful. I'm not outlining the whole thing. I just want to just define the boundaries a little at the end, you can also add a few of these speckled. These little dots here like that. You can do that a couple of them. You don't have to do a lot at this stage because we still, but these will all add to the total effect later on. I'm going to just use broken broken lines strokes to just do that. Taking a step back and I'm loving the way our macaroon is looking. I still do feel like the cream that we can go darker at this point. I'm going to leave the rest of the macaroon to dry, but I really want to introduce this color that I have that's almost like black, but it's actually paints gray. But as you can see, I'm just going to put it here. It is a dark color. I do want to introduce this a little into my work right now. What I'm going to do is even though the cream is still drying, I feel that the color can be darker. I'm just going to drop in a bit of this blackish color on the wet surface and let it mix with the, with the dark purple mixture. Just because it's going to help darken this whole area. Because I do feel that the cream filling is very dark. Very carefully. I'm just going to put my arm down here and I'm going to outline just the bottom boundary of the cream. I think it adds a real richness to it. I might just bring it up under here, but I'm going to leave this part exposed because this color I'm deciding this as I go along. I would like to let you know in case you're wondering. I like to see how things are going and maybe adapt when I see what's happened. I want to use this dark color just to do certain things, like add texture once more to certain areas of this casing. I'm using the black very sparingly. I'm not putting it everywhere just because I feel that it adds dimension. And I'm going to put some of it over here in certain areas. I'm really loving the way that's looking. I'm just going to stop right now and let this completely dry before we add a little bit more layer of color for the casing at the top. And we're then going to add the shadow for our macaroon. I'll see you in the next video once this is all dry. 9. Macaron - Final Touches: And we're back to finish off our beautiful little macaroon. While it was drying, I noticed that there were certain parts that I wanted to fix. I felt that this whole area looked a bit too uniform. I love the way the bottom area looks here, the bubbly area. And I just wanted to fix this by using a damp, clean brush, just to remove some of the paint that I felt I had maybe put, laid down a little too much. All I'm doing to do this is using a damn clean brush to remove some of the pain. The great thing about this mixture of indigo and ultramarine violet is it actually lifts quite easily despite being a very dark mixture. All you need is a clean brush, and as you can see, it's already starting to look better. To look a bit more realistic. I just felt that that area had become a little bit too dark in uniform. There we go. Just a side note, as I do this, I would just like to ask you to be aware of how dirty your water jar is getting. Because obviously when you're using dark colors like indigo, you might want to just change the water when you notice it getting dirty. I've removed some of that. I just want to use my really dark mixture that we mixed just now of indigo and violet to darken. Only certain areas of the certain areas should be, this paint has dried quite a bit. Let me just rewet it. That's the beauty of water colors. You can rewet them. You don't waste paint as much as other paints like acrylics where they dry. All right? I don't want to darken the same area again, I've done that. I just want to maybe add little dots of texture but just making sure that some areas definitely remain light. That's all right. So that's looking good. I'm just taking a step back to overlook. Now, while that dries, I just want to do the bottom. What I want to do is I'm just going to rewet this even though I love the color already. I just want to add a little bit of more dimension by using our mixture of U, Serulian blue and indigo. Just to drop in color where I feel it needs a bit more shadow. I can see a bit of shadow over here from the reference photograph, but we don't want to completely darken it because we already have a very beautiful effect here. A little bit more under here. I think that is actually enough. Now, I want to do the same for the top. I'm going to gently re wet, just the very top part, taking care to try not to move the pain surround. I might just use this brush because it is nice and big. I'm going to, as I ran out a bit of the cerulean blue and indigo mixture, I'm just going to very gently drop in color where I feel it needs it. It should be darker. I ran out of that again with this big brush. This is indigo. Here we go, mix it up. Just drop it in where I feel it needs it. Like the water is just helping me for this to have spread very smoothly. And there are no hard edges. I just feel like it just needs a little bit. I don't want to darken the entire area. Looking at my reference photograph, I see a bit of color here. I noticed that it's a lot darker down here. Because of that, I want to add in a little tiny bit of this mixture of. Ultramarine violet and indigo. Just to do this section where the curvature of the macaroon changes which produces this boundary here. This area is definitely darker. I might use a little bit of this color down here, right at the bottom, just where the shadow is going to be. We can see these two. I'm just taking care to just leave this beautiful white marks which are the shine. Now, I'm just going to use that to speckle my macaroon a little. Taking care to leave those white areas because that's beautiful reflection and we don't want to cover that up. Doing the same down here as well. I just want to concentrate the color here, because this is also that boundary. Just taking a step back to make sure that it's looking really lovely. But yet we can still just dabbing this area here just because it adds that effect that the boundary is still here. That's looking really good. Just my macaroon, But I've been guilty of this before. You have to just make sure you don't get too carried away speckling it, because before you know it, your whole macaroon might be a lot darker than you intended for it to be. I'm very happy with that. I just want to switch brushes now and I want to use a bit of the black. Actually, I think it was the dark color, which is black paint gray. Because I just want to emphasize those really dark areas. I feel that the indigo, ultra marine violet mixture is just not quite dark enough. We're concentrating that dark spots at the bottom of this boundary as you can see. But there will be a couple of dark spots up here as well, but not as many. They're a lot smaller. Just be aware of that when you're working with a dark color. I'm also just going to do that up here. The darker spots in this black color, that's looking really good. I like that a lot just looking at the filling at this point. I just want to add a little bit more of the black to the filling It is, so I'm just going to use a light of putting it on, working wet on dry. I didn't re wet this area because I do want it quite dark once more. I can use the black just to outline these boundaries and just give dimension to our beautiful macaroon y. It's looking very, very beautiful at this stage as well. While that's drying, I think we can start putting our shadow in in the reference photograph. I might just use a pencil for this part because I just want to make sure that when I'm using a dark color I. You know, free handing it as much because I don't really want to have to lift color off. It's much better if I had a bit of a guideline to see where the shadow goes. With this reference photograph, there is a very dark shadow under the Macaroon. It comes out a little like that, I think. Yeah, it doesn't quite go fully under just based on the lighting. This is a pretty dark color. To make a pretty dark color for this, I could actually just use the black to tell you the truth, because here's a diluted version of just the black. As you can see, it is a nice cool color. Our shadow will add even more dimension to our beautiful macaroon. It will really make it. I'm just trying to paint all the way up to that pencil boundary that I drew. I feel like we could go darker. We could even put some of the of indigo in here. I'm just going to add a bit of indigo. Yeah, I think it also complements the macaroon because we used indigo in it as well. There's our beautiful deep shadow. Actually, this is enough for the shadow. I don't think we want to overdo it, but I just want to make sure that the boundaries clearly defined. Yeah, our shadow is looking very beautiful. I just want to use this. I have to turn my arm to just darken that boundary between the shadow and the macaroons. Bottom. Just it's that, that's a shadow and it's not part of the macaroon. This is looking good already. The only final thing that I would recommend is I would love to use a white gel pen to add a little bit more texture to our macaroon. To just lighten certain areas that I felt could be lighter, I'm going to use a 0.5 now a white gel pen. I just want to, as you can see, the bit of this white that I've added is already helping to create that bubbly texture. Randomly. Doing this, paying too close attention, we just want to try and make it look a little bit more bubbly, as you can see the whites adding to that effect. Just watch your hands, make sure you don't put them down on a wet area. You can even add a few dots here and there. That all adds to the effect. I notice I might use my white gel pen to just do this little boundary here that's lighter between the smooth part of the casing of the shell and that bubbly part. There is a bit of an obvious boundary that stands out really well with the white gel pen. As you can see, it even makes it look clear, I think look at this guy, he's looking so good. Just adding a bit once more, don't get too carried away with the white gel pen. I've done that before, heaps of time. I think that's looking really good. You can just add a couple of specks of white here and there. It just adds a bit to the whole look. The same is. We're also, I love the way the bottom looks, how texture it looks. I wouldn't want to overdo the white pen. It already had amazing texture that we created with just pains, so just highlighting certain parts. All right. Yeah, To me that whole area is looking so good already that I might just use the white gel pen just to like lightly define this lower boundary in a natural way. Wow, I'm just taking a step back and it just looks really good at this stage. Even though I've said this before in my past videos, I don't really mind seeing little bits of pain sticking out or stuff. But if you want to, you can just use a clean brush to try and those marks if you don't like seeing them. But they don't bother me too much. As I've said many times, I love seeing parts of the process when you're painting something like even pencil marks don't really bother me a lot. All right. I've just lightened that slightly but it's okay. But I'm just taking a step back and looking at this again. We can even use the white gel pen, just slightly on parts of the filling if you feel like that the marks are too obvious. You can always blend them in a little to just give a very subtle lighting effect. Personally, I really like this a I think it looks cute and good. I might use my wet, clean, wet brush just to smooth certain white marks, to make them look smooth. Though I love seeing them, I'm just dampening the look a little bit. But other than that, I'm just taking a step back now. The only little thing I do is to use my light mixture of cerulean blue and to go just to outline the boundary a little bit more. But I think that's done. We have just completed doing our beautiful blueberry macaroon. I think it looks really cute. I hope you've had fun doing this with me. I just want to say, I hope you've really enjoyed painting this very cute macaroon. I can't wait for you to do our next project, which will be to paint a cut icing covered biscuit with sprinkles on it. 10. Hundreds and Thousands Biscuit - Sketch: Hello, welcome back. And we are now going to sketch what I call our hundreds and thousands biscuit. This is a biscuit that we have in Australia that is basically a nice butter biscuit that's covered with icing and sprinkles like a nice little sugar sprinkles that we call hundreds and thousands that are very colorful. I still like eating this biscuit. By the way, I chose this biscuit because I thought it would be quite interesting to apply what we know about watercolors to try and recreate this biscuit. I thought that we should do this because it would also test our different watercolor skills. Because this biscuit does look quite different from our other ones, this is going to be fun to do. It's going to look cute. I first selected the reference photograph for this particular section of our course because I liked the fact that it was at a different angle from the rest of our biscuit. We've already done cookies that were above views and side views, I thought. Let's also work on our drawing skills a little by doing a different angle for this one. It is a rectangle biscuit, but I want to do it such that we're seeing quite a unique view of it where it's angled towards us a little like it was interesting, I felt. All we're doing now is we're drawing a rectangle. But the rectangle is going to come towards us like this, then it's going to just curve a little like that. We're just going to free hand this like we're not doing any exact measurements or anything like that. Let me just clear this line up. I'm happy with that to make our biscuit look more three dimensional. Now, I'm going to add a little, there is a bit of a dip down here. I'm just going to do this, making it look a little bit, In fact, we don't have to do this line very dark, but it's just going to act as a guideline. Then there's another corner down here, then we've got the icing boundary that ends over here. Then we're going to go up here like that. This part do I'm just make it look more like a block, like a brick appearance rather than just a flat, flat rectangle. I mean, there we go. That's what our biscuit is going to look like. We don't have to add a lot of detail at this point. It's just good to know, yeah, that we've drawn some guidelines and boundaries. If you're happy with this, we can start adding a little bit more detail. Now I can see that the icing goes a little bit like that. This is all free handing. You don't have to be, please don't try and copy the reference. Photograph exactly. This, all cool. I see a little bit of a little hole in the biscuit here. As I said before, the imperfections are what's going to make it look real, real little things like that. But we really don't have to go into detail. Now at this point, I would just like to add some of these sprinkles or hundreds of thousands as we call them here in this is a fun part of the process. I did, I did break it down in my mind how we would do this. But we could have painted the biscuit and there are many ways we could do this paint over it because our biscuit icing is a pretty light color. It's a very light pink. I don't feel like there would be a lot of problems layering paint on top of it. We could have also used musking fluid to, to save the white areas that we want for the sprinkles. But I honestly felt that for this particular biscuit, we didn't have to use the musking fluid. I will demonstrate how to use musking fluid when we do our Next part of our course, But I don't really want to talk about that now because we don't have to use it just now. I just want to use my reference photograph as a guideline. Definitely not following everything. I'm just going very quickly and not really even think much about this, but I'm going to now just start doing these little circles that are going to represent our hundreds and thousands. As you can see, I've already done quite a few quite quickly. This is simply because just going to dip the icing there a bit. We really don't have to spend a lot of time doing this, but it's good to just observe the reference photograph. Just add these in, I would say, try to make it look real. Try and change the angle of your circles. Make some bigger. Make some smaller, because some of them are more embedded in the icing than others. As you can see, I'm roughly doing this really not thinking too hard about it. I would just say maybe try some areas, definitely have a denser concentration of these sprinkles. Make sure that you do that stick out here because that would make it look more real, for it to look like it's actually coming out of your biscuit at different angles, you can do that. That also helps to create the illusion that this is a three dimensional object. I would say just have fun with this and try and make it look random. This will be a lot of fun to paint and it's going to look so cute. I might actually just speed this part up by doing a time lapse here, just so you save some time. I think we're coming near to end now of the number. As you can see, I've done lots of them. Believe it or not, as you can see from the actual like reference photograph, these biscuits do have a lot of sprinkles on them, which is why I love them. I'm just slowing down now. As I said before, parts are going to be more densely populated with sprinkles at this point. Now, I want to take my time. I've done plenty over here, it's okay to have some parts of icing just exposed. I think that makes it look more real. I just want to make sure I emphasize that. Look at the corners here. We've got some of the sprinkles sticking out. I also want to, at this point, maybe start making our icing look a bit curvier and not just looking like a straight line. I'm just going to re emphasize that right now. Okay. Maybe one more here. Yep, I say I'm going to stop, but I keep going with the sprinkles. Yeah, it's quite tempting to keep adding them, but I do think we should stop. Yeah. Oh, not another one here. But anyway, I think this is good. I just want to concentrate now more on the shape of the biscuit. Yeah, because the biscuit is not going to be perfect. It's, I think that's good. I'm quite happy with that. Yeah, just looking at it to just stop here. Did we do enough to make them stick out here? Maybe one more. Even though I said I would stop just to emphasize the dimensions that our biscuit is three dimensional, make another one stick out here. I think that makes it look more real. I think we're done with the initial sketch when we come back in our next video. Can I just put one here? Sorry. When we come back in our next video, I'm going to teach you how to lay down a base coat and bring our really cute hundreds and thousands biscuit to life. See you in the next video. Thank you. 11. Hundreds and Thousands Biscuit - First Coat: Hello and welcome back to our class. We are just about to start painting our really cute hundreds and thousands biscuit. First, I just want to put the colors in my palette that I'm going to use for this. Just to get it ready, I'm going to use a color called Rose genuine. And I have all my paints in this handy little travel ceramic palette. I know which each color is. I just want to get out some of this once more. This is rose matter, genuine. I hope you can see it. So I'm just going to put it in my palette just so it's ready to go. I'll probably need to come back and put more in. This is going to be the color of our icing. This I'm really excited to do This is going to be really fun for the biscuit at the bottom, which I feel I can also get ready. I'm going to use raw Sienna. Whoops, still has some pink in there. Let me just clean that. There we go. I'm going to put some nice raw Sienna in there. I use raw sienna so much it is such a useful color because it's a beautiful, sandy color. But it also goes really well with discuitsI'mjt. Going to rinse my brush. I also want to just put this color burnt umber. I might just put it over here in the middle. This is going to add. I'm going to use this for the darker parts of our biscuit. Okay, I hope you're excited to paint to. I'm just going to leave this nearby now. I want to start first. We might just do the biscuit first, the biscuit base. I'm going to use a smaller brush because this is a pretty thin area. I'm going to wet this just using my small size for brush and wetting the biscuit area. I often areas that I want to paint because it helps the pain to just flow easier. I'm going to add there, you can already see the colors just flowing really well here. Our real color of our biscuit, while that's not drying, while it's still wet, I want to just drop in this darker color. I put, it's fine for it to move around now because this is the base coat. But I do want to concentrate it in this area because this is where it's a corner where the icing meets the biscuit. I just want to also put some over here. That's another corner. I might try very lightly, make the part where the icing meets the cake. The icing meets the biscuit. Yeah. I'm just going to let those colors Yeah. Mingle for a little while. This is the very start of our base coat. It's really okay to let that mix around a bit. We've got other layers to put in. I'm just going to now wait for this to dry a little before I paint my the icing. Just because I just want to Yeah. I don't want it to bleed into the icing yet. I'm just tapping a little bit more dark color in here, just at the corners under the. Don't worry about a little bit of pain coming out. Now, I would highly encourage you, if something like this happens immediately, your wet brush, sometimes you're better letting it completely dry, then you would have more control with a clean dam brush to remove it rather than if I took a dam brush now and started scrubbing away at this. The paint might just bleed out even more with little mistakes like that. It's perfectly fine to just leave it for a little while. Like to let it just settle a bit and then do it when it's dry. Okay. I might just, at this point, just wait for this to dry before I continue with the icing. When this dries, let's do our icing. Our biscuit layer has dried. Now it is time to have a lot of fun painting the icing. Before I do that, though, there is a color that I would like to put on my palette as well, that will be a color called indigo. Indigo is this beautiful shadow color that is like a very dark blue with grayish tones in it. I hope you can see that I love using this color, but we won't need to use a lot of it. We can use it sparingly because this biscuit has a little bit of shadows here and there. It will be a really nice color to use to just add a bit of shadow to the icing. First of all, I'm going to take my size eight round brush and some clean water and I'm just going to wet the icing area. Now I'm not being too precious about not getting the circles that I've drawn wet. At the end of the day, we should be able to layer paint on top of it, but I am avoiding it as much as I can, but not being too precious about it. But this will also add an interesting effect with our icing. Now I'm just going to dip my paint brush in, the rose matter, genuine. And I already feel like I need to put more paint in because soaked up, what I'm going to do now is drop in this beautiful pink color where it will spread, obviously in the areas that I've wet. The way I'm adding it into avoiding the circles as much as I can, just the colors will stay bright later on when we paint the sprinkles in. But it's really okay if some of it goes on your circle. I find that this just adds more natural look the way I'm putting the icing color down. Yeah. Adds a bit of a natural look to it rather than if I just painted a flat wash of pink all over everything. Here we go. Just doing this area a little bit more, I've done yeah, a nice pink layer. While that's still drying, I can.in more pink in certain areas, they act a bit like a shadow. Especially down the side here where we have the icing coming down at the side here, it is darker than the other areas of icing. Looking at our reference photographs, areas around where there's a high concentration of sprinkles tend to be a little bit darker too. Just getting a little bit more and dotting in those areas that are darker here would be a good area here that's looking nice and pink. Like I said, I find this is going to be a fun piece of art to do. When you're happy with that, I just want to sparingly.in, a little bit of this indigo color, I'm going to switch to a smaller brush for this. Just so I have a little bit more control and accuracy when I do this. This. If you want we can test it on some spare piece of paper first, we want to look pretty diluted as you can see. It's not going to be as strong even as our pink. What I'm going to do is I'm going to do it in the areas that I feel need to go darker. Like down here. This side, it's a side that definitely dips down. And you can see that from the shadow that it creates in the picture, in the reference photographs, that part will be a border. It's really okay if some of it spreads up there. I think it actually looks more natural. Now, I'm going to also do it in certain areas like the corner here that I see it be a little bit. I also noticed that there is a bit of a darker area generally around here. I still have a lot of control over the amount of shadow that I'm putting on. Partly because I'm using a smaller brush, it's not going to spread as quickly as if I was using a larger brush. And I might just add a little bit here. I definitely see a bit more shadow here where the biscuit dips down around areas where there are a lot of these little sprinkles, it does look darker. I guess that's the area there's a little bit dented because of all the all the hundreds and thousands that are there. We are still doing a base coat for our icing, but it's starting to look a bit more real because we're adding shadows. They do help bring a painting to life. I don't want to do down the pink color too much. This is still a base coat. I'm going to very sparingly put that in. I'm just taking a step back at a bit of a distance here. So far I like what I see. I don't want to go overboard with this color, but this does help with our base coat because it does also create some color variation, which I love very sparingly, putting it in definitely down here. We can even go into the biscuit layer a little with this color, just one small around here. Just because it dips down there, I think that that base layer is done for now. I'm just going to let this completely dry before I do another layer on top of this icing layer. Once it's completely dry, I will see you again. Our B has now completely dried. We are now ready to continue adding more layers, paint our beautiful hundreds and thousands biscuit. Now we're going to have a lot of fun to just bring the pink of the icing to life. To do this I'm just going to re wet once more. Not being too precious about painting on top of our little circles, which will represent the hundreds and thousands sprinkles. I'm wetting it with clean water just to help the water flow. I'm going to get more of my Rose Madder genuine paint ready in my palette to drop in. Now we're going to see the beautiful ping come to life because the cookie in real life has a beautiful pink icing color to it. As you can see, I'm just dotting in the paint. Yeah, not really spreading it that uniformly. Just doing in the P, in certain areas, but concentrating it in certain areas once more, Not putting too much thought into this. Even though the only thing is as we go down this side, we do want it to be a little darker because that part will be in shadow. As you can see, we're getting that beautiful pink color. That biscuit is really known for, as I probably mentioned before, I do love one of these. Once in a while, I really enjoy it, probably not every day. It's, yeah, a very nice Australian cookie. I love the icing on it. We've added another layer of pink. As you can see, while this is still quite damp, I might use a smaller brush for this part because I'm using a darker color. I am going to take indigo to, I'm just going to use the indigo that I already have in my little travel paint set over there. I'm just going to carefully just.it in over here that is just the side of the Of the cookie that just dips down over here. I'm also going to take that color and carefully just put it on the right of the edge. This is going to act like a bit like a shadow where the icing meets the biscuit. I'm also going to maybe go a little under there as well. That's fine. On top of the biscuit. This is all once more adding dimensions. Just a little bit at the edge here because it does a nice, it provides a little boundary there. There we go. There are certain parts where I want to drop it in, just like where there is a high concentration of the sprinkles. This also all just adds a little bit of dimension we're just adding. It will trick the eye into thinking that some parts are, some parts are lower. The parts around, lots of sprinkles should be lower because the sprinkles are sticking out of the icing once more. And I always tell myself this, I don't want to get too carried away adding the shadow in because we don't want the whole cookie to sum, Turn Indigo, take a step back, is what I always say. Get off your seat and just have a look to see that like, okay, I haven't overdone that because your cookie might end up just turning gray if you keep carrying on. I just want to do certain areas like that. Yeah. Just trying to make that look a little bit less a little more natural. All right. I feel like this parts a bit bare here. I might just add a little bit more of this color. As you can see, I obviously didn't add a very strong concentration of it. I still want the pings to come through. That's what I'm going to do now. I just want to leave that there before I let this completely dry. I'm just looking at I just want to do this little shadow of the biscuit here where the icing meets the biscuit. Feel that could be a little darker. I'm not going to do the shadows at the bottom of the biscuit just yet. I like doing that towards the end. Right now, just focusing on the icing, This part looked a bit white there. I'm just filling in a little bit around here. I like how it's looking now. I really do. I think the pinks and the indigo are looking good. I think we might just stop it there before it gets too overwhelmed with indigo. So I'm going to just let this dry now. And in the next step, it's going to be very fun. We're going to start doing our sprinkles. I mean, that is probably going to be the most fun part of this biscuit. I'll see you in the next video once this entire layer completely dries. 12. Hundreds and Thousands Biscuit - Second Coat: Our second layer has now dried completely. Now we are ready to add the sprinkles, which is the most fun part, in my opinion, for the sprinkles, just from the reference photograph that I've provided, because I've eaten this biscuit many times. The sprinkles are very colorful and we've quite a lot of colors like yellow, orange, white, blue, green. These are quite a few colors that we're going to use. I'm just go to go back to my, my little palette here of pains I want to pick out. I think I'd like to start with a yellow first. For the yellow, I've chosen the very bright color of catmum yellow, which is this beautiful sunshine yellow, that's very bold. I'm just going to use my small size round brush and just using the tip, all I did really was just take a brush dampened with clean water. I just literally touched the top of it like that. As you can see what I'm doing, I'm not even really going to put this in the palette because I want a concentrated color. I don't want anything ready diluted. Because we're going to do these beautiful little sprinkles. I want the color to be quite bold. I am not going to dilute it. I'm going to randomly add these yellow dots, and I'm going to try and space them out as well. I want to look random. I'm going to choose where to put them. Now, try and do these randomly. Yeah, that's a lot of fun to do. This part I feel like. Yeah, remember you've got a lot of colors to play around with. I'm going to put that there if you want to, you can look at your reference photograph, but I really don't think I'm going to follow it very closely for this part. This is some fun that we're having here. I'm just wondering if I put enough yellow over here. I'm really not going to follow the reference photograph here. We've got a lot of yellow going on now. That's quite a lot of yellow. I just want to, maybe we can now swap to a different color. Let me just rinse my brush. I might start using orange now. I've got this lovely orange over here. I'm just going to once more use a very concentrated version of it. As you can see, you can see that the colors, they do stand out against this pink background. That's the reason why I didn't choose to use musking fluid for this particular biscuit. My philosophy, if you don't have to use musking fluid, don't use it simply because muscling fluid is a really handy tool and a lot of water colorist will use it. But I find if you don't have to use it, it's really better not to use it because with muscling fluid, you do have to apply it very carefully. Also, you have to wait some time for it to dry. It's probably, I mean, not just minutes, hours. In the past when I've used muscling fluid, I would leave it overnight. But the problem with muscling fluid is you can't leave it on for an extended period of time on your piece of paper. I have made that mistake before. If you do do that, it starts to permanently adhere to the paper. You can end up ripping part of your paper out when you remove it. For that simple reason, I choose not to use muscling fluid if I don't have to. Back to this, I'm doing the same thing I did with the yellows. Just trying to do them randomly. Yeah, having fun doing that. This should be a nice fun part. That's supposed to be relaxing. Just take your time. Have fun with this. It may seem tedious to do all these dots, but it will be fun. It will look amazing. When it's completed, Try and make them look random. Maybe put an orange here. All right? Just trying to make this look random. Just wondering if I put enough in, went out a little bit there, but that's okay. I'm just going to speed this up a little bit just because I'm filming. Otherwise, I wouldn't really take my time zoning out doing this. We've got a lot of orange going on now. I just want to make sure I'm doing a nice even distribution. Oops, we're not a bit there, but that's okay. It's cool. Now I might move on to the next color, which I want to do, a nice cadmium red, cadmium red. Just trying to bring this to life. Now, this vibrant red as well as you can see, I'm using a very concentrated color of it. It's so concentrated that you see, I can just go over these dark areas with it. Watch your hands, make sure you don't put it on a wet area when you're painting. So I'm going to do the red here. It looks very bold against this background. Doing that one, that's at the different angle, which is fun. Yeah, Al Cookie is slowly coming to life with these cool colors. Now that I'm noticing, I'm looking at the biscuit really closely, I noticed that there are actually pink sprinkles too, like a dark pink one. I might go back and color those as well once more. You can't go wrong with this part if you're using a very concentrated version of the color. My tip is just to watch how you hold your brush. To just hold it almost perpendicular to the paper, to get those nice, very clean brush strokes that are very sharp. As you can see, our biscuits already looking quite colorful at this point. I said, if this is too tedious, feel free to take a break and come back later. You don't have to do it all at once, like me doing a, as I mentioned before when I drew these, some of your do some of your circles are going to be bigger than others because it's going to create the illusion that some of the sprinkles are embedded deep into the icing than others are. The I've done quite a lot of reds already. I think there's one here that's quite a lot of red that I've done. And I'm just wondering if I can move on to the next color. Maybe just one more here for the next color I might actually use. Actually do just a darker version of the pink I've already used which is rose meter genuine. Just going to add. I wonder if you can see that. Might just have to I might have used too much paint and I'm just going to try and wet my brush a bit. I'm going to do that at this point. Actually it is. All right. If you if you go a little bit out of the circle, that's fine. It can also create the illusion that it's melting into the surrounding icing. I got a few pins here once more. I'm just telling you I'm very much deviating from the reference photograph in how I'm going to place these colors. The pink sprinkles? Yeah, do blending, but that's all right. Later on, I'm going to teach you how to make your sprinkles look even more realistic rather than drops of paint. We're going to do a couple of tricks to make them really look like sprinkles. I'm just going to add more pink here now. This is tedious, but yeah, I might not use as much pink because I'm actually really dying to put some blues and greens in. I think they're going to really stand out. We've got quite a lot going on already, Okay, So I've done quite a lot of pink, so I'm ready to move on to some different colors. Now I think I want to use this green, which I believe is Hookers green. It's a very nice green that's pretty strong, but um, still looks like a sprinkle color. I'm going to use this green now, since this green generally darker than the other colors we've used so far, I'm fine to put these in in the darker areas down here just because they would stand out more. Yeah, very happy to be playing with some green now. So just Yeah, don't have to think about it too much, Just U. Okay. So I'm just taking a step back and looking at my biscuit, which is looking very cool. I'm just going to keep going with the greens. But I do have to start, I do want to start also adding some blues in. I think that will really look awesome. There's a half one that looks embedded over there. Here is a bit of a green there. Okay, so we have done quite a bit of green and I'm wondering if we should now move on to the really beautiful light blue color that they've got here. I'm going to do maybe just one more here. All right, tiny one. I'm just going to rinse my brush for the blue I think I've chosen to go with. This blue over here, which is like I believe that is cerulean blue. I'm just wondering if I should go I think I will just use that one. Yeah, cerulean blue. I was just deciding right now what blues to what colors to use for this. I'm going to try and match the blue. That was the reference photograph. We also have to remember to add some white in. There are also white sprinkles. All right. Just look at our biscuits. Looking prey cool now And it's just going to look more and more awesome as we do this. Obviously, I've not counted like an equal amount of each color of circles. I'm just wondering. I think we should put one here. Sticks out a bit. Taking a step back to have a good look at it. Yep, that's looking good. I want to save a bit, save a few spots, a few of these sprinkles to make them white. Because there are white sprinkles, so I'm just thinking, is that enough blue? Okay. All right. For the white, rather than using white paint, I would like to use a white gel pen. But for the moment, I'm wondering if I should just let these dry first. Then I can use the white gel pen later. Because I think it's very important that I let these dry first before we do the next step. Because I think the white gel pen should come in later. I'm just going to stop this right now. And I will see you in the next video once this completely dries. Thank you. 13. Hundreds and Thousands Biscuit - Final Touches: Welcome back. Now we're going to start bringing our hundreds and thousands biscuit to life. After just looking at my biscuit closely, I decided that I want to still define the boundaries of the biscuit better. I just want to do this by taking some of the Rose Matter genuine paint to paint it on. In, as in I'm not using a wet on wet technique, I'm using a wet on dry. I just want to make this boundary more clear just so people know that it dips down there. I also want to use some of the matter genuine to darken certain areas just to it. I still want to give the icing more dimension than what it currently has because as I want to show like dips and rises in the icing, I just feel that certain areas, I'm just going to darken around. There we go. So I'm still yeah, definitely want to suggest that this area dips down here. I've concentrated my paint over here and that it goes down here. These are all things that you can still do before the final touches. It's always good to just keep assessing your work. I was assessing this after the last layer dried and I just thought, I think I want to build this up more. That's good. Just taking a step back and having a look and Yep, So there we go. It's okay for some parts of the icing to be lighter than others because it's going to be reflecting light even at the end. At the very final touches part of this project, we are going to also add a few highlights in with a white gel pen. I'm just going over this area again just to like add that. Yeah, that's looking good. And it also does give it a more pinkish tone to it. I don't feel that I really need to go over to use a more of the our indigo. But I don't mind adding a little bit in once more at this particular boundary here, because I just want to make that very clear. Let me just spread that a bit more. Yep, it dips down there, just dropping in that indigo and spreading it lightly. You can even bring a bit of the color up here to try and smooth so that the edge doesn't look too hard. You can definitely see that dips down there. I'm going to lightly touch the indigo if you feel like that it's coming on a bit too dark on your paper. Just add a little bit more water to the tip of your brush to spread it. These are all techniques that will come almost second hand to you. If you keep practicing, you can even use this opportunity now to add a little bit of shadow under the. These sprinkles that are on the edge here because that will also help bring it to life. I do feel that this area is a pretty dark that I've worked on just now. I don't really need to touch that. As you can see how diluted my indigo is here, you can just lightly touch around certain areas of high concentrated sprinkles. Once more. Please take a step back now and then to just see you're not overdoing it, but I feel like that's a lot. I might just stop it here. Our biscuit is looking quite nice now and I'm just going to let that dry. While that's drying, there are certain things that we can do to make our biscuit. Well, I think that we can now work on the sprinkles a bit. Obviously, this is still drying, but it's almost fully dry. I didn't use a lot of water to do this step, but I want to talk more as this fully dries about the sprinkles. Something that's going to make the sprinkles really come to life now is we need to make them look more like spheres rather than flat circles. This is where I love to use white el pen and this is a 0.5 MM tip, so it's quite small. If you notice the thing about spheres, they reflect light. There should be a lighter area inside it rather than a flat looking shape like that. What I can do is I can add a little bit of a dot here that dots going to make a difference. As you can see, this one had a bit of a dot and this already looks more realistic than the others. What I want to do now is use the white gel pen to just dot over the centers of our sprinkles. You don't have to make the dot really obvious. It doesn't even have to look like a dot. As long as you're making a bit of it a little bit lighter, that helps to trick the eye into thinking that this is, this object has dimension as you can see, just by me doing this little step. Oops, I think I've moved some of the paint into all, Yeah, there we go. Just doing this little step, it really do. We are adding dimension. You don't have to spend a long time doing this. It's literally my pens just touching it a little and moving on to the next one so that you're not spending heaps of time on each sprinkle. This is also a good time. Now, may I add to the white sprinkles? I won't do the white sprinkles just yet. I might just wait for that to dry. In the meantime, I can do these sprinkles that are already dried, so just have fun doing this part. It shouldn't, you shouldn't need to focus too hard on it. It's just fun stuff. Yeah, there we go. It's looking really good. The only problem with the white gel pen is sometimes it may get a little clogged and you just have to just a bit of paper and just write over it to try and get it working again. Let me just look at what I've done. It's looking more three dimensional as you can see. I'm just taking a step back and having a look. Yep, that's looking really good. I'm pretty sure that we're dried. That's all dried now, I just noticed a little sprinkles that I haven't touched yet. I'm just going to do that soon. We can actually use a white gel pen now to add a little bit of color in. I might get my larger white gel pen. I do have them in many sizes. I have in a 0.8 I just want to use this. I can add the sprinkles here to add white sprinkles now. In those little circles that might just add the dots for these guys that I didn't do before that. I might add one guy here, one here, maybe one down here, just in a different orientation. Some of your sprinkles might explode a little in the baking process. It's okay to give some of them like a large white area like that. It just looks like it's just burst open a little. These are all little tricks that will your subject look more realistic. I'm just trying to color in little dots that, that I didn't do before. Okay, so our, our biscuits looking quite alive now, isn't it? It's looking more and more real just by these little touches that we've added. It really makes a difference if you feel that you can't really see some of the white dots really well. Do feel free to take a pencil and just outline them a bit. Because I did add a couple right now which hadn't even been underlined outlined. It's okay to do that. See, it looks great. I'm just adding a bit of definition to it, to these white ones that we're here. Yeah, this is looking very good. Looking like a sprinkle biscuit. There's other stuff that we can now do as well with the white gel pen, which is why I just love white gel pens. They really can bring a painting to life even though we have dabbed on the pings and the indigo in such a way as to create variation in the background. Some parts, as you can see, this part is clearly lighter than this part, for instance, is darker parts. We want all that because does create the illusion that the icing rises and dips over the biscuit. That's great, but we can emphasize that even more by using the white gel pen in certain areas. For example, here I can use my white gel pen to add a bit of a lighter effect here. Like to show oh, the lights really reflecting off this part. I might actually switch to my. That's good. I'm just adding a bit of a little white streak here. I can do that over here as well, you can around this area. It all adds to the effect that, look, this is a lighter areas reflecting light. If you feel that the lines are too bold, take a damp, clean, small brush to just blend it in more. Even though I think that define white lines look great, they also look like a reflection. I'm just going to do this just a little bit once more. Don't get too carried away putting white all over. This is really up to you how much you want to use. I already feel that the biscuit does have a lot of dimension because of the steps that we've done to do the icing. You don't have to add a lot of this, might just blend that I'm taking a step back and having a look and assessing it. I think it looks great. I really don't think we need to do a lot to this. Another thing that you can do if you really want at this stage, even though we've added the white dots in, we've added some nice reflections in already. You could add a bit more definition around your sprinkles just with your pencil. Like just whatever sprinkle you think needs to be defined more like. It's fine to do that at this stage before we add the very final shadows in, I would not recommend you using a very small brush and going around every sprinkle with indigo, for instance, the shadow color. Because I feel that you might end up messing up your sprinkles, just another piece of trivia with the sprinkles effect. We could have done it with colorful pens, for instance. We could have done that too. But since this is a basic watercolor course, I wanted to try and keep it as simple as possible. Also, you don't have to run out and buy a lot of materials to do this course because I've collected a lot of my materials over years. I certainly didn't run out and spend a fortune buying every single thing that I saw in an art video. Whatever you need to add a little bit more definition you can do here. I'm clearly not doing every single sprinkle. I'm adding a little shadow where I feel I want to see my sprinkle better. But honestly, I'm really loving the effect it already has, just being like that, taking a step back, that's looking really good to me. I think we can actually start doing the shadow right now. For the shadow that's going to be under our biscuit, I've chosen to use indigo to keep it simple. I'm just going to get some indigo out as I've used all of my indigo here. As you can see why I love indigo so much, it's just such a beautiful color. And it's already mixed up for you in my reference photograph. There are a couple of shadows that you can see, but I've chosen to use the very dark shadow at the bottom. To tell the truth, I might use my pencil just to define it, just so we have a very clean, clear boundary that we're painting the shadow. It's not going to be perfectly straight, it's going to follow just the shape of our biscuit slightly. And then the shadow dips under here before it goes all the way to the edge. I want to ignore the lighter shadow. I really don't think we need to do that one now that I've got this boundary. 14. Christmas Cookie - Sketch: Hello and welcome back to the final project of this class. I'm really excited about this project. It's going to be very fun, it's going to be a little fancy, and it's going to be festive. For our final project, I've chosen for us to draw and paint a Christmas tree shaped stained glass cookie. Now that sounds like quite a mouthful. Let me just explain to you what a stained glass cookie is. There is a very clever way of creating the effect of stained glass by first rolling out cookie dough, cutting a shape out of the cookie dough, and then cutting the center out of that cookie dough shape. When you then bake it in the oven, you're going to put a little transparent lollipop, a lolly, those little sweets that they give you on the aeroplane, for example, like fox sweets, you're going to put that in the middle of the cookie dough, and when you bake it in the oven, when it comes out, what happens is the lolly is going to melt inside the cookie. And the cookie dough is going to frame it such that it's going to look like a beautiful stained glass cookie. I've seen pictures of these recently on the Internet. I will confess that I've never actually attempted to make one of these, as they do look pretty tricky and time consuming, that I might attempt that this Christmas. Without further ado, let's begin sketching. Even though I've chosen to do a Christmas tree shaped one, you can feel free to do whatever shape you like. For instance, you could do a star shaped one, or you could do a snowflake one. You can even try and make up your own one. I was tempted to do a Gingerbread man one, but I just thought I wouldn't mind doing a Christmas tree shaped one. Just contrast with all the other cookies we've done. We've done a couple of roundish ones and a rectangle. I will draw it right in the middle here so that we have all our cookies on one page. I thought a Christmas tree would be quite fun to do, really stand out. I'm not going to think too hard about this one. I've looked up, let me just check that you can see what. I just want to make sure I move my paper down so you don't miss anything that I'm drawing, as I tend to draw quite big. I'm going to start with the top part of the Christmas tree. Just sketching very lightly and freely, not doing any measurements or anything like that. We're just going to do a very cute Christmas tree shape. The only thing I'm keeping in mind is that this mix of the Christmas tree is going to stick out more than this part. I'm going to try and repeat this like on the other side, as symmetrically as possible, but this is supposed to be free hand and fun and bear in mind that this is a cookie that's coming out of the oven. I doubt it's going to be perfectly shaped, perfectly symmetrical when it comes out. Just keeping in mind that I want, would you call them this tier of the tree to stick out more than the previous one? Trying to do it as symmetrically as possible, not caring too much. If it isn't perfectly symmetrical, I'm not going to use a ruler for this. Finally, the final one is going to be this shape. I'm going to stick out like that. This is a pretty massive cookie that we're going to do. As I said, I tend to draw big, but this will be a lot of fun then. It's just going to come in like that. We have the base of the tree here that didn't take us too long. I know I said don't measure too much. But I do want to try and make this just a bit symmetrical as I feel like it's gone a little bit too far down here. Yeah. But this is supposed to be free handing it. All right, Once we do that, we can just clean up all these lines that we don't need that might confuse us. This is still bothering me a little. Let me just try and get this to stick out as much as I can over here. All right. I think we're done there. My eraser just broke a little. I'm just going to use a different one. Okay. Just erase those unnecessary lines. That does look okay for a cookie. Let me just do that. Okay, that's looking good. What I want to add, that's even more realistic. We're going to add a bit of a, a little bit of a side here, so to speak, from this side. It's going to look like, it's just going to look a little bit more three dimensional. It's going to help the viewer think that this is in fact a cookie just by adding this. What do you want to call it? A border, just as if it's tilted slightly. That's why we can see a bit of this edge that gives it a bit more dimension. I'm all about using illusion to help the viewer see what I'm drawing. I think it should just have a bit of a side over here, Just like by doing that, we've already made our cookie just look a little bit more real. What I want to do here, at the very top of this cookie, I want to add a little circle here. This is going to be the hole in our stained glass cookie. Because if you look up stained glass cookies on the Internet, you will see that many of them also are designed to have a hole here where you can actually insert fancy ribbon through it so that you can then hang it on top of a Christmas tree as a Christmas decoration on your Christmas tree, which is very smart and beautiful. I just want to try and do that in this particular design. I want to give my ribbon that I'm using, it's going to be a sheer ribbon, like one that's quite transparent. Just so we can also play with the water colors, I can just demonstrate to you how the watercolors can make something look transparent. We will actually be able to see part of this cookie through it because some of those very fancy ribbons that you have when you wrap presents up or if you buy jewelry, they come with the sheer ribbons. I just thought that would add like an even fancier effect to our cookie. There we go. Now for the very final thing we have to do to make our cookie look well, like stained glass is First we have to draw a little Christmas tree inside this Christmas tree. That sounds pretty trippy, doesn't it? But yeah, I want to make sure this is going to be the part that the lolly is going to occupy once more. Not using any rulers to measure this, but you just want to make sure that the border is going to have the same thickness around. If you are using a cookie cutter to make the, I'm sure you would cut out. We don't have to go all the way to the edge here, I think might back it up a bit here. Then finally, this part here is going to have this curve here. It's going to go down here. There we go. Now I'm just going to repeat it on this side. Okay, there we go. So that is what our very nice Christmas cookie is going to look like. I'm just going to erase this line here. It may look simple now, but I just really can't wait for you to see the finished product. Once we do the stained glass effect, it's going to look so cool, just taking some time to just clean up all the unnecessary lines. As you can see, it's going to look pretty. You can tell I've decided that I want to add a few more like adornments, so to speak, on my Christmas tree cookies. I decided I want to do these little circles that look like white icing. To tell you the truth, I haven't actually decided, even at this point, if I want it to be white icing. Maybe we could do a different type of a different colored icing or we could do a metallic effect that would be cool, like those little sugar balls that look metallic. I'm sure there's a proper name for it, but I'm not really a baker. I think you know what I'm talking about though. I just thought this would make it look even more festive, even more Christmas. This is going to go around the cookie. I'm going to try and do the same number of U of circles just to try and keep it symmetrical. Yeah, that's the really fun thing about art, isn't it? You can just keep adding things to it, adding ideas on. Let's finish this up. We've got three here, and there we go. I just want to maybe just define that a bit more over here. Remember, it doesn't have to be perfectly symmetrical and measured accurately. This is a cookie, It's supposed to be handmade. If you're happy with your sketch, I'm happy with my sketch right now. I will see you in the next video, where we are going to attempt to paint it and really bring it to life. I will see you in a really short while. 15. Christmas Cookie - Base Coat: We are now back to start painting our beautiful stained glass Christmas tree cookie. What I had in mind for this is I want to do a cookie color. That's gingery, that's very inspired by Gingerbread. We can play with a few colors. I can introduce a new color as well that we haven't used yet, called raw umber. But before I do any of that, I've got a nice clean palette here. And I'm going to take some clean water and I'm just going to wet the pain. I already have my ceramic palette here. I'm just going to put this color down that we've previously used a lot. This is raw sienna and I just want to put some down on my palette. So it's just there for me to paint with later. I also want to introduce this really cool color called raw umber. Raw umber. As you can see, it already has this very beautiful ginger tone to it that I felt was perfect for gingerbread. I'm going to put that down there. I think we are ready to start now. This is quite exciting. What I want to do first, I'm going to use a slightly bigger round brush size eight. And I'm just going to use clean water and I'm just going to wet the area, the border of our Christmas tree cookie. I'm actually going to this edge to because I think we can paint that now as well and we can darken it later. Okay, so this should be fun. I'll just use the same size brush and I'm going to a making an attempt to cover every bit of it. I'm dropping it in just like that. I'm obviously going to need some more of it. I'm just going to grab some from my ceramic palette. Yeah, racist. Such a perfect cookie dough base color, isn't it? Rosanna is definitely one of the colors that are essential in any water color palette, even when you're starting out. Yeah, I don't think I could have painted without it. It's such a great color versatile. It can also be used for sand. It's that I put that I'm going to drop in my raw umber. As you can see, it brings such a warm ginger tone. I'm just going to put that around here. As you can see, it's darker than our butter cookie. Ginger? It should be darker than just a butter cookie. I'm just dropping it in, letting it, don't worry about these little mistakes we can clear down later. Personally, I want to also make sure that maybe just I'm going to get more, whoops, wrong color. I'm going to get more of the raw Umber. Just going to put it, concentrate it in certain parts. I want to make sure that I definitely do this. I'm still working wet on wet. But I just wanted to put a bit more color here. I start building dimension from the first, from the base coat. Because I really do feel it helps to bring your painting to life at every stage that you start adding dimension. I want to do it there because I feel that this part is where. Where you'd have a bit more shadow. Yep, that's looking good. It has a lovely ginger tone to it. I don't mind that this side is a little lighter. That's fine with me. We should concentrate the colors like deep in here where there will be a bit of light blocked here. Then it gradually gets lighter as we go there. Maybe around here it will be a little darker because of the ribbon. These are all things that you can think about. But another color that I just put some more here, What I want to add a, I don't want to go too dark now. Just a bit of burn. Um, we're just going to drop in just a little bit of that, diluted a bit of this, letting it blend just to create a deeper tones as well, to give us that ginger effect. Remember, if you want to go darker we can do that in the next. I'm going to use that color just to, just to add some shadows there. And it will just blend out even like outline this part here, like I said, building dimension. Let me just get some more, just add it as a bit of an outline here. The final, as you can see we already have a nice, really warm ginger color with these three earthy shades. We're not thinking too much about this at this stage also, I'm just going to use my brush just to try and blend this to the edge here. It will be a bit lighter. But I like that, I like it having a bit of variation, just taking a step back and having a look. It does have a lovely ginger tone, but I just want to add a little bit more of our burn umber to it. Just create that cute ginger tone. I might use a smaller brush just to add a little bit more of that color. Burn umber to these sides here where there should be a darker color. Because it's like inside the lights being a bit blocked there. But then it gradually gets lighter. You can also use that color. Just watch your hands to make sure you don't. I am just outlining it slightly but it will all blend in. It won't look too stark. The outlining, I feel like, I think this base coat quite substantial now. I think we should just stop here and let it dry. Once more randomly, just add some of this darker color of bur number, just because it creates that lovely variation that you see in, in Gingerbread. When you are satisfied with this, you can stop. And I think I'm going to stop here. We're going to let this completely dry. When we do, we are then paint our beautiful stained glass effect. We're back now that our base coat has completely dried, we can do the fun and really cool effect of the melted lolly to make it look like stained glass. Now for this part, I would encourage you, we are going to work a little bit fast. What color you want your stained glass. I've chosen to go for the effect of a lo melting when you do a red. The colors that you're going to have stained glass, that's red, is not just going to be red. You're going to see shades of orange. Or you're going to see dark shades that are going to be quite dark, red or black. For reasons I've decided that I want to a few colors. Primarily, I feel like this is going to be an orangey red effect. I hope you can see that. I just want to take some cadmium orange and put it over here. I also want to take cadmium red. I might put it over here. I don't quite want them to mix in the palette just yet. I just want to get all my paints ready. I'm also going to use some pines gray. I'm going to put it over here. I hope you can see that I want my colors to be all ready for this part because I am going to work quite, not really fast, but I just want to have everything ready before I start. I just, I'm going to now use a clean brush, my size eight, and wet this entire inner area where the melted lolly is going to be. I just want to apply a nice clean glaze here. Try not to go outside this area. Just be a little bit careful when you're putting your water down and you want it to be a glaze that's not too wet. All this comes with practice. If you feel that it's too wet now, just wait a while for your paper, for this area to get that even glaze. We don't want part of it to be dried already. We want it to be even with glass. And you can look up pictures on the Internet of this effect to make it look real. It cannot be a uniform color. It cannot just be uniform red or green, whatever color you want. I want to start first with my orange. As you can see, now that I've got a nice sheen going, I'm just going to put it, well I can actually put the orange all around really because this is the lightest color that I'm working with. But I do want to try and leave a few white areas. But from what I've observed with the stained glass effect is that the edges here where the dough meets the meet, the loy's going to bed, it's going to be dark there. I've done that. I just want to make sure that I do leave a bit of white. I'm just using a clean brush now to just remove a bit of paint here. My same brush, I'm going to use the cadmium red and I'm just going to drop it in. No real signs to this. I'm just going to drop the red in where I feel I want to like maybe some parts will be redder than others, but I do want to bring the paint all the way to the edge here because it should be darker there. I'm going to let the orange come through in certain hoops, Have to be a bit careful in certain parts. It's fine to bring it to the corner there. I think I might also put some here on the edge here. I want the orange to come through. I don't want it to just be completely covered with red. Don't take it over here. I've got like a cool red that's spreading around but still letting the I'm still letting the orange come through at certain parts. Maybe I can make certain parts darker, red. It may look a bit like confusing right now. I think I might make this part a bit redder or too, but I'm letting the orange come through because I really want that to happen. I could even go slightly darker with the red. I feel I feel like, let me just get a bit more red, Red. I can actually go, I'm using que, a concentrated version of it here because someone, you're going to use the concentrated version in near the edges here. I'm just going to let it nicely, just spread. Just blend in with the orange, making sure that you do show some orange. Let some orange come through. When we add the black, it will make more sense, like what I'm doing. I might just add a bit of red there at the red here. It's already creating a very cool effect. Now I might use a smaller brush. I'm going to swap to a size four now before I take the black, because this black is looking a little bit diluted. Because I had the palette was quite wet when I cleaned it. So I've just gotten a bit more black. I'm using quite a strong concentration and I'm going to use the black mainly at the edges here. As you can see, the black is spreading slowly. But I'm not going to put it all around because I do want that cool effect, concentrating that around the edges. This will also suggest that the I'm saying this really back the dough is higher than this lolly area. Just using the very tip of my small brush just to apply the black, so that it doesn't get too dark. As you can see, there's already a very cool effect, but I might actually dilute it a little bit and add a more diluted version of it. This is all just going to all look cool. Just trust the effect. Now I know it can look a bit scary to do this, but as long as we leave some of the colors coming through, we will be fine. This will look like a cool glass effect. If you feel you've used too much dark colors and stuff, we can al use a wet brush. But what I feel like doing now is adding a bit more cadmium red. I don't want it to look too dark. I'm also adding another layer of red on top just to make things interesting and make it look like a glassy effect. I'm just going to use a clean brush to blend these areas here. It you don't get the very defined lines. These are all things that will come with practice. Like how determine how much to add in. But as you can see, it's a cool effect that we have here. It's starting cool. As long as you have these nice light areas and dark areas playing, I might just add a little bit of black along this edge here because I feel like this edge is not as defined. Let's just do that. This is just a base layer right later on. We can definitely add more definition once more to this area that's looking really good. This is looking very fun. Yeah, it's a very cool effect. As you can see when this dries, we can later on add some white highlights to really suggest that this is a glassy effect. I'm also just going to use my clean brush now, just to remove a bit of paint. Just to remove a bit of paint, just to make this area slightly lighter, to add a little bit of an interesting glassy effect. Might also, you can use this effect like maybe just removing a bit of pain here because glass does reflect light in different ways. We're just trying to suggest that, just make sure you don't remove too much of the pain. But yes, you can see what I'm doing. It's all adding to this cool effect of glass. You can look up pictures on the Internet of these glass cookies and how they reflect the light or let some of the light through. I'm using this really cool lifting technique to just add highlights. It's such a cool technique, it's very useful for you to learn this. I feel like I really like the effect that it has. Now, I don't think I want to touch it too much because I actually think it's looking pretty cool now. I don't want to remove all the color. I'm just going to leave that for now to dry completely before we continue doing more stuff with our Gingerbread. I will see you in the next video. 16. Christmas Cookie - Final Touches: Hello, and we're back. My layer of lollies, stain glass has dried. And I'm just assessing it right now. I just want to make it look a little. I want the reds and the oranges to come through a little bit more. I've decided now to just apply just one more layer by re, wetting the area, gently, trying not to move the already dried colors. Just applying a very thin layer of water just to do an even sheen. Once more like we've been practicing previously, I'm checking that the she is even everywhere. I'm very happy with the dark colors. But I just want to add in a bit more of the oranges just to let that come through a bit more. Just adding it here, just dropping it in where I feel it will look good. I also just want to drop in some of that cadmium red as well. It's a very flame inspired glass look to it. But other than that, I love the effect, I really do love that effect. I don't want to go too dark. I really think it's important for these colors to come through. But I will just add, using my very thin brush, a little bit of the pain gray. Just concentrating on the edges here because it will give the impression that this area is a little lower than the dog that's surrounding it. I'm not going to bring the black any further into the middle. I just want to reinforce this whole idea here that this is the boundary of the glass. Lolly, I hope you've had fun painting this. Yeah. Like I would love to see you apply this cool effect to glass, to glass paintings in the future. I'm just going to outline it. Yeah, I think that's looking very good. When this dries completely, I want to add some highlights to make it look even better. While this is going on right now and we're waiting for this to dry, we can actually do a few other things. I've decided to make this ribbon. I've chosen green. I think that would really contrast well with the reddish tones here. Since they're complimentary colors, I might actually use the black that I have on the tip of my brush to just do this hole here. I want to make it very clear that there's a hole here in the dough. I just outlined that area. Here it is. I'm just going to leave to dry for a second. I want to just focus a little bit more on my gingerbread. I want to darken, what would you call it, like crevices in here. I was thinking of using a little bit of my paints, gray for that, but not too concentrated a color enough to make it look like. Yeah, I'm only putting it on the very insides here where there would be less light reflecting off it. Then just going up a little as you can see, we did use some of the burn umber earlier to suggest that this part goes in a little. Emphasizing that a little bit. And I can go up here. But we want to leave this parts lighter because this parts would be exposed more to light. These are all little things that you can think about when you're trying to make something look realistic. The way that light falls on it is very important. That's looking good. I also feel like this area over here should also be darker in here, just this very crevice here. I can also use that pines gray that's on my brush. Give our biscuit a bit of an outline here. It just adds a little bit of boundaries. I also, I don't think I will use gray for this paints gray, but I do want to use some of the burn umber from earlier because I do feel like the cookie needs a bit of definition. Like the borders, I've got that color drying over here, the paints gray. But I just want to take it, this is the burn umber I'm using to go around the border, the outline of the cookie. It just adds a little bit more definition of where it ends and where it begins. So be very careful with your hands again, like where you place your hands when you've got pain that's drying. I want to just try and blend this more because I feel like it could blend more. I'm just going to drag some of that paints gray. That's still drying down here. I just thought I would start working on the ribbon. I said in the last video that I would really love to do a greenish she ribbon. I'm just going to use this beautiful green color called sap green. It's very light as you can see. I'm not going to wet this. I just want to paint this green wet on dry. Just over it like that in here too is where it's going to be a little bit more sheer. Already looks like a she ribbon, but we're going to add more to it. I want to add this color which is Hookers green, which is a deeper green as you can see in the palette. Just to create the illusion of this coming out of the hole, I want to just add a little bit near the hole to make it look a little darker down here. And then slowly, just bring these streaks up like that. Using a clean, wet brush, I'm just going to blend this color into the sap green. These are all tricks to try and make it look more realistic. I might just use the Hookers Green just to outline this a little. Just adding a bit more definition. When this is fully dry, I will do the inside and make it a little just multitasking while we wait for this to happen because I don't want to ruin that. I feel that the whole should be a little darker. I might actually use some of this pains Gray that we've been using just now, just to add it to the whole part here to make it look like, hey, this is coming the hole and coming out. I might actually take a little bit more of that. All right, here we go, that you can clearly see the hole under here. I just want to take the color just a little bit up here, but not too far. That just shows that, hey, there is a hole coming through here. And I believe that this is dry enough now for me to put some black here because we worked wet on dry. It shouldn't take too long to dry. And this is just illustrating that. That's just like the inside of this loop of ribbon. I'm just going to Yeah do that. I might just use whatever remaining pain I have on my brush to outline the ribbon, which is clearly a green sheer ribbon. As you can see, that's looking good to me. Just taking a step back and having a look that looks great. Now, I just want to finish up what's going on here with our gingerbread cookie. I had some time to think about what I wanted to do with these circles that I've done here. I think that since this is really dry now, I can actually start using my white gel pen to add a few highlights to the glass effect. Come to life, I'm going to use a pretty big white gel pen, The size ten I want to add. It doesn't work now. Just always have a spare waiting because I find that sometimes the pen gets jammed for some reason. I just want to add a little bit of a white dotted line here which is going to give the effect. Yeah, there's a bit of reflection going on. I, this is just me looking at several reference photographs on the Internet. Dotted lines, some thicker than others. This will create the effect of glass. If you feel like some of the lines are too stark, you can always use a damp, wet brush to just blend it out a bit so that this area is lighter, but it's not as obvious. I just taking a step back and having a look. Yeah, I really like that cool effect that it's having. I might add a little bit more white marks here. People can definitely tell that this is a glass effect. Because right now it could also look like it's like a jam filling in the middle of your biscuit, which is cool as well. Okay, we've got these white marks that are really nice. As I've mentioned before, my white gel pen is such a handy tool to have U with water colors. I love the effect that it can create. It can add highlights. Speaking of highlights, I also am thinking of just removing some of the pain at the edges here to the effect of this area is slightly lighter because the light is falling on it at this angle. All these are little things that you can do to create that dimensions. As I was saying earlier, we are actually really close to finishing our biscuit. I just want to do the final parts. I've decided during the break that I would actually very much like to use this pen that we've used before, the dark spa fine liner, because I feel that it would help to our glass pop out of this dough. What I want to do, I could use a very small brush with Spa and do this as well, but I feel that with the pen and it's fine tip. You're less likely to make a mistake. It goes very well, as you can see, you can just outline it so easily. It does look a little bit dark, but it will dry slightly lighter. What we're doing here is we're just really adding more contrast. Adding more definition of the boundaries. As you can see, it's already starting to the boundaries define and the glass center pop. If you're like me and you've got shaky hands, just use broken lines to try and do this. Wow, it's looking really pretty. Just be careful where you put your hands as usual when you've got pain or ink that's drying. Let's just do that. Okay, I'm just going to take some of the raw umber, I want to.it a little like this with my brush. If it's becoming too dark, you can always soften it with a dam brush. I want to add a little bit more of that texture of that color. With gingerbread, it's not usually uniform. These are all just adding more dimensions. Just like. Yeah, speckling a little because it all adds to the overall effect of the color. If you are happy with the way your gingerbread is looking, now you don't have to do this part. I just love it to look very define. Remember, we already removed some of that pain there. Try not to go over it again. The areas that you lifted pain of to create those cool effects in here as well is dark. Okay, so we've defined it. You're free to. I just love having the boundaries very clear. I just want to use my white gel pen again. It's to add icing effects. Okay, now for the very final touches, we wanted to just decide what I want to do with this ball pattern that I have here. I was thinking of maybe doing it in white gel pen to make it look like icing, but I've decided to try something different. Since this is like a Christmas pattern, I was wondering if we could try using a silver metallic pen to try and create that effect of those silver balls of sugar that you sometimes see on cakes and stuff. What I want to do first, I just want to out just redefine the balls with my pencil, since I've already painted on top of it with watercolors. I just want the boundaries to be very clear. This parts similar to what we did in with our hundreds and thousands cookie. Doing that, just adding a bit more, making it clear, I've decided instead of using the white gel pen, I want to try something different for this cookie. I've got this metallic pen that you can buy from many stationery shops. This is a metallic glitter pen, but if you don't have one of these, I think you could also just a silver pen. Or if you want your cookie, you can also use the white gel pen. That's really up to you. What I want to do is, as you can see it, I hope my hands not blocking it, it just adds this fancy silver ball effect. This is a pretty good pen ink. It really stands out as you can see against shiny against the ginger background. I'm just filling it in pretty quickly, but what I want to do is I want to wait for this to dry, then I would like to just add a white dot on the top of it and we're done with that cookie. Looks pretty fancy. What I want to do now is I'm going to use the white gel pen to just add. 17. Final Thoughts: Hi. I just want to say thank you so much for joining me in my course, the Beginner's Guide to Watercolors through Cookies. I hope that you now feel a lot more confident using watercolors and more importantly, you had a lot of fun doing these cookie projects. Please feel free to upload your projects so that other students and myself can admire your beautiful cookies. Also, please feel free to follow me on Skillshare and on Instagram just so you can get updates on new art projects that are on the horizon. Once more, I just want to say thank you so much again for joining me and all the best in your watercolor journey. Hope to see you soon.