Cafe Sketching Practice. Episode 1: Dishware | Asya Alexandrova | Skillshare

Cafe Sketching Practice. Episode 1: Dishware

Asya Alexandrova, Travel sketcher

Cafe Sketching Practice. Episode 1: Dishware

Asya Alexandrova, Travel sketcher

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7 Lessons (30m)
    • 1. Intro

      3:19
    • 2. Tools and materials

      2:39
    • 3. Shortly about references

      1:17
    • 4. Sketch 1. A cup of capuccino

      9:56
    • 5. Sketch 2. A bowl of soup

      6:03
    • 6. Sketch 3. A teapot

      5:19
    • 7. Class project and final thoughts

      1:51
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About This Class

If I had to name my favourite sketching spots it would definitely be cafes. Cafes are really the perfect sketching locations: interiors can be beautiful and inspiring, food sometimes looks like a piece of art. 

And also it’s very comfortable to draw in a cafe — there’s always a chair for you, a table, light, a bathroom and coffee of course —  in other words, all that the artist may need.

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 I personally have drawn in maybe 200, or maybe even more cafes all over the world. So, I’d like to share my cafe sketching experience with you. That’s why I started to film this series of classes called Cafe sketching practice.

This series is going to have several episodes. Every episode will be about drawing different types of object you can meet in a cafe, such as food, plants, furniture. And this class is the very first episode, and here I’m gonna tell you and show how to draw dishware. Because the dishes are the first thing we meet in every cafe, and also each of us has some at home, so we can practice everywhere.

As objects for this video, I chose a cup of cappuccino with a spoon, a bowl of soup and a teapot. 

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This class is not going to have any long boring theory, it’s pure practice. You will see entirely my sketching process, and I will thoroughly comment on every step. I will draw with watercolor in my sketchbook, so I’ll pay some special attention to the sketching steps, working with watercolors and composition on a page.

You will learn how to:

  • How to create a watercolor sketch step by step
  • How to show the volume with watercolor
  • How to draw the beautiful latte-art on top of your cappuccino
  • How to show various textures, such as: rough and glossy metal; white and colored ceramics; surfaces of soup and coffee
  • How to keep harmony in terms of composition, placing objects from different photo-references on one sketchbook spread

This class can be interesting for:

  • sketchers
  • illustrators
  • visual artists
  • designers
  • any person who likes to draw

Your drawing level doesn't matter for this class. It is suitable for both beginners and professionals.

Enjoy!

Meet Your Teacher

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Asya Alexandrova

Travel sketcher

Teacher

 

Hi! My name is Asya, I'm an illustrator and travel sketcher from Saint-Petersburg, Russia. I'm crazy about visiting new places and draw them in my sketchbook, and this is what I' m going to share with you. 

I don't have any art education, so I can call myself a self-taught artist. I draw since I was a child and study all this time. I believe that my experience helps me to show and explain complex drawing topics in the most simple ways.  

I've been teaching drawing since 2012 here in St. Petersburg. And I'm happy that 2019 began for me with joining the wonderful Skillshare platform as an educator!

 

Follow me on Instagram to see my sketches 

 

See full profile

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Transcripts

1. Intro: I everyone my name is I said, I'm in Illustrator and travel sketch of Problems and Betty's Book, Russia. If I had to name my favorites catching spot, it would definitely be a copy. Cafes, a really perfect places to draw interest, sometimes are beautiful, let inspiring, and food sometimes looks like a piece of art. And also it's very comfortable to draw. In the cafe, there is always a table for you. A chair, buff room, lightened coffee. I mean everything that artist would need. Here in my hometown, Iran, a sketching community is called Pencil and Bond. Every week we made in a new cafe, restaurant or a bar and sketch there. By this moment, we've drawn in about 115 different cafes, and I personally have drone in maybe 200 war, maybe even Mork our praise all over the world. So I'd like to share my cafes, catch an experience with you, and that's why I've started to film this serious cafe sketching practice. This serious is going to have several episodes, and each episode will be about draw, win some specific type of objects you can meet in a cafe like food blondes furniture and so on. This class is the very first episode, and it's about dishware because dishes are the first thing you made in every coffee. A and also each of us has some at home, so we can practice just everywhere as objects. For this clause, I chose a cuppa cappuccino with a spoon, a bowl of soup and a two book. This class is not going to have any long boring theory is just a pure practice. You will see my sketching process step by step entirely, and I will thoroughly comment on every stage. I will create a sketch with liners and what colors in my sketchbook. So I will pay some special intention to my schedule. Process steps the algorithm accusing what a collars and liners and, of course, the composition of the page. So here is what you will learn is a result of this class. How to create a wet, accost catch, step by step, how to bring some volume to your Whitaker objects, even if they're white. How to create a beautiful lot of art on the Taliban patina, not with milk and coffee, but with your water cards. How to show various textures such as rough on glass and metal. What an card. Ceramics, surfaces of super coffee. And also how to keep harmony in terms of composition, placing objects from different photo references or from different places on one sketchbook spread. By learning how to draw a cop, a bow and a teapot, it will be quite easy to apply the skills to draw when many, many other objects and actually not only the dishware. So if you're a sketch her and they destroy it, any kind of visual artists or designer, these class can be interesting for you. He drove in level. Doesn't really matter here. It's suitable for both beginners and professionals. Thank you for what turn and I wish you happy drawing. 2. Tools and materials: my ever Drogon has four steps sketch outlines, color and details, and here are the tools I use for each of this tops in my class. But this kitsch step I use a simple graphic pencil and two razors and ordinary razor to remove lines completely and a soft leader the razor to keep the lines still visible. But to make them lighter for the old one step, I use what approve in Kleiner's My Fairy brand is my crone by Sacra and to emphasize the darkest think his lines, the sent banned by pencil. But the call step I used brushes. Of course. This one is a very self natural brush and is great when you need to add a lot of water into a paint and create transparent fills and move called transitions. And these are my sensitive. What a brush Is there more spring, given the bruise one. So I used them. What? I want my pain to be more dense. They have British sharp tips, which agreed for textures and sales. This is my political a box. It's a sad from the event in contents, and also I feel the spirit space here in the box with some extra colors. Column mixing. I use my favorite, How shaped Ballot. I take it with me everywhere and still haven't broken it, despite the fact that it's ceramic. And let's move back a bit because for the detail stab the last one. I use my line. There's again, and this is mankind's greatest invention. The acrylic marker by Malta. I use it for highlights. And sometimes if my yell watercolor is dirty, old looks not saturated enough. I ended his choked with these watercolor marker, but he should be careful with it, since it's very concentrated and bright. So this is my everyday set off sketching tools and materials. I use them wherever draw at home, in a cafe or even on a plan there. But it seems like we're missing something. Oh, yes, of course. We also need a sketchbook. And for the class are you this a five sketchbook by looked, um, 1917. It's not a special water call paper here, but it's pretty thick, and I like to draw on it. And of course you need some water to use what a car is. Probably. Actually, I don't always use a gloss because I'm also sketch with what? A brushes which already have some whatever inside. But since I'm going to use my natural brush now, they glass of water is just what I need. Okay, now let's move to the sketch in. 3. Shortly about references: Here are the references I used for this feeder. For me, it's much more interested in Pleasant to draw from life. But the photos also have their advantages. Photos are most suitable for educational videos like this, because me and you can see the same object from the same angle and with the same light. The range of various photos on the Internet is huge, so you can find online exactly what you need. For example, for my sketch, I want to find a bright and beautiful bowel of soup. And if I had to draw it from life, I need to search through several cafes and quiet irrationally spent my time. And finally, you can use a few references for once, catch to draw exactly the object you need for this class. I wanted to draw a cappuccino with a pretty lotto art and to place it in tow around cop with a spoon. And so, sir. So I combined information from two photos in my sketch and got exactly what I wanted. Anyway. I need to say it again for learning. It's much more useful and productive to use the rial objects for a sketch in and actually very often we want to capture exactly what we met in our life, but sometimes for solving specific tasks and for inspiration, references can also be great. 4. Sketch 1. A cup of capuccino: I start with rough market spaces for a subject on the spread. Since I draw in my sketchbook, I'd like every spread to look harmonically in terms of composition. So just by the fact that all my objects are from different places and are not related to each other, I try to pretend that they all stand in front of me on the table. There something in common and drawing almost any tensile. Almost every object of dishware, a cop, a teapot, played and lost a bowel. All these are symmetrical shapes, even if a teapot seems to be a symmetrical since it has a spout. Or a cop has a handle only on one side. There still based on symmetrical shape, a cylinder cohen or a sphere to draw a symmetrical object accurately. It's very helpful to start with a central guideline. This line is just a vertical line, which is placed in the center of our future object and helps to create left and right sides of an object. Symmetrically off course. We're not making an academic drawing here, so we don't have to measure thoroughly. Every millimeter, on the contrary, is great to have some loveliness in your sketch when I draw, I usually don't construct a details came with pencil like this. But if you want to draw objects like this easily and accurately in the beginning, you should spend some more time starting them. After drove an essential line, you can mark the positions of the main parts of a cop. Actually, every cop consists of two shapes. Not considering Hendel. Now let's call the first part about of a cop. It may have a shape of a cylinder were huffs fear or rounded cone by cops. Second part, I mean a top circle, which from our point of view, due to perspective, distortion looks like an ellipse. The higher viewpoint is the round of the ellipse looks. If our viewpoint is exactly above this part so that we look for particularly inside of the cop, then these bars loose like a perfect circle, usually went with droid cop with Luca Tate from above, but not perpendicular early. So the shape looks like a wide al IPs hope I didn't confuse you with all that German tree drawing. The symmetrical ellipse is not that easy, so you can place a horizontal guideline which will help to make all quarters of the Ellipse more or less similar. Then I mark a cop's bottom part where a cop made a so sir. Then I dry. So, sir, we chased, by the way, an ellipse to look carefully. What part of the social is behind of a cup and what part is in front of it? The proportion here is important because it shows that you have the same view point to the cop and the soldier, and they exist on the same plane. Then I sketch a handle. Handles are sometimes quite complex objects, a bit like the members Streep, which carefully how one shape transfers into another. The front sides of both a cop in So sir are thicker than the back ones. Despite that, in relatively sizes are the same. It's better to draw the closer parts bigger. This simple method emphasizes the volume of the drone object. Now I place a spoon in the foreground, which slightly touch the second page and unites toe halfs off my spread. That's it with the pencil sketch. Now I light it with a soft a razor and moved. It outlines step, drawing the lines. I try not to rush. And it's not that I'm super sized here. But at least trying not to create so called Harry lines we to get when you're draw a line several times on the same place to make it more accurate. Even if you're lying went in their own direction is better droid confidently, and this will make of you were thing that it was your intention. I don't make any shading or Dexter's now. It will appear later. The most important on this stage is to define the shapes. So when I start coloring, I understand how and what to paint. I begin colorants. Stop with a better, very soft natural brush, which is perfect to make the first layers of paint and create super smooth called transition. Using a wet on wet technique, I must arise the paper with clean water and paint with very transparent watercolor with a lot of water in it toe let my colors nature low Meeks. Then, after it dries, I increase contrast, layer by layer doc and shades and add details. But in general, the cop, a source er and a spoon are pretty simple objects, so there are not going to be many details here on the shed of side the right one. I keep a lighter spots to show a light reflected from a surface that this place is going to be closer to the center of my cop. This cop is white, but since I want to make it with volume, I use very scholars here. Often photos can show all these tones and here, drawing from life experience helps a lot because the human eye recognizes these nuances much better than the camera lands but is trolling. I chose a very common situation when the shadows are violet blue and allies are yellow orange. These collars make a great combination cause they're complementary, according to the call will theory. So using this colors brings more contrast and therefore, the William to the image, of course, is better not to use these colors and their pew saturated state. Otherwise, it will seem that this is not a light on specifics, but the cop itself is just painted in orange and blue. But anyway, using these collars instead of black and gray brings more life into your sketch. There's a couple ways to lower the color saturation first method to get a slightly saturated color is to makes it with a complimentary color. For example, like here we can makes violet with yellow or blue with orange another and foster way east. Add to your makes a bit off pains. Great Payne's gray is the name of a paint. It's a complex makes off three pigments black, purple and blue lake and indigo paint, but different proportions. So this pain great is great, but also blue ship it, and it's perfect for shadows. I use it frequently as a bureau color and also edit to my color mixtures to lower saturation. My references have quite indifferent light, and so I bring more contrast and defined that the light goes from the left and the shadows are on the right. I will give the same lightens came on my future drawings, even if it's different on the photos. As for the spoon, it's remarkably uneasy object. The spoon is metal, and metal is full of random reflections and bright highlights. It may seem that the metal is gray, but if I paint my spoon and child with gray, it will look rather natural. I usually pane glass and metal with the same color I've already used for its surroundings. Here it's while a blue and gila wish orange. Don't forget to keep white spaces to emphasize the glass anus of the surface, where highlights look especially bright and sharp. Every couple cappuccino like Harry sketch is individual, and what gives it this individuality is the draw with the barista makes and milk foam. This is called also lot of art. Off course. We will hardly make its precise copper with what a color, but we can try. At first. I cover my coffee part with clean water to moisturize it a bit, and then at brownish reddish poker spots on wet, making a hint of my lot of our application and shape. It's important here not to try to completely finish this pace in one go after the work on wet is done later, dry even if nothing is clear on the picture and end details on the following layers within a brush textures of great not Onley for bringing materials to your art, but also for distract him from possible mistakes. For example, I got the shape of my lot of art, not exactly like I wanted it to be, so I add a few dark bobbles within brush, and later I will add a few wide bubbles with acrylic marker. As a result, I hope the view world will focus on the details, not on the shape of surgeries itself. Here, unfortunately, lost a small piece of a video, but it was nothing really important here. I added the cost shadow under the object to show that it definitely stands on some surface north hanging in there. Here I repeated a method I've already used before moisturized paper and edit the same violet blue collar as I used on cops, shadows and then with the same brush, edit here and there. A few yellow spots to show where the lights goes from the last and my favorite state of work. The details. First I used mental signed panto emphasize some lines which are closer to me. This is a simple way to express the depth, add volume and focus on the closest details. Then, with a micron liner, I draw details Catchings textures by these. I increase shading and emphasized the shapes. I m curved lines to so sir and cop and make them more around. Then I take my white acrylic motive marker. You can use any other dance white paint instead of it. Gosh, temporal war acrylic. I add white spots highlighting some details. Remember that you can't paint with what a color on top of this marker, so it's better to use it in the very end. After whites, I add a bit off liner again to fix some places. I occasionally painted over and make the in a part of a spoon docker. And now let's it. My cup is ready. In the next feeder, I'm gonna show you the Brosa drawing a bowl of soup. 5. Sketch 2. A bowl of soup: as you could notice. This bowl is Britta, similar to the shape of a cup. This particular boat even has a handle, which makes it look even closer to a cop, but a bit of different shape. So here I act the same way as I've already done with a cop. First of full, I measure the width of my object. The space is going to fill. Since a part of my spread is already taken by a cop the case of a cop, I could draw a bigger or smaller because I had just name just white space around. But now I need to fit the size and again. The upper ellipse, where this prison service placed is very important here. I measure the with off the al apps and its height, and the horizontal center line helps me with the symmetry. After the al apps, I draw aside part of my boat trying to place its curves of the same horizontal level. There's a spoon of Fatah, but I decided not to draw it because it doesn't really fit hair. Compositionally it now prepared to risk catch has finished, So I moved in the next step. The shape is quite smooth and simple, so there is not a lot of outlines here. The most difficult work here is to draw these long, curving lines for the Alps is now. It's especially uncomfortable for me because usually I rotate my sketchbook, but now I'm trying not to move it because of filming. So my hand feels not very confident with some angles. But actually, even if some lies didn't meet each other, is totally fine. Later on the details step. I can fix this outlines, or maybe these mistakes will become completely not simple. So I raise my pencil lines and moved to the gallery in I start by in tune with the yellow part of soup. If you have something light or yelling a page, I recommend starting from these plays. While you have clean water brushes and palette, Yellows are very easy to get dirty. I makes yellow with orange to get very stones and then paint the soup surfers in a wet on wet technique. I keep a few white spots to show that a soup is glossy. I paint over these future beats off onions because later the greens will cover the yellow anyway, then I moved to ball itself. I painted sidebar first Natasha in terracotta red circle because is too close to my wet yellow feel so the cars can control the flow makes and get their own effect. So while they yelled a drying, I paint something else to fill the gaps later. The surface of the bowl has an interest in structure. It's painted with turkey's blue, but also there is an original natural ceramic kala comin through. I makes various tones of blue, from greenish for lies to violet for shadows. The darkest era is close to the center, and I stretch the rest of the colorist even lose for all the surface. Now, while my paint is still wet and there is a possibility of a smooth color transition, I makes this terracotta. Read some poker and magenta and put a few drops here and there to create this commenter effect. At this moment, it might look a bit weird, but I keep in mind that is just the first layer, and the first layer sometimes look like a bleed mess. Now, when my yellow and blue fills dried, I paint ceramic ages. I makes garden poker with orange add a bit of magenta and violent for shadows. The darkest area here is the left. In a part of a bowl, the light almost doesn't get there at all. I paying, trying to keep wise and top of the edges because, according to the photo, there rather shiny. I paint the base of phone ins with yellows, grain and apart from pieces I drew with liner. I also paint with watercolor. Only a few more bring strokes to show the on ends, which kind of I don't focus. Then I continue to paint a side part of my bowl. I took a darker blue, then before makes a couple with stones with green and violet and keeping some spots untouched to show these pimple texture. And also I don't paint over my terra cotta bits. I put some shade into the central era and add a bit of yellow to the left, showing that this part is catching the most of light. And finally I draw a cost shadow, using the same color and direction as I did with a cop shadow. After all, pain had dried. I added some details with a pencil signed Pan, I think in some outlines her stool. I dock into the bottom of a bubble between a bowl on a table because usually this era has a thin but very deep shadow. Emphasizing these line makes clear that the object firmas stands on a surface not floating above. Then I darkened shade in on the round in parts and the inside of a handle fixed some rough lines, created a soup texture with some dots and hedge the bowl to make it Rhonda. In the very end, I added a few white highlights within acrylic marker and dots on the soup texture. Unlike the brown coffee on yellow surface, these white dots doesn't make a huge contrast. So if you want you highlights to look bright, place them to a doctor area and the last life hack I'd like to show here is a yellow watercolor marker. It's not necessary to use Batticaloa, these type of marker, but is good since it worked with actual what a car. Perfectly. This is a very, very saturated and bright yellow kind of a car concentrate, and I use it in cares of my yellow watercolor. It doesn't look bright enough when you paint, not on special political paper, Spain's might soak into a page a lot so that your color might look a bit muted in a situation like this. If I want my yellow to be really bride, I add of his strokes with this marker and smarter with water to integrate it into my sketch . And now that's it. My ball soup, it's finished. In the next video, I'm going to show you the process of drawing a tape up. 6. Sketch 3. A teapot: I make this pencil sketch of a teapot in not very usual weight, the things that I wanted to place it on a background to make it partially hidden behind a cop in about That's why I begin to sketch it from its bottom part to be sure that it's home . Article. If it's with objects, have already drawn for me. It's important not to dock its bottom line with horizontal lines of Coppin ball not to merge them visually. At the same time, I placed this bottom line above the handles to avoid too intricate shape of this area. Also, I came up with idea. Oh, flit in this long, stupid handle. Go beyond that page age. If you have some object not fitting into your page, it's totally fine to cut off its part. Just try not to cut any details off really importance here. This method seems to be produced suitable because I have already drawn objects on the lower part of my spread. So I kind off compensate this compositional imbalance. Putting some visual weight about outlines are simple. Here. I just repeat what I do with the periods drones of copping ball. I draw the outlines with 08 liner. All these lines has the same thickness, which I can increase later on the detail step and at somethin aligns for hatching and textures. I begin painting, as it frequently happens with water in the paper and a blind the green tones. As before, the darkest era isn't the middle, but unlike previous objects, these tuba has a shape of a flattened sphere with kind off equator line. And below this line, it's a round in down and rather notably Dawkins. Even if it didn't have these dark texture coming through the green paint, these parts still would be docker. And also, even if it wasn't understandable from the photo, you would be appropriate to show it on a sketch for making this type of volume and round. I make this about rounder at in a darker color to a slower part. I use various tones of green at in blue at in Violet to get a range of tones on lighter and darker areas. On this layer, there is no real shading yet, and I don't draw any shadows but you slightly different toes anyway. And now well, my paint is still a little wet. I apply strokes of dark indigo and violet mixture to show the texture of this pimples. Oh, my two pit surface. By the way, it's pretty remarkable that the texture of this teapot it's quite similar to the bowels texture. Although material is completely different with the dark tone I color, these equated strip, and it's very important to keep its opera part untouched. To show that is, Baldry and its top part catches light. I paint to the handle with a dark makes off indigo and violet, although on a photo this handle seems to be even the dark, almost black. I use a couple of terms for this. Fail to make the drone look more lively with a very diluted blues green watercolor. I cover the center off the opera part of my teapot to make this side parts local warmer and lighter. Then I remove extra water off this layer with a paper towel to keep it wet but not too watery, and I start to draw a floral button and some dark texture bits with my mixture of green vials and blue. I draw it on wet to make these details looking not too crisp to make it look like a tip of texture, not some drawings or stickers in it. At the same time, if the paper was too wet here, these details would blur into some amorphous stains, like on the bottom part. I want this ladies of floral bottom to be recognizable here. They never be the same, excluding the leaves on the bottom part, making a ducker and increasing contrast. I just started to work and details, but realized that I had forgotten the cost shadow, so switched to water car again for a moment. So far is the teapot is placed on the background is details and lines shouldn't compete with objects in front. If I drew just a teapot alone, I wouldn't pay much attention to it. But here is included into a composition, so a contact, no rate. Therefore, I make some lines of cop and both seeker, at least where they tossed the teapot. Otherwise it could look a bit weird. Also, I think in some lines in the shaded areas like under the tip is bottom. Under the acquittal on and under the cap, I add some textures with does and hatch in, but not too intensely not to focus on it too much as if it were on the foreground. I draw a few white strokes on those size of a pattern which have facing the light to make it more three dimensional as a final touch. Add some high lies to handle and spout, and that's it. My two part and the whole spread is finished. Check out the next video to get a personal tusk. 7. Class project and final thoughts: So here comes a class project. Please draw to pieces over this. Where on your sketchbook. Spread by spread. I mean, when your sketchbook is open and you use buff pages left and right, you can draw more objects if you like, but not less than two, because apart from draw win itself, we need to practice our composition skills. Don't forget to put some shadows on a surf raised because it will bring a lot of mature ality to your objects. And if you draw objects from different photos or different places, try to create the same lighten and kind of the same. Set up for these objects as if they were on the same table. Feel free to change some elements sizes, colors, shapes, proportions for better look. Maybe you will need to combine some elements from different references like I do with my cappuccino cop, and I recommend you if you can, to draw from life not from photo or at least not on Lee from photo. Because drawing from life is microphone, please upload is catches to the project section. Care. I can't wait to see your drawings and to read about your experience. Let's remember that you don't have to be a professional artist. Toe. Make this task We all alone here and in the learning to draw the process is much more important than the present result. If you have any questions, please feel free to call me here or in any social networks and I'll try to help you. And if you have any ideas about what objects I should draw in the next step deserves off campus sketch in practice, please let me know. Thanks a lot for which make laws. I hope you've learned something you or maybe systematized knowledge you over the head looking forward for his catches by