Transcripts
1. Hello Hello!!: Hey everyone. Thank you for joining me for this water going to food illustration class. Now this is kind of the first mood illustration class that I'm doing, but I definitely plan to do a lot more. But I wanted to start it on a sweet note. So this lead is all about dessert. So this is for everybody who has a C2 are just can't bake them like nice, I prefer painting them. But these are super bummed to pain, so we'll be covering all the basic details. Now, I have a few other classes about watercolors, guage, doodling, et cetera. So if you guys want to check it out, I just add the Likud, the About section. But then this one is a big enough AND class. So we will be covering all the basics that you need to get started. And then we will be intense some beautiful elements individually before going on to all the retail projects. So we will be building five beautiful, delicious desserts as projects. And I really hope you enjoyed this and we'll get this a cry. And yes, so let's get started.
2. Ingredients: Alright, for the materials for this class, as it is with all my other classes, it's pretty straightforward. You need watercolor people, preferably a 100% cotton. The ones that I'm using is Ba Hong, 300 GSM, cp, a 100% cotton. So I've just got them into this size. It's like postcard side, slightly less than a five. But then again, go for any brand that you like, just make sure that it's a 100% cotton but because it really helps with techniques, but otherwise, there's nothing like you have to go with a specific brand. Now for the brushes, I'm just going to be using this one brush, this is silver brush size six. So since the size of the paper that I'm using is not that big, this is the only burst that I'll need, mostly maybe another bigger brush for the background washes. And we lead this gel pen, white gel pin for the highlights. So this will be needed for all the glazing and small white spots that, you know, add a lot of character to the overall composition. So even a white guage would do just a, you know, something that is kind of opaque, that can be put on top of the watercolors. And coming to watercolors, I'm using the Daniel Smith professional-grade beans. Now this is a personal preference. I stand by this brand because they are highly fragmented and the absolutely a delight to work with. But that's it. Go with any brand of colors that you have. Because this is, this one is not really specific to a certain brand or a certain shade of color. I'll be switching out all the colors and I'll be sharing the swatches and details about the colors that we're going to use in each of the projects. But let me just get these for you. So we just have about 1234567. So that's these are the seven colours EPA we mainly using for all our projects. And you can match these up with any brand of watercolor that you have. It's perfectly fine. So all that matters is that we have fun with the project and that's it. So let's get started with some basics first and then we'll move on to all the projects.
3. Basics Revisited: So starting with the very basics of watercolor. So even if you have never tried out this medium before, I still want you to be a part of this desert buddy. So we'll start with the very basic techniques like wet on wet and wet Andre. Now wet on wet, as the name suggests, is when you work with do wet layers. So you could either have just plain water on top of the paper and add another layer on top of it. Or you could have one layer of paint and then mixin another layer of pain. So let me just show this to you. So I'll start with maybe something like very mildly yellow over here. So this is your first layer of pain. So now on top of this, I could add another color like this. Now, you can see that watercolor has a life of its own, so it just spreads on its own. You can give it some direction, but it's mainly doing its own thing, so it is just going to blend in. So most of the blending in watercolors happens wet on wet. So both layers are wet and you are letting them blend together or maybe give it giving them a slight direction, like I said, just make sure that you know when to stop intervening because if you try to mess up with the layers when it's trying, it might create batches. Now, wet and dry is when you put paint a wet layer onto a dry people. It could also be a previously dry layer. So for example, in this one, I used wet and dry technique for all this detailing or these sprinklers that are there on top. Whereas on the background, This one, I used wet on wet, I lead a very light wash of pink and then just dropped this darker shade on dog. And even for the shadows, we start with a wet on wet kind of technique and then add a little bit more detail using red Andre. So we'll be using a mix of both these techniques, wet on wet for all the blending that we're going to do, wet and dry for all the detailing that we're going to do. And now there's the third technique that I would like to cover in a little bit more detail that is glazing. It's funny because we're doing a class on desserts and we're talking about glazing as well. So glazing is lightweight on dry, but we will be adding a very transparent layer of paint on top of the already dry Leah. So in this case, if you see this doughnut, it's, it's at the back. So we tried to create kind of a shadow of this front donut onto the backbone. And for this, what we do is we start with this kind of a pigment brown and then use a clean brush to blend in the edges. So you can see that the rest of it is quite transparent, but we have this slight shadow just where the front donut is touching the back donut. And we'll be covering this a little bit more in detail in the next section about the shadows and lights. But for now, just to give you an idea of glazing, you're going to do this kind of a technique wherein we add a slightly darker pigment tool and then use a very watered-down wash or even playing clean brush to layer it up in a very transparent kind of weak. So in this case here, like the bottom part of the doughnut is something where we don't have much light. So you could add a very slightly darker tone of the same color that you use to create the base of the donut. And then just use clean brush to blend it in like this. So it's just creating a nice light and shadow effect using this technique. And later on we'll just be adding all the details like the sprinkle or the glazing, etc. On top using a wet over dry technique. So once this is fry, you can simply add any small detail like this. So that's it for a quick recap. You need wet on wet for all the blending, wet on dry for all the detailing. And then we do a bit of glazing to create the realistic shadow light kind of effect. And that's it. So in the next section, we discuss a bit more about lights and shadows.
4. Capturing Light: So let's dive a little bit deeper in to lights and shadows. These are a few trial pieces that I had made for trying out the illustrations. Now, capturing the lights and shadows properly is what will give you a realistic kind of illustration. Like in this case, we created the background donor using these shadows by glazing technique. So essentially, if you want to show that a certain object is in the background, you have to be in the shadows to signify that it is in the background. And then we have these small shiny white spots that you see. Now, this can be done using the white gel pen. So this is the reason I added this ASM main material. So you can also use guage for that matter. But this really helps in creating a nice highlight, kind of reflection of light on all the chocolate sauce or glazing that is there on the desserts. Now, for the shadows, I usually go for a progression of colors, like in this case when we start out for the brownies, we going to start with a very light kind of brown like this. So the base that you see over here through between these chocolate glazing is what we started with. So it's like a very light brown. Then we have these droppings, which I like darker. So we go for a darker brown and then to add the shadows below these things. So we do it in two steps. One will be to just do the glazing and blend a little bit of color to create that shadow effect. And then we add another layer, which is like the duck is. So I am going to be using the darkest brown that I have, or maybe add a hint of black to the darkest brown that you have to get a much darker color. So that's how we'll be doing it. We'll just add a very dark layer at the base of each of these layers that we have to give it kind of realistic 3D effect. So essentially the capturing light properly can give you a nice realistic looking illustration, as well as help you in distinguishing the foreground and the background objects like in this case when we had this donut and the background. So to show you a very simple technique of going about capturing light. So if I start with a very light wash of brown like this, so I'll decide my source of light. So suppose this is my source applied. So I leave a slight highlight over densely, leave slight patches of white paper as it is, and then continue with my light wash. Now this looks like a baseball or a coconut. Okay. Let's just continue with coconut. So on the other side of the coconut, I'm adding the same color, but with a much pigment in value. So you can see that we're already creating that separation to show source of light. So we know that this is where I saw supply does, and the other side is much, much darker. To give you another example, when we will go on to make those chocolate chip cookies. So we'll be creating this kind of a shadow, or first to show the demos or the place where the chocolate chip cookies are. And then we'll be painting with chocolate chips with the darkest color that we have. So this is kind of the progression that I was talking about. So we go from a lighter color to a darker color. Maybe sometimes it could be the same color. We go from a very light value to a dark value. But essentially that's what you do. You capture light, you go from the lightest value to the darkest value in the opposite direction, select this area is the shadow part for us. So we are add a darker brown like this at the end to show that there's absolutely no light at this side. Whereas all the highlights sign the lighter area, show that the light is at this site. Now, that's about it. That's in a nutshell, how we are going to capture all the light. So going back to this one, we created the shadows showing that this is the portion where we do not have much light, also because it's in the background. So the foreground donor disgusting that shadow onto it. So this, this is what we created using the glazing technique. And for most part of it, for the highlights will either be leaving the paper white if possible, or using the white gel pen to add these lines or small dots wherever needed to create the highlights. So let's get started with all our projects now.
5. Berry Beautiful: I just added this bonus section before we start with the projects to show you a few quick tips about painting berries. So will be having some blueberries and strawberries in fewer of our projects. So how we go about it is for these blueberries, We start with slightly lighter kind of blue, so this won't be your darkest blue. We add that for the shadows and we leave these white spots for highlights. So in this case, we are showing that the light is coming from this side. So we're leaving all those highlights over there. And then we'll just take the darker blue or just a big mended value of the same blue and add it on the opposite side. So this will give it some depth and then we'll add further details, ones that complete once it's completely dry. So that's how we go about. Things are nice, highlighted berries, blueberries. I drew a couple of berries here to show you how to go about adding them in bunch. So we'll be doing all these same things. We add a light layer, we add the shadows a bit. And then once they're completely dry, we just add the darker blue in the areas where the joining like this to create the separation. So we retain the highlights, we maintain the shadows, but we add a little more depth to it by adding a darker color in the areas where they meet onto a raspberry. So for that, we will be drawing a base layer like this, lightly of crimson or pink and add a little bit of augmented values well, for texture. Now once this is cry, will add in the details on it. So I've just get one Hills which is dry so that we can start with the details. So we pin these little ridges with a darker color, the same color. Basically, if you're using Crimson, just use a big mended value of crimson for this. Next, we use a slightly watered-down color, a little less dark than the registered he painted and use it at the edges or wherever we have the shadows. And that's a, that's just a quick tip on how to be in berries. Now, let's get started with our projects.
6. Project 1 : Chocolate Chip Cookies: Now to start with our first project, we are going to pay in some yummy chocolate chip cookies. So we draw a circle, or rather a novel like this and some nice chocolate chips on top. So I'll be sharing these many illustrations before the start of each project so that you get a hang off. What exactly are we going to do in the project? So on this one we lay down a very light wash of yellow ochre first. And then we've crop in a little bit of big mended yellow ocher on top of this to create some texture. So this is a slightly darker value of same color, yellow ochre. And on top of this will be dropping in the bond Sienna. And you can see that it's all blending in because it's all wet on bed. And next we'll drop a little darker value of burnt sienna. And after that, we'll have to let this layer dry completely before we start with the next one. Okay, now that this previously as dry, I'll just pleased those chocolate chips where we have drawn those triangles. And next, we'll add a little bit more of the bailing. So for this, what I am going to do is I'm going to take slightly lighter color than that of the chocolate chips and use them at the base where we have chocolate chips. So this kind of creates the den with the chocolate chips are or rather where the melted a bit because I overcooked them. But that's what we're trying to show over here with the slightly lighter color. Now, once you're done with all the chocolate chips, what we'll do is to blend these in, in a glazing kind of Re. So I'm just creating slightly more texture here and they're using the same color that we just used for the base. And next, I'm cleaning my brush, wiping it a bit in the tissue, and then using it to blend these hard edges. So you really don't want a lot of hard edges on the cookie like this. So I'm just blending in all the edges that we have from the previous layer. And that's it. Now you can already see that these layers are helping us create the texture or the depth in this cookie. Next, we'll be doing a little bit of wet over dry technique once it's dry. So now that the previous layers dry, I've just added in the darkest brown that I have. So just a quick reminder to use burnt umber or add a hint of black or blue to your darkest brown to get this kind of color. So that's about it. That's how we're going to go about the cookies. So now let's get started with our project. So I'll just draw a very simple kind of an outline for illustration. So we'll have a Cauchy over a hill. We'll have one in the background on which we'll work with the shadows will have a cup of milk over here because Sheldon Cooper sees so. And we're building chocolate chip cookies here. And I'll just add a couple more, maybe a half-eaten 1over here. Don't be too worried about getting the exact circles because even when I bake them, I can't manage that. So it's perfectly fine. Just make them look delicious by layering them upright. And I'm adding the place holders for all the chocolate chips over here like this will sprinkle in a few here and there. And that's it. So now we can start working on the beads. So I'm mixing a very light yellow ochre over here. I don't really want a ready dark kind of color because this is going to be the bees and we're going to build up on this with the burnt sienna and burn number. So this is kind of a light wars that I'm trying to make. And we start with our first layer. So I'll be working on a couple of cookies together because this people can stave it for slightly longer. But if you feel that your paper is drying out too fast because it can happen because we all live in different weather conditions. So in case that is happening, just make sure that you take it one cookie at a time. And while we are at the first wash, just drop in a little bit of pigment. It yellow ochre is well. Now will be adding all the fun shadows here, lead drawn with the glazing technique. But for now, we're just lifting it up for the first, first round. Now while my people are still wet, I'll do some wet on wet magic using a very light value of burnt sienna. I just mixed it with the existing yellow ocher to create this kind of a shared. And I'm dropping it here and there. We will be adding a lot more detail with darker colors later on. So this remember that this is just your first wash and we let the spray. Okay, now that may be prescribed, I'll start working on the chocolate chips for this, I'm using a much darker brown. Not the dark is, it's kind of been Sienna, but it's definitely darker than the bees yellow that we used. And we just paint all the little chocolate chips. Next we add in a slightly lighter brown so you could just mix it with the Lord to lighten it. I'll just use a lighter wash. That's fine. And then being around these cookies like this, around these chips. And we'd be using clean brush to blend it in later. Now I'm thinking my clean and I'll just be blending in these hard edges that we created. Now, I kind of feel like this dark enough, so I'm just going to be adding a little more brown. Maybe not to all the places, but just at the base over here. So I'm not doing it for all the chocolate chips, just trying to create a little more depth in our cookies because the previous layer kind of blended in with the yellow ochre that we had for the bees. So just trying to add this one instead will again be using the clean brush to blend the hard edges that we're creating over here onto a clean brush. Now, to blend the sin, it may look really messy right now. But once we add a little more detail, you'll see that it starts speaking sheep. Right now it's still in the baking mode and everything is just melting and GUI. So have some patients and keep adding a little bit more detail and we'll get through this. Now while these are still drying, let's do one thing. Let's add the milk so we won't be leaving this glass white. I would like to fill it up with slightly very light greenish kind of color so that it still shows up and it doesn't just look like we have left the people there. So I'm mixing the scholar, I'm just using very light Bill Walsh agree. And just filling this up, really dropping a little more, maybe slightly big minted value of the same caliber at the end like this. And while all of this is still drying, we just been the first wash off the chocolate chips that are lying around. So just use the lighter brown that you have. And being these chips. And after this, we are going to lead this layer dry completely so that we can start with the background. Okay, now that malaria is dry, I'm starting with the background. For most of the projects in this class. I am using this indigo color. It's a very nice dark and gloomy kind of color which you'd associate with maybe storm cloud. But it looks amazing as the background of these food illustrations. So earlier when I was just finalizing these projects, I wasn't really sure if I would go with the same background for all projects. But once I tried it out, I just had to. And this is something which I've done in my previous illustrations as well on Instagram. But I just wasn't sure if I should do a full-blown dark background for all my projects. So what I'm doing here is I'm adding a little bit more segmented indigo VR walking wet on wet here. So it's kind of blending on its own. And that's the reason I'm doing it in batches. I'm not doing it all together because in case your previous layer tries, this kind of blending, this kind of effect won't be possible. So I'm just doing it in small batches of the background. So we just mix and match the dark pigments value along with the lighter value. So this is where I am using the bigger brush, slightly bigger branch than the one that I'm using for most of the illustrations. So since a bigger brush will help you cover more area in the background, but that's the only reason. There's no other reason to use a bigger brush over here. If you want, you can continue with the same brush that you have as well. If you feel that, uh, discovering good enough area of the background, just go ahead with the same brush. She's right. I like how this looks. I really love this sauce on the dock background. So let's just wrap up this background completely before we add on the bead deals on the cookies and milk part. Now while the background still drying, we'll just mix up the Brown for the chocolate chips. I'm going with the darkest brown that I have. I'm using a burnt umber and we'll just mark all the chocolate chips like this. Now, if you are afraid of messing up the background, I'd suggest that you read for it to dry completely and just trying to save some time over here since it's crying. I'm just covering some area with the cookies. So all the layers that you added previously help in creating that depth that you see over here. So by the time you added the dark, the dark is round. You already have a few layers of Brown that is giving that depth effect to this. It will also wrap up these little ones that are lying around. Leave some white on this or rather the bees clear, just leave some of it's showing when you're painting it so that we have some highlight on them. We will be adding the highlights separately with divide gel pen as well. So just leaving a little bit here and there, that's it. And we let this dry completely. Okay, now I'll just mix a little bit of brown, a burnt sienna to create the shadows on the background cookie. This need not be very dark and we'll be using the same glazing kind of effects. So I'm using a clean brush to blended and, but just to show that the cookie, This one is in the background, we're creating the same event that we did with the donor. We just creating the shadow like this. Now this glass of milk still looks pretty bill and whites. I'm just adding a little bit of texture to this. So I'm using kind of a mixed of brown and blue. It's a very weird color that I just found on the ballot. I'm just using it, but I suggest going with some gray or a very light value of the blue. And we'll just be using clean light value of the same color to blend, doesn't. I just used a clean brush to manage all of that. And what this did create a slight edge to glass of milk, which I like because earlier it was looking to build, but right now it looks slightly better. And now I'm adding a little bit of the blue, the same indigo that we used to get it a bit mode. And let us try. Once it's dry completely, we start with the highlights using the white gel pen or whitewash. So just to add a little bit of a dot on top of the chocolate chips like this. And a few dots here and there just for highlight. You can also fix the edges of the middle class in case they got messed up using the same gel pen. And we are done with our first project of chocolate chip cookies with a glass of milk. I hope you enjoyed it and I hope you have a real chocolate chip cookie as well. See you in the next project.
7. Project 2 : Brownies: Going onto the next thing that will take you off your diet, we be bending some nice brown 0s in this project. So we draw a square. And all this kind of sounds like geometry. Drawsquare, draw normal. But I'm just trying to break this down into the very basic shapes that we have for each of these elements in each of these projects. So next we'll have this kind of chocolate syrup glazing like this. So just try to get this connected and maybe poor it a little outside as well, just to show that it is kind of in flow. And then we start with a very light wash of brown. It's still darker worse than what we had for the chocolate chip cookie because that was more on the yellow side. This is still going to be brown, but a much lighter version, because we are going to be adding the darker version of Brown for the topping separately. So we start with this. We add a light wash drop in some big mended values here and there so that it creates a nice textured wash. Next, we'll take a slightly darker brown like the one that we used for the base of the chocolate chips. And we'll just drop it in for some more texture. I'm just randomly dropping it, not trying to create any certain baton over here. After this, we will add the glazing on dog with darker brown. So you could leave a little bit of whitespace here, there to help with the highlights later on. And then at the base will be adding a much darker colors. So again, you can add a hint of blue or maybe add a little bit of black to get the shadows right. So I'm just going to be using the darkest brown that I have. I'm just adding a little bit of blue to this burnt amber to create this at the base. So we'll be doing this at the base and creating some nice glazing effect as well. So let's get started with our project. Now I'll just be doing another drying for this, again is going to be very simple. So that's the reason that I broke it down into these shapes of simple squares. So we'll have one brownie Hill. And I'm the one on dot like this. Now for some doping. So I'm trying to create that same flaw that we were talking about and maybe add a little bit outside as well. Caesar. Next we will add in some extra elements, maybe those chocolate chips from the previous project. Just adding something nice to the composition of these two brownies. And maybe a few here as well. And that's it. So let's start with the base layer, which is going to be a nice light brownish color. So we'll be painting everything together first. So you just be painting these two squares and not be bothered about the leaving any space for the doping, etcetera separately. We'll just do a quick wash up the whole squares. So she's name that was given to a given to us. Now since the paper that I'm using is small and it's not like too big. I can walk on both the brownies together but make sure that they're not drying up. So in case your paper is drying up, just work on one brown here at a time because we need to work went on to create that texture. So dropping in the slightly big mended color. Now, this has to be done wet on wet, so just make sure that your paper is wet when you're doing this. And we let this dry before we start with the topping. It dried, do light. And that's the thing with watercolors, most of the colors will cry much, much lighter than what it looks like in the ballot or when it's wet. But for us the scholar is kind of perfect. Soldiers being the chocolate chips around first. I'm using the same dark brown that I'm going to be using for the droppings of the brownies. I am leaving a little bit of white. Already. We will be adding more with the white gel pen as well. But for now I'm just leaving a little bit here and there. Since we have the white people right now as the background. Now let's start with the chocolate syrup. So I am again leaving a little bit of space here and therefore the highlight. But don't worry if the colors are blending in and you cannot do that. We will be adding more highlights with the white jump and later on. So this is kind of the lighter brown that we have and then add in the darker brown for the shadows. And just cover this next brownies before we start with the shadow part. And now for the shadows, I'm using much darker brown. So use the bond or maybe just mix a doubt Lou. And I'm putting that at the base of each layer. And now we'll start with the fun glazing part. So just clean my brush. I'm using a little bit of water. And I'll be using this to create kind of the shadows at the base. We have already done that with the darker color. And I'm just using a clean brush to blend it in so that it gives a nice depth to this. You can also do this with a light brown color if you want. But since we already have this dark brown here, I'm just using a clean brush to use the same color to blend it in. Okay, now let's add some details to these chocolate chips around them. So just use the dark brown bond Dumbo, maybe to add it here. And now we'll start with the last part of the shadows. So I'm just using the dark brown ones again to fix these shadows. Since we used glazing to lighten it up a bit. In the last step, I'm just making sure that we still see these dark spots over here. So I'm just using the same Doug Brown that I had, but since the previous layer is a little lightened up because of the glazing that we did. It looks much darker, but it's practically the same color. And let's add to this frowny as well. You're just adding it at the very base of each layer. And after this, we will lead this layer dry so that we can start with the background. Okay, now that my latest start working on the background, I'm using the same indigo color and the same technique. We're going to walk wet on wet for most of the Baptists. Just be a little careful around the edges and around all these small things that we have in the composition like these chocolate chips for example. Just being around them a little carefully. But other than that, wherever you have a lot of free area, just tried to cover as much area in one stroke as possible. The drop in some Dhaka indigo so that we can let it blend. And that's it. So let us cried the background dry completely and then add the highlights. Now my background is dry and it looks a little lighter as well, but it flips nice. So we add the highlights with whitewash. Just try to create this kind of a shine onto the glazing. Also on chocolate chips that are lying around. Just trying to add a little bit more detail to the background, that's it. But be careful when you're adding these highlights and not to go overboard because we still want those shadows, those dark patches to show up. So if you add too many highlights, then it takes the attention away from them. So just make sure that you're adding just the right amount of highlights. And that's it. We're done with the project and the gallery count is definitely increasing. But I'm kind of happy the way these projects are shaping up with the dark background. So in the next one we explored some yummy doughnuts. So see you in the next one.
8. Project 3: Donuts: Now starting with our donors, again, we will be drawing the very basic shapes again. So simples collect this kind of an over like this. So from top view and then the hole at the center. Next, the glazing on top. So this is the basic structure, basic shapes, basic drawing of the Donut. Now I will start, this is we start with a very light brown or maybe a yellow ocher. Very mild kind of color for the base layer will add all the details, will add all the doping, etcetera later on. But this is how we'll start with a very light kind of Lille. And then just drop in a slightly darker value of the same color at the BCE. So we're trying to capture the light at the top while showing that this is the bees. Next, we'll also have a little bit of chocolate syrup dripping on this one. So I've just placed it here. We won't be been doing it in the central part where there is a hole, so this won't be painted. But I just drew it overall. And now for the glazing at the top, I'll be using a nice bright pink. You could go with anything for that matter, if you like a certain flavor. Just go with the color for that. I am using somewhat this color, this pink up wrapping. And for the shadows of just under the glazing as well as a little bit of the DOP syrup. We'll be using the, this kind of Brown, burnt sienna. And again for the darkest brown, for the shadows at the base of the syrup, etc, will be using the burnt umber mixed with maybe a hint of blue or black. I delete just the dark is around that we have. So it looks almost black here, but it's kind of a very dark brown. So that's about it. These are the colors that we'll be using and the basic structure and technique. Now as always, I'll be drawing a very quick, simple kind of outline for our illustration. So there's one donut Hill. We have the center over here. And then maybe another one, mole ratio. This is similar to the one that we tried out earlier for the technique spot. But since this looks a little empty, maybe I'll add another one on top. So in this one we'll be trying out all the glazing techniques to create the shadows in these areas. Now starting with the glazing on the donuts. So try to make it random drive to not really monotonous. I'm just putting in a slight separation here for the base of this donut. And I'll just erase these dark lines and get started with our first wash. Okay, so I'm starting with the yellow ochre. We just BCE every vanish. And since we are painting a lot of disconnected areas, let's just drop in the red part right away. So I'm taking a augmented version of the same color to drop at the base. She's radian. Same thing here. Add a little bit more pigment at the areas where we have two adjoining donuts. So in this case, just to make sure that this looks like it is in the background. Be adding a little bit more pigment. We will definitely be working on the glazing partly drawn for the detailing. But this is kind of just the initial beta1 met wash. If you see at this point these two doughnuts kind of look connected. There is no separation over this in this area. So this is where we will work on later once this is completely dry. So we'll just let this layer dry before we start working on it. Now that Melia risk drive, we will start with the glazing part. So we use the same technique. We start with a darker pigmented version of the same color. Now in this case, I'm using burnt sienna for the base so that I create these shadows. Next we use a clean brush and we blend these edges in to create the shadow V just US bonds here now and then blend DHS. She's right. Even tried to darken the separation here, so I'm just adding a little bit more darker burnt sienna over here. Be careful not to mess up the glazing bad. But with all the detailing, Vietnam now able to figure out that these are three separate donuts. A bit more will be added later on. But for now, we're just trying to create this kind of a separation. And for the base of this one, we again do the same thing. And then use a clean brush to blended. And we let this dry a little bit before we start with the glazing on top. Now I'm using the legacy. I'd go with anything that makes you happy. She's way. I didn't realize it, but I accidentally filled in the central portion as well. So I'll just be lifting it up. It really doesn't matter because we're going to have a very dark blue background. But just to be sure, I'll just lift it up with a clean brush like this. Now to add some mediation, we'll just drop in a little bit more pigment it pink like this while it's still wet. So this is again a technique so you have to make sure that we do it while the previous latest still red, still trying to fix this on to the next Donor B follow the same technique. And after that, VB lead this layer dry before we start with remaining details. Okay, now that my layer is cry, I'll start with adding the shadows next to this glazing. And this has to be done with a darker brown. So I'm I'm using the burnt sienna. So this is kind of giving it some depth and it helps in creating a bit of realistic illustration. So just do this for the places where you feel that we can add a bit of shadow. Now for this part again, I'm adding a little bit more detail, a little bit more of separation. So this is the one that is at the back of this back. So I'm just making this part a little darker than the rest. Once this is dry, I'll just add the chocolate syrup at DOB. So I'll mark it with a pensive just to be sure. Let's make some dark chocolate. Doug Brown for this one. And I'm using a bond for the chocolate syrup on top. So just to show you, it's this color. And we start with adding the details. Just follow the lines that we draw with a pencil. So to summarize, and while this dries, we can start with the background. And then using the same technique. Just make sure that you are careful around the edges of these donuts. So we're trying to avoid putting in any blue in there unless you are having a blueberry donut. So I'm just being careful around the edges and for the remaining places I'm just trying to cover as materia with one stroke as possible. I'll send you to remember that we have to add the next layer but unmet. So while this is still where I'm going to drop in the dark indigo pigment at DHS. I'm to fix this center. She's way today. Two. And then we just let this dry completely before we start with the highlights. Now for the highlights, once again, we just add a little bit of white here and there, so that it seems like it's shining. You can also add some white droppings if you want sprinkles and a little bit of dots in the background. So that's what I'm going to do with this one. A n2. And that's it. That's a third project done. And it looks super delicious. And project in the next project we are going to be in some healthy breakfast bank gates. I'd like to call them. And that's it. So see you in the next one.
9. Project 4: Pancakes: Onto healthy breakfast option. So we're repeating some nice pancakes and this one, and we're just going to draw a stack of pancakes. So I'll just share a sampler here. And then we'll have some, We'll have played and we'll have some berries to go with it, something like that, simple. We will also have a little bit of honey dripping in here like this. And that's it. So how are we going to be indices for the top part of the band Cake, we'll be using a light yellow ochre color, a lighter brown. And for the bees, we'll be using a dark brown. Just like the Soviet, avoid the portion where the honey is dripping in the final project. And so these are the colors will also be using a little bit of blue and red for the blueberries and raspberries. But apart from that, this will be an overall color scheme. So we start with a light yellow ocher. We added a little bit of darker brown at the B's, will be using the same yellow ochre, but with a slightly more augmented value for the honey. And maybe mix it with a bit of burnt sienna to get nice warm, golden niche kind of color. Then we will be using this kind of a blue for the blueberries, slightly darker blue for the shadows on the blueberry like this one. And then a little bit of pink for the raspberries. That's it. That's all we're going to do. So let's get started with our project. So I'll just draw a very simple outline. We will just have stacks like these of pancakes. I'm trying to create separation for the top and the bottom part. So we have all the berries over here. And after this, we just have this kind of quick move to get the pancakes in order. So we just making sure that this obese layer marked so that you can be into directly with dark brown. Then we have this, add the remaining berries on this clique. And also the gripping honey. This is essentially the drawing. I'll just Elisa to bid to have lighter pencil mark. Now we start with the banking, so I'm starting with the Father. She's only two. I'm leaving some space for the Dodd-Frank part separately. Just fill up the star players and try to avoid tripping honeypot. She's way in Korea. So I'm going to use a very light blue, bluish green. This somewhat similar to what we used for the milk and the first project and being the pleased with it. Next we start with the Hami on top, so much darker. Much big men did. Dropping in some more yellow blends on its own. And while that is drying, we can start with the blueberries at the bottom, the blueberries. And so we start with the light of the blue. And then later on add the details using darker blue. But for now we just painting a light wash. I'm leaving that. Why? Highlight as it is, you can definitely add it with the white gel pen as well. But I'm just trying to leave some highlights here so that you can use the white of the paper itself for highlight. Now we add the details using a much darker blue. This kind of helps in creating that separation. And while that cries, let's start with the base layer of the pancakes. So for this, I'm using a slightly darker brown. Again, this is not the darkest brown that we have is just for creating the base layer. So I'm going from this yellow ochre, a slightly darker brown for the base. And that becomes a yeah, She's way and as a leader, franco manage efficiently over here. So I'm just going to work on the RAS police semi, follow the same technique. We start with this and then add in the details on top of it. And then blended with the brush. Now adding a few more layers to this honey. So I'm using a slightly move augmented yellow ochre. Or we could have a hint of 1cm as well. So just creating a little bit of shadow. So this helps, in fact, creating the highlights. Instead, the portion that you're darkening is helping highlight the other bushing that is not being done. So we can use the White to further enhance this little bit of shadow on the plate as well. So again, use the same color, the one that we made for the beam plate. And we use it to create the shadows as well. Maybe slightly more big mended then the actual color of the plate. And the base again, it's just a slightly more of the same color that we used for the dogs. Next, we add some fixed shows to the top part of the band Cake. So just use the yellow ochre, not very dark because we still want to keep the honey bees of the band Cake, et cetera, separate. So I'm using a yellow ocher, slightly pigment did not really dug and just creating these small batches that will then fixed with a clean brush, similar to what we did for the chocolate chip cookie. You just creating these batches. And then we'll just add a hint of the clean brush towards the edges if there are any Herodotus and fix them. Now we use our darker brown, maybe a bond, a very dark value of burnt sienna and added to the base of each band geek do create that shadow. Dries, we start working on the raspberry. So just add those details, teeny tiny details with the same color, maybe a darker value, and then use a clean brush to blend. So this is just something that I do. This is a very simple technique to create raspberries. You can go for a very HD kind of regime as well. But since the focus is more on the pancakes, I'm not putting in a lot of detail into these berries. Okay. We'll start with the background. So while these are still drying, we can start working on the background. Remember to do it in batches. You have a lot of area to cover so that we can still work. She's way. Imagine that. So user. Okay. She's waiting for me to start with adding the two. Now for the blue and just pad it so that we create this Shadow. Next we start with the highlight. So I'm using my white gel pen to create these small spots. White spots show that it's kind of listening as magical. So user little bit of dots in there just to add more highlights. I think they've done a healthy dessert for teens, breakfast, sweater, jeans. And I hope you liked this project. See you in the next one, which is the last project where we go back to our deserts, need going to be in some wall foods.
10. Project 5 : Waffles: Alright, on to our last project. And in this one we have been doing some fun waffles. So I have no space left on that runs. So I'll just start with this. Again. We draw a simple square like this. And next we'll create a few rules like this. So we just read these so that we can draw the squares inside later on. So you can see that this is slightly wider than the next row that I created. So we're trying to create that kind of a separation wherein we have these squares. So the area between them is slightly smaller than squares themselves. So I'm just adding the vertical lines like this to create the separation. And we're done. So in this one we'll start again with a very light yellow or so. Okay. Big do we'll start with a very light yellow OK. Like this one. And then we top it up a little bit with the slightly darker don't just just merging the two. Wet on wet. And this again is going to be the base layer. Next for these little squares we're going to add, we're going to start with burnt sienna. So that's like a light brownish kind of value to start with. And then we'll add the shadows, et cetera, with a much darker value. And then in the end we top it with the darkest brown that you have. So it's like kind of a progression of Brown's. So over here, we'll just have a scoop of ice cream as well. So to start with, for the base layer, we put in some yellow ochre. This maybe a little more later, but for now I'll just keep this. Then we taken the slightly darker value and drop it in like this. Pretty random at this point because we will be figuring out once. Source flight and adjusting the shadows within those little squares separately. But for now we're just adding this randomly wet on wet and going to these squares. What we're going to do is really start with the scanned for brown. Then add a slightly darker pigment did value to one side. So decide whichever is your source of light. And then we had a slightly darker brown to the other side like this. And once this dry, we'll be adding a bit more of a shadow. But that is to be added only once it's dry. So it's going to be a wet and dry and leasing kind of technique. But for wet onboard, we just start with this light brown and add in a little more of a augmented brown like this. So that's about it. And we get started with our project after this. Alright, so once again, starting with the basic trying, so I'll start with square over here. It may not fit in, but it's fine. It's going a little out of that side. We'll have another war for lower here. So again, this one's done the background. So we will add in a little bit of shadows in the end. And we can work on these little draws just like we discussed. So I'm adding them here. View right apart, and then the smaller one. Now we've just make those cute little squares like this. Same for the background, woeful. It just do the same technique and draw the little squares on this one. And now to make it fun, being a scoop of ice cream over here and a little bit of berries around it. So I'll just to have decent composition and just add something over here. Maybe a little bowl of chocolate syrup. That's, that's are all about the crime part for this project. Now, let's get into the painting part. So we'll start with the logo for the base of the office. She's way and I'll save it as a magical day. Now, dropping in some big mentored one, again, it's where Don width, so make sure that your people is not drying up fast in case it is, then try to take it up as one waffle letter dime. Sounds like a Healthy Eating advice. Do but this specially because whenever you are doing but on where do you need to make sure that you previously it is still wet for the technique to work. So just be aware of how you'll be prescribing. And we let us clear dry before we start with an expert. Okay, now that malaria is dried, I'll start with those little squares so I'm mixing up a nice brown over here. Burnt sienna will just spin the squares in one row first. So if you feel that your people can stay wet for longer, maybe you can pick up multiple rows. I'm not risking it right away. I'll just start with one row at a time. So the spin these cute little squares. Now we add a little bit of darker brown at the base. So I have decided that my light source will be from the top. So I'm just going to be adding the darker brown at the base like this. So right now since it is working wet on wet, it's going to blend, it's going to spread, which is fine because we are again going to create the shadows later on using the glazing and met Andre technique. But for now, even if it's blending, it's fine. Just make sure that you do this part wet on wet. And then we'll start with an extra rule. And since I'm feeling adventurous, I'll just start with the experiment a bit. Dropping in that. Just add a little bit. You can see that the first row, it's almost blended in with the rest of the body. But it's fine. We can still shadows the back. And then we let this dry. Now that might be placed dried, I'll just start working on the remaining pieces. So for this one, I'm just creating a dream. So that that portion remains right dish. And we'll fill in the remaining part with a dark brownish chocolate syrup. So it just makes a nice brown over here. And apply this directly onto wet and dry onto that cup. Now we add in a little bit more texture at the base like this. So I'm just using a darker brown to do this and I'll just let it blend on its own for now. We work on the details later on. Now onto the shadows of these little squares. So what we're going to do is weed being dead like this, being the shadows at the bees like this. And then use a clean brush to blended in. So you can do that together. You can just be and all the shadows together and would or if you want to take it row by row, you can do that as well. I'm just using a clean brush and I'm going to blend those edges in, not completely just towards the edge. So you can see that the shape is coming up. Now. You can see that there's a little bit of depth in those squares. So for that, you have to go layer by layer. So this is what we did. We started with a Beasley. Be adding in shadows and fixing the Artagis. Seem for the wall fell at the back. You'd use the same technique for the shadows. Now while that's drying, I'll start with the background. So we follow the same technique. We start with. Oops, I dropped a little bit of blue over here. We'll fix that later. So we start with small patches, make sure that you're avoiding the illustration. Tried to Bean slowly around them and tried to cover the remaining area with larger brush strokes. Yeah. Okay. I'm just dropping in some darker pigment and indigo at the edges. And then we let this dry completely before we start with the next fees. Gait stride, much, much lighter again. So we start with our batteries now will just spin the first layer over here. So I'm using the light blue rather than light value of the same blue to start with the first layer. And I'm leaving the highlights as it is. I'm just leaving some whitespace. Under the same technique as we use last time. We just start with this minimal kind of wash. Then we add on the details and then use a clean to blend it in. Now, let's add some texture to this wall foods I'm using a slightly light value of burnt sienna. You could also go for the yellow ochre itself and just add these deck shows. It is helping in creating Nice. Depth, nice texture. Now for the ice cream again, just like we did, use this kind of greenish kind of color to create a slight color onto it. I don't want to leave it the stock white. So just adding a little bit of color like this. And we'll use the same color for the rim of the cup. Just a little bit here and there. Now for this part where it had dropped in the blue earlier while painting the background, we can fix it simply by blending it like this. But I'm going to add a little more darker brown at the base. That's much better. And b, let us try to people is try we can stop the remaining details. So on blueberries we just add the shadows. Vb is on. Just let this dry, completely. Dry. I'll just add the highlights using the right tail. I miss dotting the shadow onto the background wall. Plus I'm just creating this kind of precipitation to show that one in the background. And then we continue with the highlights. Fixing the rim of this just in case it got messed up with the background. And that's it. That's our final project. I really hope you enjoyed this class and you've enjoyed the projects as well. See you in the next section.
11. Adios!: And that's it. I hope you enjoyed this class. I had a plus shooting it because I really enjoy food illustrations and bending desserts are so much fun to this whole dessert. But the idea was really something that I was looking forward to. And I do hope that you'll give the projects or cry. If you do, please do upload them in the project section, I can't wait to see the beautiful illustrations you create. And if you are on social media and if you're sharing your projects there, you can find me as that residue Butler on Facebook, Instagram, and Pinterest. I do have some nice Pinterest boards with all the food illustrations. So do check them out. And that's it. If you have any feedback about this class or any of my other classes, please do, let me know, please connect with me as your feedback really helps me read better classes. So that's it until next time, SEA.
Vinita, That Crazy Doodler
