Cafe Sketching Practice. Episode 2: Food | Asya Alexandrova | Skillshare

Cafe Sketching Practice. Episode 2: Food

Asya Alexandrova, Travel sketcher

Cafe Sketching Practice. Episode 2: Food

Asya Alexandrova, Travel sketcher

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7 Lessons (38m)
    • 1. Intro

      3:56
    • 2. Tools and materials

      1:33
    • 3. Shortly about references

      1:12
    • 4. Sketch 1. Matcha tart

      10:38
    • 5. Sketch 2. Sandwich

      10:37
    • 6. Sketch 3. Lavender lemonade

      8:49
    • 7. Class project and final thoughts

      1:33
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About This Class

Welcome to the second Episode of my Skillshare series «Cafe sketching practice»! It is about the food sketching. 

I’m a huge fan of sketching in cafes. For me, cafes are really the perfect sketching spots. Just imagine: interiors can be beautiful and inspiring, food sometimes looks like a piece of art, you can meet wonderful characters there.

And also it’s very comfortable to draw in a cafe! There’s always a table waiting for you, a chair, lighting, bathroom and coffee, of course. In other words, everything that an artist may need.

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

This class is the Episode number 2, and it’s about food. Food can be very inspiring, but quite tricky to draw because of its variety of textures, colors, layers and so on.

 As objects for this video, I chose a matcha tart, my favourite sandwich with poached eggs and salmon and lavender lemonade. 

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This class is not going to have any long boring theory, it’s the pure practice. You will see entirely my sketching process, and I will thoroughly comment on every step. I 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 draw a watercolor sketch step by step
  • How to create a perfect sandwich using ingredients from different photos
  • How to make watercolor food tastier than real
  • How to show various textures, such as: matcha mousse and chocolate tart, liquid yolk and crunchy toast, sparkling lemonade, transparent glass and glossy berries 
  • 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!

PS: If you'd like to check out the previous episode, click here: 

 

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 an illustrator and travels catcher from some bit of Russia. Welcome to the second episode over my sculpture. Serious Cafes. Catching practice. These episode is about what's catching the rivers. One was about dishware, and if you like, you can check it out in my profile page. But actually, the you win order doesn't really minute here. I'm a huge fan of drawing up plays. I believe that it's just a perfect place to draw, because sometimes in terrorists are so very inspiring on the food can look like a piece of wired, and also it's very comfortable to draw there because there's always a table wooden pier there, a chair, bus room, coffee, you light. And so, in other words, everything that artists will need here in some better Zberg Iran. A copy sketching community. It's called pencil and bond. We made weekly every time in a you coppery bar or restaurant and sketch there. By this moment. We've making this for two years and half if I'm not mistaken and visited more than 100 cafes and I personally well, I'm not sure about the exact amount, but I think I've drawn in more than 200 cup phrase in different countries and cities, so I know quite a lot about drawing in cafes, and I'd like to share my experience with you. This why launched this series of classes, cough a sketch in practice? The series is going to have several episodes. Each episode is dedicated to some specific type of objects you can lead in every cop ray, such as dishware, food, plants on furniture and so on. And this is the second episode, and it's about the food. It's very interesting to draw food. It can be really beautiful and inspiring, but also it's quite tricky because of it. Virus, textures, layers, colors. And also, of course, when you draw food, we want to make it look tasty. As objects for this class, I chose the much a tart, my favorite type of sandwich with post X on Salman and a glass of leavened eliminate. Technically, these last one is not a food, but drinks can be also very inspiring and beautiful and quite tricky to draw, especially if they're into gloss. This class is not going to have any loan. Born theory is just pure practice you will see my entire sketching process, and I will thoroughly comment on every step I will draw with in Kleiner's and with colors in my sketchbook. So I will pay some special attention to this technique on two composition on the base. So here's what you will learn as a result of this class. How to create a watercolors catch step by step, how to cook. I mean, how to draw what a color food tasted and riel. How to create a profit sandwich using ingredients from different photo references. How to show various textures such as liquid yolk and French toast, sparkling lemonade and transparent glass. Much of moves and chocolate, dark and so on. And finally, how to keep harmony in terms of composition on the sketchbook. Spread when you need to use objects from different places or different photo references. By learning to draw it hard, a sandwich and a lemonade, you'll be able to apply the skills to many, many other objects and not under the food. So if you're a sketch, her it was tried. Toe a designer visual artist or just a person who likes to draw this class can be interesting for you Your drawing skills don't really matter. For this clause is suitable for both beginners and professionals. Thanks for watchin 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 hurts to follow this sketchbook. This is my a pile of sketch boob. I looked from 1917. It's not a special watercolor paper here, but it's pretty thinking white, so I like to draw on it. For the preparatory sketch, I use a regular reply Bansal into razors, an ordinary razor to remove lines completely. And a south needed a razor to keep the lines still visible, but to make them light also, I used two types of brushes. This soft natural brush is good for transparent bills and smooth color transitions, and they sent cited what a brush is a grade for dancer pains and textures, lines and details. I use what a proof in Kleiner's by Micron, and they send banned by mental whatever. Look, marker is perfectly highlights and a yellow what ago marker helps to increase the saturation of yellows. This is my wedding color box. Originally, it was a travel saddle Devonte intense, but I added some extra colors here and for column. Nixon. I use the ceramic Babbitt and somewhat off course. So this is my everyday said off sketching told the materials. I use them whereby draw at home in a golf or even in a plan there? No, let's move to the sketching. 3. Shortly about references: Here are the references I used for this video. Usually for me, it's much more interesting and pleasant to draw from life. But it's not always possible, and the photos also have their advantages. I believe that the photo said better for educational videos like this one, because we 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 watching, anade. And finally, you can use a few references for once, catch to draw exactly the object you need. For example, when I've been exploring the sandwiches photos for this class, none of them satisfied me enough. So I cooked my own perfect sandwich. Using two different references. I took bread and egg and some Salman from one photo and greens and mashed avocado from another, and the blade was created simply by my imagination to make it feeds into the rest of my sketch. Anyway, I need to notice it again. For Lenin, it's much more useful and productive to use the rial objects for drawing and actually usually small interest in. Then Justin photos, because very often we want to capture exactly what we met in our real life, but sometimes for solving specific tasks and for inspiration, references can also be great. 4. Sketch 1. Matcha tart: I start with rough market spaces for a sharp jerk army spread. Since I draw in my sketchbook, I'd like every spread to look harmonically in terms of composition. So despite the fact that all my objects are from different places and not related to each other, I try to pretend that they all stand in front of me on the table. My main interest here is the food, So I let the place go beyond the left and bottom majors or my spread. Otherwise, they would take up too much space and attract too much attention. The plate and the tart have similar oval shape in my biggest clause, where it you're a cop in a ball. I've been telling quite a lot about Drone ellipses aftermarket in the central area. Off the tart, which looks like an ellipse Indeed, I draw eats out of shape. The shape isn't also streak and geometrical, but it's still based on helps to idolize the tartlet by drawing in segments and also show its thickness where one pace is missing. I draw a couple of Berries in front of a cake and add some crumbs to bring some level in this here as if someone just beat a piece off. I draw a plate, which is cropped. I tried to keep the same hours on the level for a letter right part of the plate to make me draw and look natural. I add some thickness to the clothes side of the plate. If you take a look at any play to have around to confront out that it's close apart seems to be thicker. Although invalid to that blade is grown and symmetrical, this is how they respected works. In the end, I drove the Berries on top of the tart. I don't try to draw them precisely as in the photo. My go here is not to create an exact copy, but to make me drop and look interesting and bounced. On this stage, the Berries look like circles cut from below because they don't just lie down the cream surface. But drama beat, showing that the surface is soft and now I'm done with pencil sketch. So a lighting it with my needed a razor and move to the next step, I begin drawing outlines with 08 micron. Lina is the thickest liner I used for the sketch the character off. Any line depends on the objects. Texture here have prettier, often texture tartlet, so I vary my lines, which into dots on shorts, drugs. If I use a perfectly smooth line, the charge that would look unnatural, as if it was made of plastic at the same time. Bears and cream have some with surfaces. So for these details, my line is more fluent. And even at this stage, I want so much to draw the textures and Hutchings. But if I do it now, there is a risk off over digitalization in my sketch. Therefore, I limit myself to simple outlines to add details with the liner after the car stage and to read them exactly where we'll need them. So moving to the color with what color the most often algorithm is to begin with light parts and greatly moved to the docks. This lets you fix your mistakes more easily. I start with mixing some green and yellow to fill my mantra cream. Here I saw there was some pencil strokes left and raised them because it would be much harder to remove them from under the paint. So with a very soft natural brush. I apply my yellowish green Qala with a large amount of where it was in the Berries. To some parts of my feel. I had a doctor green to show that this surface is not perfectly smooth and reflects light differently. Well, the paint is still wet. Colors mix naturally, and after the dry they will look fine while my greens air drying. I continue with the plate for the plate. I use my favorite paint makes for dark and side the saturated objects. It's indigo pains, great and violet. Indignant. Payne's gray contained the same pigments black, blue and violet used in different proportions. So if you don't have these two pains in your palate, you can create your own makes with black, blue and violet. Maybe this experiment will help you to find your own favorite column. Haven't prepared the paint. I covered the plate with clear water with the same soft brush. Then I apply paying to the wet paper, letting and flow. Naturally, I make some groundstrokes to show the plates shape. I take a little more violet than a little more indigo so that Phil doesn't seem too boring . These wet on wet technique suits here, not only because off expressing the plates most nous but also not to let the paint dry. While I spend time painting around crumbs and Berries, it works fine, although it's not a professional political paper in the sketchbook. If it was a cotton paper, the paint would be drying for even longer, so I could be making my fail. Almost eternally, I get some spaces white to show that the plate is glossy. I didn't want to wait, wiping too dry, so I used the hair dryer drone at home or the studio. It's very convenient way to accelerate your work, But be careful because if you have a very wet paint, it can be easily blown off in the wrong direction with the Airstream. Now, after my fields dried, I moved to the tartlet. The troubles texture the Russell specific like crumbs. Maybe there are business of knots or something like that. And as you remember in what a colorist is better to move from light to dark. So I am make some poker and golden occur with big amount of water and cover the whole touted with it. Then, while it's still wet, I add some brown to my indigo violet makes left on a pilot and paint a second layer of my talk with using more thin and spring the synthetic brush and keeping light spots here and there. I put the darkest color to the titles in apart right above the cream and to the part which is closer to us to bring some volume here. Then I had some dense spots off golden, awkward to some places to increase situation and color variety. The Berries, like the tartlet, also have their highlights off pink and blue colors, so I slightly paint them with magenta and carcass. I cover so embarrassed with being calmly some with blue only and others with the makes of these two colors. Now I noticed the encourage Crump's and had brown for them. Well, the bear is a drying. I add new layers to the cream. I makes a dark green, red and blue somewhere, and I pain so that the left side looks a little doctor. We don't have any hard lighted on this image. Qantas toe light and shade it sides, but I still want to show that lies goes from the left, so the tartlet costs a little shadow on the left side, off the cream. At this moment, my camera chose not to record some short base. So I'll tell you what has happened there. I've managed to add some blue green shadows to the right of the Berries and also painted some stripes on the beaten off part off the cream to make it look, notes a homogeneous back to the Berries. I make some blue and violet and paint the Barry's keeping on cholera. It highlights with my pink and blue fills. The darkest place of a Barry is its center because on a stuff there is a highlight from below. There's a light reflected from a cream so face, so the center is Doc. Then, with the same blues violet, I dock in the shades off the Hollows of Tartars shape. It's front and in a parts I keep on painted spots here and there and buy these. I draw the Tartars texture. After that, I add some golden awkward to the lightest places because I don't want my talk with toe. Have too many unnaturally white highlights. It's you end of color on stage with my dog by the Great mixture. I penned the cakes cost shared on a plate at some run strokes to it and then paint the plates cost shadow on the right to show that it's times on something for it's not floating in the air. The final stage is the details. This is definitely my favorite part of the sketch in process, because now the picture finally comes to life and gets closed to its final look. Although the Inca uses waterproof lines, still fade a bit after coloration and look rather dog gray, then black. So after coloring, I not only had the details, but also repeat and thinking some lines. Not all of them, but those which need an accent. I use my 08 liner again and thinking the most important lines, the parts which are closer to us so that they are the most contrast, e and detailed. I draw a thick decline on the border between the cream and the tartar to divide this parts visually, then make a darker shadow under the cake to express that it lies firmly on a plate. I repeat outlines off the top for to emphasize its uneven graphic shape and to make it look not too soft and blurry but crunchy. Simultaneously, I work in texture by drawing dots and dark spots. I create a spun DRI and rough surface of the tartlet. I don't internalize where bear is made the cream to show this tiny shadows. Then I add some around lines to the plate to make its surface look not to empty and boring . With a few horizontal strokes, I drunk in the plates cause shadow and bring so much reality to the surface. Where is tense? Then he switched to a thin A line are 03 and with round Hatcher's A darkened the shedded side of the Berries. During these, I emphasize a roundness and the direction of light, then, with horizontal hatches, a draw, small cost shadows on a plate falling from the bearers in the whole cake. The final touch off the liner is the small lines on the cream surface. With them, I feel an empty space and emphasize the smoothness of the surface. The very last step is the car lights painted with white acrylic marker. The main thing here is not to overdo. Since what color is unable to cover these white paint? I had some white highlights toe the barriers to emphasize how glasses they are. Draw some white dots on a tart for to enliven it a bit and then at a few wise truth to the plate because it also has a glassy surface. That's it. The much a cake is finished. Let's move to the sandwich. 5. Sketch 2. Sandwich: I place a sandwich on the right above the heart. I decided the crop displayed, too, so that it doesn't take up to rich space on the page and doesn't distract attention from the main object. The food I've already told in the beginning that since I couldn't get any total of satisfying references, I constructed a sandwich from two photos from one photo, I took a bread and egg and a slice of Salman and from another, some greenery and a mashed avocado. And the plate is going to be similar to the cakes plate to make them feed each other as if they were from the same coverage. And again, we meet here. Familiar shapes The Alps is the plate is definitely lived to call, and the bread reminds of the shape to. Then I plays the feeling and egg goes first as an inner compositional center, then a hanging triangle off Salman. Then I draw an avocado and green leaves. I like their shape very much so it drove them, facing us to make them more readable. In the end, I draw a liquid york flowing down onto the plate and now my pencils catches finished. I lighting it with a Nintendo razor and moved to the next stage. I draw the outlines as usual with 08 liner and decline a house. Me not to fall into details. Too much for mature Lee for a bond I used not to perfect straight lines, but not as rough as I did for a tartlet. Because the bond, sir, phrase is smoother. I save some space for assessment states on the top of a bond there very important for an appetizing look. Then I draw a neck with a hole where the your clicks from. After that, I drove the greenery. I'm not making an exact copy anyway. I get a completely different centers here. I tried to make the green a rela graphic and harmonically frame in the egg with a wavy line . I draw a niche over mashed avocado for a Salman. I use more or less stay lines because its surface a small. Then he draw a bottom side of a bread and the yoke for $1 in aid space, which is going to be covered with yolk. I keep Blunk because it's all a bit blower there and doesn't have an a queer Alliance. I will work this place out late with Buddha Color, and I finished the stage with a plates outline to unite both pages. On my spread, I cross a sketchbook center abuse with a plate. I begin cholera in process from a brat. I make some okra and Orent and late on a bond with a huge amount of border. This is a proper column for bakery products, and also I add a bit of yellow and red to give it a more toasted and Rosa Luke. I penned evenly the upper and in the parts and then gives the same colorful a lower bon. After that, I add more read into my okra, orange makes and paint the Salman. I keep a few white highlights to show hunger loss eighties. Then I make some green with a walker to get warmish and not to saturate green and pain to the avocado with it. I don't pay attention now to the light and trading. I use so called local colors only as if all the elements were even little lead. Now, while my sandwich is dry and I'm coloring the plate, I used the same colors for it as I did for a tart's played Indigo, Payne's gray and violet. To make my place look not too similar, I decided to make the 2nd 1 a bit lighter. I spread the very diluted paint all over the plate, keeping a lot of white space after that while the paper is still wet. I at a denser pain to the darkest areas, the bottom part of a plate and especially under the sandwich. Two greatest cost shadow. While I was painted the plate, the sandwich dried, so I move on. Now I'm going to color the York, and that means that I need to clean my brushes thoroughly and change the water. Yellow paint is extremely easy to get dirty, so check twice if you have the queen tools. I add a bit of orange to my yellow to make it warmer and paint the yolk with a soft brush, but with not too much water in it to get a dance color. I also add some yellow to the closest leaves because you all clicked over them to perhaps I should have left more white highlights. But if and then Teibel still need them, I'll be able to fix it with a white marker. Then I add some blue to my green to get colder and darker color and paying the greenery with a saint. A synthetic brush Michaela leaves with various tones to some of them. I at some yellow for my palate, and others I cover with water and drop some pain to let it flow over the leaf. So phrase great In the random but smooth color transition, I make it not only to get barrister looking leaves, but also not to get bored during the process, but a stance. I make some bluish violet and editor the greens usually the first what I call layers look flat, and it's hard to believe that the final drawing could be morally stuck an interesting. But as soon as the second layers and the details begin, everything changes. I make some read into my yellowish orange, which had already dried on a pallet and draw a few strides on the Salman with a synthetic brush. It's lots of Salman is usual segmented with light lines. So far as I am working with watercolor, I move from lights two dogs, So I draw these tribes by painter and Dr red space between them and living lives. Drugs. Then I had some okra golden occur and violet into my dark color I've used for a plate, and with this reddish brown I got, I paint over the inside of a bomb, feeling and picturing at the same time. I paint some dots to show the spongy texture Rabban with the same color but lighter and warmer by eight. An orange I pain the top side of a bomb to emphasize its toast nous. Then he color the lower bond, applying the darkest pain to his bottom and also into the deep of sandwich ST Side on under avocado and Salman to show their shadows. Maybe you've noticed that for all this time I've been keeping the egg and colored white objects are pretty tricky to pain, but it gets easier when things around them are already Call it. The point is the wide reflects surrounding color is very excessively. Before we can get a proper effect. Just be ed in the same car, tow a white object. So I add some. Do the gold broker to the top area off my AG. This is gonna be a bonds reflection to the lower side areas I at some pale greenish color. This is a reflection from greenery in the center of saving some white spots. I had a bit of yellow. It's a yoke. Weaken slightly, see through the egg in the and I had a few dog dots, as if the cook sprinkled at with paper or other spices. If I had started to pay the egg before I card other elements around, you would have been really hard for me to choose the right colors. But you're in this current process. In fact, I've simply being using. The pains have already heading my palate. Okay, now I had a green into my rich brown color and drove the greenery shadow on avocado and also its texture with some little spots. I keep in colored spaces, and now they smashed. Avocado looks more natural. I'm out over him to space, and I felt so We clean it out and created my favorite Tate and makes I'm sure you already know it by heart Indigo, plus Payne's gray plus violet, I needed to paint a shadow falling from a plate, so I went the paper and paint with the light strokes making the doctors line directly onto the plate. The color stages finished, and now it's only the details left. At first, I think the lines were want at shadows and accents under the whole sandwich under the Salman and mashed avocado, where they meet the bun and under the blade. I digitalized with a few lined the front page of the plate because is the close part of this kitsch then I think it outlines of leaves, but not all of them to emphasize some of them more than others with the dark law and I separated an egg from the background, I create an accent on the frontage, often Applebaum, the night dark and some of the schism assays to give them a very tive look. With some dots, I add despondent texture to the lower bone. I draw a couple of flowing lines in the Salman to make it look not too flat. Then I increased the shadow behind the egg by drawing an intricate black stain, which is greatly falling apart into dots and turning into the texture. I add a few details to the app, a bond to show the small wrinkles and duck and a line under the egg. The hatch in I use a sina liner. It 03 Hatching is a secondary thing in relation to outlines. Therefore, a thin a line for the strobes looks more natural with hedge, and I add some texture to the leaves, trying not to make them all the same with horizontal strokes. I draw a cough shadow on a plate and add the salad shadow to lower bomb. I draw a Siris of tighter hatches on up. A bond expresses uneven surface. Then I had some hatch into the inner part of a bond to make a deeper and with a contras to highlight. Imagine grains on his background. I draw a few details on an act to make it look less like just a wide, boring spot and peppery with dots, then at a couple of lines to the yoke. To enliven a to B two, draw a couple of curb allies on a Plato emphasizes shape and draw a shadow to the right to it and a final touch of liner. It's, um, small strokes on a cell. Months lies with them. I give a hint at it smooth but fibers texture in the very and at in the highlights. With a wide acrylic marker, I draw a couple of lines from the yoke at some highlights and leaves. Had a few wide dogs to bread draw a white line on the closest tour stop area of the bond to increase the contrast between the light upper and the dark. Lower parts. And just like in the case of the tar diets and Kurds, Turks to the plate. Now the sandwiches ready, and we paused toe the lost catch off this class, the laminate. 6. Sketch 3. Lavender lemonade: I place a glass of 11 to lemonade on the right side of my spread. I had his bottom bar. Behind it are to create a space and depth effect, as if all of these three objects stand on a table in front of me, not just independently drone next to each other. I changed the original shape of a glass from a photo to make it simpler and to focus more on the laminate to make the glass symmetrical. I use a vertical central line and helps withdrawn left to right half similar in the upper part of the glass. I draw a horizontal central line to make an ellipse look decorate and as open as I need the open us or the with. Often Al Apps on a drop in lets us understand how we look at this drone object. If analysis narrow, flattened close to a straight line, that means that we look at the object from the side and this object is quite far from us. If analysis is open or white close to suckle shape, that means that we look at the object from above and it's pretty close to us. This is how perspective works. If you got interested with this Alice subject and would like to learn more, check out my previous class where showed to Brosa drawing a cop. But why are ellipses so important for us? Catch. The point is, since I've already drawn the place with the cake in the sandwich. Now we need to draw a glass feature into this pictures in terms of viewpoint and perspective. Within my composition, the cake is on foreground, the glasses in the middle and the sandwiches the furthest. Therefore, the alittle guitarists play. It has to be the round, just the widest, the most open. The ellipse of the glass has to be a big narrower, and the collapse of the centers play. It has to be the most narrow autumn all hope. I managed not to confuse you completely with it. The lemonade services, also in al apps almost similar to the are pileups off the glass, but smaller. I place it so that the part of the surface is visible about the glasses side. On my reference, 11 2 sprigs are turned to the left, but I place them facing to the right so that the top right corner of the page doesn't look empty now. My pencil sketches finished, so I raised the extra gratified and move into the outlines. There's not much work without ones here with the liner. I draw the glass. The shape off, which literally consists off three lines and a couple of Phillips is I draw a two month leaves laying on late night, sir phrase but only their parts, which are not hidden behind the gloss. And I drove the lavender sprigs simplifying and still lies in the structure of the flowers . So far is lemonade is liquid and the glass is very, very smooth. We should be careful with extra lines here, So I drew on the these visible part of a laminate and the work on the part behind the glass . I left for the colorants stage. Later, on the detail stage, I probably will add more lies with Lina, but not now. The first feel. I went a little side part of the lemonade with clean water and created Binky Logue radiant . First I paint with light bank and then at some yellow to the top part of this fell and let it makes freely with pink. I get some white space in the ages to show the thickness of the glass. Now I pay and eliminate surface. Using the same callers, I put a lemon slice into the white gap and spread it to the surface with the leg ring paint . I call of the men slaves, which are visible through the gloss and also those bars of lemon Dis temps go under the lemonade, so phase I use a soft brush now and all the pains on the stage of wet enough to let them bland without any ralph ages. Now I take a thin a synthetic brush and make some more dunce green at in a big yellow on. Paying a visible part of means leaves high calorie not too evenly and leave. If you hire lies to make my leaves with natural, I use the same color to paint. 11. Just tempts. Then I ever be the Volcker to make green and color the lower bars of the flowers approximately to the middle of each flower. After these, I makes a bluish violet color and paint over the flowers. The open flowers are completely violet and the bods Godfather tapes only. Lavenda has a pretty complicated structure is so I simplified in a lot not to stock into the tales for too long. Now I makes quite a large amount of magenta into my violet, left on the palate and paint the lower part of the lemonade moving upwards. Then I take some dense yellow and paint an upper part of the lemonade. You remake strokes from top to bottom so that to yellow mixes with wet pink below and remains clean and saturated above while the paper is still wet. I had a few random spots of violent in orange to show its parking texture of this lemonade with a greenish yellow. I emphasize a lemon peel and then, with pinkish violet I smoother lemonades ages out, defeated more naturally into the glass. Very often, I get a question. How to draw it. Transferring glass Well, there's a can't oven answer in this question. The punches ive the glass is transparent. We need to draw something that trying through it. Therefore, we get the most realistic glass when we play something behind, were into a glass object and still can seat. The subject can be not completely visible. It can be distorted, but its presence lets us procedures, transparency off the glass. This drawing. I have nothing behind my glass, but I completed it. Color it. So I imagine the white table so a phrase I conceived for my gloss for the glass color. I makes a very deluded blues great collar with a lot of water, keeping some highlights. I paint with it the inside of a glass and also to the left and right of the glass and to bottle. I had a drop off pinkish violet to the bottom. As it frequently happens, we can see a tiny reflection of a beverage in the bottom For the top page of the gloss, I use a darker color because we see the thickness of the glass here, but still keeping some highlights after making sure everything had dried completely with a very, very diluted bush. Great, I cover all the lemonade behind the glass to mute its saturation. And to unite all these bright colors, I place a great pilot spot to the lower part of lemonade. It's a hint at the bottom, which is slightly visible for lemonade. Then I, with the paper to the right of the glass and draw at cost shadow. This time I add a bit of magenta into my usual great blue shadow. When the light goes through some colored liquid, the shadow can get lit up with its perfection a bit, and this completes the color work. So last turn to the details as usual. First of all, I emphasize the darkest outlines with decliner. Here is the bottom of the glass on the front lines. On this top age, I drew some vertical lines on the front part of the glass to make it look more material and solid than the lemonade. The hard I had some contra shading to a lavender to make the flowers look more three dimensional, I underlined. The leaves lay in the saw phrase, but only on their visible part. Then, with within a liner, I draw some run hatch in on this inside off the glass toe, emphasize it shape and two separated from the foreground. Then I add the same run hatch in tow, the outer part, but only do it center to the area, which is the most convicts and the closest to us here and there. I spray some dogs and small strokes. Let him be the lemonade babbles with Johnny Strokes. I had texture to 11 no flowers and means leaves and then with horizontal lines, I drove the cost shadow in the very end with white acrylic marker. Draw a few of vertical highlights on the glass and, by this again separated the glass from this laminate. Draw bubbles on the laminate at several whites, Boston 11 to flowers, then finalize my sketch with around white line under glass. Top age, although it's not clear, visible and now my lemonade and the whole skate is finished, check out the next video to get a personal tusk. 7. Class project and final thoughts: So now it's time for your class project. Please draw at least two types of food on yours. Catch MK spread by sketchbook spread. I mean, when you open your sketchbook and you see both pages and use both pages left and right, you can draw more objects for like, but not less than two. Because we needed training skills in composition and dick. Federal objects from different references war from different places. Please create the same lighten and auto set up with his objects as if they were on the same table in front of you. Please feel free to change colors, shapes, maybe someone greed is if you need for a better draw wind. Maybe you will need to combine elements from different What a right princes like a deed with my sandwich. Please upload his catches to the project section. I can't wait to see your drones and to read about your experience. And please remember that you don't have to be a professional artist or to drop perfectly toe make this task. Were all Alan here and in the learning of draw, the process is much more important than the present result. If you have any questions were difficult is Please contact me here or in any social network and I will try to help. And also, if you have any ideas, what objects I should draw in the nets? Type a Zoe's off the serious cough. A sketch in practice. Please let me know. Thanks a lot. For which my class. I hope you learned something. You were maybe a systematize. Something you have known before. I can't wait to see your sketches by.