Freehand Design Sketching part 3: Transparent Materials | Marouane Bembli | Skillshare

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Freehand Design Sketching part 3: Transparent Materials

teacher avatar Marouane Bembli, Design Professional & Online Teacher

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

10 Lessons (37m)
    • 1. Introduction

    • 2. Sketch warmup!

    • 3. Line work & first marker layer

    • 4. Second marker layer - add depth

    • 5. Clean up the lines with a BiC pen

    • 6. Add a liquid inside the glass

    • 7. BiC pen magic

    • 8. The importance of line weight and line shading

    • 9. Bonus - Rendering colored glass part 1

    • 10. Bonus - Rendering colored glass part 2

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About This Class

Hey, Marouane here, thank you for checking out my class!

Inside of this third part of my freehand design sketching series, you will how to sketch transparent materials such as glass and colored plastic for example. 

We are going to use a few different glass shapes as examples and I will walk you through all the details you need to know to get this right.

You'll learn how to visualize transparent material using both pen and marker but also how it's done using only a BiC pen.

See you inside!



Meet Your Teacher

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Marouane Bembli

Design Professional & Online Teacher


Marouane is an industrial designer and online teacher from Stockholm, Sweden currently living in the sunshine state of Florida. He has a great passion for design and especially the art of design sketching. 

You could say he's a wannabe surfer and backpacker (34 countries and counting) who can't help but sketch whenever he picks up a pen. He's worked as an industrial designer, concept artist, illustrator and online teacher for over 10 years which sometimes makes him feel pretty old.

He has a master degree in automotive design and a bachelors degree in industrial design.

Some of his designs have been featured online and in numerous magazines such as Auto Motor & Sport, Auto Express, Car Magazine, Top Speed and Car Scoop.

You c... See full profile

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1. Introduction: Hey, it's Marwan family here. And thank you so much for checking out my class inside of this third part off my free hand design. Sketching Siri's, you will learn how to sketch transparent materials such as glass and colored plastic, for example. So what we're gonna do is we're gonna use a few different glass shapes as examples, and I will walk you through all the details you need to know. To get this right, you'll learn how to visualize transparent material using both pen and marker. But I also want to show you how to do this. If you only have a big pen and a piece of paper, for example, hope to see you inside again. Thank you so much for your interest in my class. Now let's get sketchy. 2. Sketch warmup!: Hey, and welcome to this class where we are going to sketch transparent material. So we're gonna do a few a couple of glasses, the one kind of like a martini glass, and then the other one is gonna be a regular, regular kind of shape of a glass. And I'm gonna try and walk you through the steps I take when sketching transparent material . But before we start, we want to always start by warming up our hand and thinking about how we sketch and what we want to sketch. So in this for this exercise, I'm just gonna make a bunch off ellipsis like this since glasses are most likely to be made up off ellipsis. Right, So we want to practice that and get our hands used to it. And when I sketch here, I used my elbow, some sketching, all the way from my shoulder, shoulder even, and my elbow and my wrist. I keep that locked. Even if I'm sketching small and tiny details like this, I try to keep my my wrist locked and sketch from my elbow. What that's going to give you. It's smooth and controlled lines, and from here we can start to connect these shapes and just have fun with it. If you want to, you can start to add some marker Here is well, the tools were gonna be using for this class. Are we gonna use, like, two or three markers and not more than that? Because it says for sketching transparent material. That means that we have to use very light shades since there aren't going to be a lot off. There isn't going to be a lot of color in this in thes sketches. See, I fill up a She'd like this. Just have fun. Go crazy, Connect the dots like this. Make a few curves maybe. And you can even creates a sheet line shading if you want that. And just when you start to feel ready, let's jump into sketching the glasses. 3. Line work & first marker layer: Okay, so the first glass we're gonna sketch is a kind of martini looking glass triangle triangular, something like this. It's good and then connected down here and make a foot 4th 1 there we dio So what do we want to do? Uh, first, we need to think about the wall thickness off this sketch off this or shaped. So we always have a wall thickness, and we want to add that the first thing we do doesn't have to be perfect at all. We just want to add some sort off thickness to this sketch. And since it's and it's transparent, it means we're going to see through the glass, obviously, and see the thickness in there. So that's what we're gonna start with and same thing down here. I think the foot has a thickness to it as well. And doing these ellipsis that is all about that all comes down to just practicing every single day to sketch ellipses. You see, this is not as perfect as I can make it, because the paper ends here. So I get the wrong level off what I'm used to. But it looks OK anyway, I'm gonna keep it like that. Now we want to start by shading with a really light shades. I'm using a what is this? Blue Grey one. So this is a one, um, you could use a cool, great one as well. It's probably gonna be the same. And I want to start by figured out whether light source is coming from in this case, we have the light source coming from here. So the light is shining on this glass. From that angle, that means that the outside off this side that's facing us, it's cylinder. So the shading is gonna be on on this area right here. So he's gonna add some lines in here just to give it some life. It can make it go all the way down here, something like that. And then the wall thickness needs to be since the glasses. So dance here it curves. That means that from our viewpoint, this is going to be where there's how to explain it, where the glass is as thick as it can be. And that means that the gray is going to be darker. Obviously, since it's more mess too, to look through that kind of happens up here, too, because usually they have a ring or a, uh, kind of, Uh, yeah, This edge up here is going to have a darker reflection as well. And right now I'm still on the cool gray one or the blue great one. So I'm gonna keep adding a few lines here and actually start to think about the inside off this glass. Since we see through here, that means that we're going to see the reflections on the inside or the shading on the inside of this glass as well. So that's what I'm gonna fill. Fill in right there. There we go. And I'm gonna add some reflections on this side as well. I think this is a good start with the cool gray one. We couldn't even make some shadow like this want to just to make it look a bit more realistic. And this has an edge to the foot down here has an edge to it, too. So we're gonna have to fill that in with the marker and handsome shading to that. That's what I'm doing right here. So I think that's a really good start. What we want to do now is move into the cool grey three and add another layer of shading to this 4. Second marker layer - add depth: All right. So for the second layer, I'm gonna use the Blue Grey three. Same thing here. You can use either these markers or you can use Coptic mortgage. Whatever mark is you have really doesn't really matter. All that matters is that you keep the shading light so I don't want to go over three. Whatever shading you're using, you can even use a color here if you want to. But for the sake of this exercise, I'm using Gray. So I want to From here, I want to still figure out think about where the light source is coming from. As always. That's like the number one thing that's going to help you understand where to put shading and where to put highlights. So in this case, this area right here is going to be in the shade in the opposite side, off the lights. Worse. So I'm gonna fill in this with a darker shade with the cougar three, and also maybe fill in this shade right here with a with a little thin line like that, and we might want to add some here as well. This is pretty much all about testing. So the more you sketch, the more you figure out what works and what doesn't. Now, it's been a really long time since I sketch something transparent. So, um, I'm getting go slow here and see what works and, uh, just take it a bit slow to figure out exactly what it is I want to visualize. But I think this looks good so far, and I want to add the rim appears one, only to think about that. All the surfaces air facing this way they were facing that way needs to have some sort off shading to it, some adding that right there and let's work on the foot as well, some adding the the darker shade to this side off the foot, also adding a thin line on the other side. Same thing down here, it's It becomes a bit more dense down here, so we need to visualize that and same thing with the foot If you want. You can add even darker down here, since this is the baseline, this is the line that is actually sitting on the surface on the table, and usually you can make that a bit darker. I'm gonna do that later on with a Bic pen and not use a market for that. So from here, we can continue to just explore and have fun with us and add some more detail to it. The thing is, I don't think I want to go overboard with this. This looks good as a glass. Right now, all we have to do is to fill in all the lines with a big pen and make this a bit more clean . So that's what we're gonna do next. 5. Clean up the lines with a BiC pen: So I got my big pen right here. It's my favorite pen to sketch with, and I'm gonna start to fill in all these lines and especially the outlines, just to define the shape more and make it crisp and nice looking. So I'm starting on the shade side of this product so that the surfaces or add just that are in the shade. Those are the ones that I want to start by adding Zahn line way too yo and on the inside of this wall thickness year gonna add And some line way to that as well, just a bit looser than the rest. Something like that. And we can even play around with some line shading here if we want to. If you want to practice that, we can add that here like that and let's make this clean, clean this up as well. So the outline of this rim have that clean like that same thing with the foot gonna to find this inch down here, So I'm going over the same line several times to create the thickness that I want and the conch rest that I'm looking for, and I think that looks pretty good like that. And I think the, uh the height off the foot and we can do some line shading here if you want to. Something like that. And from here, I mean, we can call this and we can say that this is ready right now. This is finished or we can even add some. See what happens if we add some liquid in here so we can make an ellipse something like that, and then just weaken, pick a color and shade this with markers. So let's jump in and do that and see, see how that's gonna look. 6. Add a liquid inside the glass: All right. So I picked this color. It's called Frost Blue. That's because I'm just gonna go slow with this and see how it turns out. And if we can actually make it look cool. So let's say we have some blue drinking here first. What I'm gonna do, I'm gonna fill in this side without filling in the top on this marker is actually dry. So it doesn't really do a lot for me here, but hopefully we can get some blue in here Anyway, Let's see if we have a an even darker blue than that right here. So this is this liquid is inside of a cylinder, which means that the shading is going to apply to this is Well, I want to add some shading to this, uh, liquid and inside of the glass. And I want the top part to be Since that is being hit by this light, it means that it's going to have a lighter shade of blue. I'm gonna use the last of this marker to feel that in. And I'm going to three to define this edge bit more right here. Same thing here. If you want to, we can go in and play around with line shading, just to add some more contrast to this, like that. And there we have it. We have our martini glass all done, so let's create a more standard looking glass, a bit more organic shape and see how that's gonna turn out. 7. BiC pen magic: All right, So let's start by sketching, sketching this glass down on paper. Let's make it like something like this. Maybe we have to, uh, Kerr pictures like that way and connected in the bottom. Does that look right? I think we can work with that and same thing here. We want to start by adding the the wall thickness through the glass. That's the first thing we want to do when we have transparent material. Always sketch out the wall thickness, and the base of these glasses are usually a bit victor than the rest of the walls, and we also have a thickness on the top part. Here we kill. Let's clean this up a little bit. I think I'm actually making it more dirty. But that's fine. This one. I have some more definition to it. And, uh, let's work on the base a little bit here as well. There we go. So we have the light source coming from the exact same spot, meaning it's coming from the left side of the glass itself from here. And how would we shape this glass from here? First of all, we can start by guiding the shading with the pen. So if you want to sketch, actually, I'm not gonna do any markers on this. I'm just going to sketch a transparent material using this pen. So let's start by adding some shading to it using the big pen. 8. The importance of line weight and line shading: All right. So the the light is coming from here. That means that this side over here is going to be in the shape. When I shaved with a big pen, I'd like to do line shading, and that is doing a bunch off parallel lines like this. It kind of it works to visualize shading. Really? Well, we don't have markers, and I get up. Uh, I'm gonna pretend that I don't have any markets right now. Same thing here on the inside of this glass. We're going to have a a, uh, shadow as well like that. And that would go all the way through here so we would see it through the top whole as well . And now it's all about playing around with the line weight off this glass. So this is in the This is too shaded side. This is the decide. That's in the shade. So I want to add I want to add more line way to this same thing here. I'm going over the same line several times to create this, uh, this effect or the the thickness off the lions, trying not to smear out the other lines with my hand as I do that. And the baseline, of course, is going to be the thickest line. So I'm gonna transfer. I'm gonna try to make this a smooth transition between the side going down to the baseline here and start to create some line weight to this baseline. Something like that Actually gonna have the paper like this. So don't smear, smear everything out. Same thing here. I want to have a smooth transition going to the the side off this, uh, glass. So I want this to smoothly go in here and then pretty much fade away like that. So there were. Now we understand where the light is coming from. Since this is the darker side, it means that the light is coming from that way. It also means that this inside off the glass, the inside of the glass right here is going to be a bit darker than on the other side. Since this is in the shade, so filling in the line right here as well for adding line with I want to add some contrast to this. And I'm also going to do it on the inside off this glass so that wall thickness on the inside of the glass. That's another part we want to add Some line. Wait. So there we go. We can also add a a, uh, shadow here, if you want to. Which one? Add some three dimensional effect to the sketch and we can have it kind of fade out here. And, of course, if we want to, we can add some liquid inside of this by just simply making a and lifts that goes from one part of the wall thickness, the inside of the wall tickets there to the inside off the other side of the wall thickness . And that's about it. I think we have are two glasses here. I hope this made sense. Here we use the markers, and here we just use the big individualized something for us parents. It's easier to visualize it if you put something inside of it, because that's it's just gonna make more sense. Also, I'm gonna add it won't last lips right there because the base is going to be connected as well. So I just wanted to add that there. I really hope you enjoy this short class and the class project. It's obviously to sketch something and transparent. It can be whatever you want. It doesn't have to be glasses or anything like that. And you can use either markers or just use the big Pent. Visualize something like this. Please don't forget to leave a quick review. That means a lot to me. And that is what actually makes me want to create more courses. So look forward to that. And I will see you next time. My name is Maram. Bumbling. Take it easy. 9. Bonus - Rendering colored glass part 1: okay, blank sheet of paper. We are all set to girls. I'm going to start by sketching. Just make some outline for for some sort of cylinder or it could no, was be a glass, maybe whatever you want it to be. And also try to keep this in perspective. What do I mean by that? That means that this and lips down here is going to be wider than this on the top, because that's just how they were looking at it slightly from the top. And that will make this ellipse bigger in perspective than the top few right there. Let's also make a, uh let's make one ellipse, one cylinder and one cube for this exercise. Still sketching with my ah elbow And let's connect all these lives into a cube. And if we want, we can start to add some line. Wait here already, or we can wait until we have the markers. Also, it doesn't. So the lions don't believe that much, but it was gonna add a bit of line way to this right now. There we go. All right, so now we have to decide, and some thickness here, we're gonna decide what color. We want this to be so I like orange or rent. I also like great cool grey school, but it's kind of boring. So I'm gonna go with for this exercise. Let's do read who wanted to be a red transparent, uh, things or one press parents cylinder and one prince Parents Cube. Just gonna fill this in all the way. So I know kind of where these edges go. Something like that. All right, So what we want to think about, let's use these three. I think you can read them right there, and we want to start with the lightest shade. So I think in this case, this is the lightest read that I have right here, so we can first start to see how it's going to look on the paper. Cool. So, first of all, we want to keep in mind where the light sources and the light source that's the main store such shining all this object. We want to figure out where that sources coming from. So in this case, we're gonna have it come from here shining on there, and we can have the same light source shine on that one from that angle. That means that this side over here is going to be in the shade. Right? So let's feeling out. Let's fill this in. Also be baseline. I'm gonna feel that in from the start as well. And the talk part top edge here, something like that. Also adding this line right here because I want this to be shiny or glossy. That means that, um the contrast in the reflection is going to be high, meaning the edges off. The reflections are going to be sharp. There's not gonna be a lot off Grady INTs in here. I want to keep it like that very, very high contrast. And since this a is a transparent material, that means that we're going to see through to the bottom off this glass or whatever were sketching. So we're gonna have some shading down here is well, or we're gonna have the at least this line going here because that is gonna tell us about the thickness of the glass. Same thing on the side here. We want to make a parallel line right here to visualize the thickness off the glass. Something like that. And we also want to think about Thea Reflections inside of the glass. Since the light is coming from here, that means that this curve inside here is going to be the darker side of this glass that's going to look something like this, and we are going to see some of those reflections inside here. So I'm just gonna add this reflection all the way down here, since we have darker markers to play around with later. So I'm just feeling that in like that step number two is to go to a darker marker, and I think the are 14 will do the job for that. 10. Bonus - Rendering colored glass part 2: So let's go ahead with our 14 here. So what I want to do is emphasize the darker areas. This is actually kind of the same shape. So I want to go even darker. Let's go to or 35 see how that's going to look. But down here, that's pretty good. So I want the shade part. This is obviously the part that's in the shade since the light is coming from here. So I want to add some darkness to it. Also, fill in this center off this reflection here just to have make it look like a Grady int and add more life to it. And the reflection is going to be the darkest in the centre off the reflection like that. And I think I'm gonna go back and actually feel in the bottom off this with a reflection. Going something like this is a flat surface, the bottom. So I'm gonna go back to the first shape that we had just at a reflection like that. And let's go back to the or 35 and some reflections up here, something like that. And let's see if we have a, uh, lighter red that we can use. So you have. This is going to look Looks pretty. Give it some gonna use this to fill in this medal here like that. This is the INS we see through the glass to the reflection that's on the inside off that that side on the foreign site actually gonna keep this market here because I think I'm going to use it. So the thing to think about here is the reflections that are on this side on my side, the fifth that are facing the camera. They should b'more lively or have a bigger contrast then the ones that we see through a layer of glass, if that makes sense. So what we can do now is, uh, adds, um, highlight to these for that. I'm gonna use this. It's a posca pen. It's a uni pasta, penne, and I'm gonna add a highlight up here. Get a bit more. Here we go. And then I'm going to use this to visually the thickness of the glass, some adding some thickness to it right here and at the bottom. I want a thickness known here as well like that. Also on the fourth side, we will have some a few reflections here just to show the that there's something going on there with a thickness can continue to add. Ah, fill in the reflections up here as well. Keep it in mind where the light source is coming from. It's coming from here, which means it's going to hit this edge and also this edge right here. Something like that I'm gonna feel in. This is, well, the bottom of the glass, and we can add some reflection in the middle of this as well. If you want to want to make it shiny, this is like you can experiment with where you want to put the highlights and where you don't want to put the highlights and so on. So if you make a mistake, it's not. It's not a big deal. You just start over basically and, uh, practice of more until you get the result that you want. But I really think about the thickness off a transparent objects. It has to have a thickness to it that that's kind of what makes it look transparent. If they can see the walls, that wall thickness of the glass or the object and you want to try to visualize that in the really Ah, clear way. So I think there we have a glass. We can also add, uh, a black or a cool great 10 not completely black bottom or baseline just to make it. Give it some, uh, some weight to this object instead, off going over it like 20 times with a big pan. You can just use a black market like this is going to get the same effect. Just going around the baseline, You know? I'm gonna stop right there. I think that's no, we go. If we want to go one step further, we can use a, um, white pencil like this. Honestly, if I was gonna sharpen it up first and you want up, use this. Teoh, Just use, um, get some Grady int, uh, reflections in here. Or maybe even and some line shading onto this, something like that. So I think that the most important part is to show the the wall thicknesses when you're sketching something transparent