Mug Shots - Sipping Some Symmetry and Proportion | Jessica Wesolek | Skillshare

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Mug Shots - Sipping Some Symmetry and Proportion

teacher avatar Jessica Wesolek, Artist/Teacher

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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

14 Lessons (2h 17m)
    • 1. Mug Shots Introduction

      6:56
    • 2. Simple Mug 1

      10:18
    • 3. Simple Mug 2

      11:05
    • 4. Simple Mug 3

      11:15
    • 5. Simple Mug 4

      13:24
    • 6. Symmetrical Mug 1

      11:09
    • 7. Symmetrical Mug 2

      6:18
    • 8. Symmetrical Mug 3

      9:13
    • 9. Symmetrical Mug 4

      7:51
    • 10. Symmetrical Mug 5

      12:30
    • 11. Landscape Mug 1

      10:20
    • 12. Landscape Mug 2

      12:54
    • 13. Landscape Mug 3

      12:09
    • 14. Conclusion

      1:36
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About This Class

Mug Shots - Sipping Some Symmetry and Proportion

The idea of this class came about when two things happened around the same time. My husband and I FINALLY decided to clean out our cupboard full of coffee mugs, and I mean full to the point of shoving some mugs in sideways on top of the upright ones. And a friend and I were talking about a favorite mug she had gotten me, and she then mentioned that she was having a hard time coming up with ideas for her sketchbook pages.

She also had a full mug cupboard like everyone does. So I suggested that she get out a favorite mug, fill it with something delicious, and sketch it on a page while sipping from it. Most of us also remember where we got our favorite mugs, so writing a little story to go with it is a great addition.

I decided to make a “creative sketchbook page” class from this idea for Skillshare. Drawing and painting mugs is fun, and a good exercise in understanding symmetry and proportion because most mugs are symmetrical and their handles must be in proportion 

Whether we use this page idea just once in awhile, or make a challenge of doing a number of them, it’s a great and readily available source for whenever we are looking for an idea for our sketchbook.

This class is for all levels. Beginners will be able to follow the lessons on proportion and symmetry and advanced artists will find a new creative approach to a sketchpad, and some tips and techniques in water media that I have learned from a long career in illustration.

Meet Your Teacher

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Jessica Wesolek

Artist/Teacher

Teacher

My name is Jessica Wesolek and I am an artist, teacher, sketchbooker, and gallery owner living in the fabulous art town of Santa Fe, New Mexico.

My classes are about the art of sketchbooking, watercolor and drawing - in real life and digitally. They are for all levels because beginners will be able to do the projects with ease, and accomplished artists will learn new ideas and some very advanced tips and techniques with water media.

I teach complex ideas in a simple way that makes sense, and have never yet failed to teach a student to draw and be pleased with their results. I even guarantee that in my in-person classes.

My career in the arts has been long, varied, and eventful. My educational credentials are from the University of Michigan, UC Berk... See full profile

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Transcripts

1. Mug Shots Introduction: Everybody seems to love mugs. This is a page from Pinterest and it, it shows just a bit of all of the wonderful shapes and the variety in the color and our readiness of mugs. We use mugs for comfort drinks, usually warm, like coffee, like tea, like hot chocolate, and sometimes especially on a cold morning, just holding a warm mug makes us feel good and all warm and cozy inside. So most of us seem to collect a lot of mugs. And some say that you can tell a lot about a person by their mug cupboards. Everybody's got at least a partial covered filled with them in mind was really bad. It was double stack and then I'd stick him in sideways to fit him in there. You'll see the cleanup and enrollment. You can tell a lot about a person by their mug cabinet. I asked a couple of dear friends of mine to send me pictures of their mug covered because I had already cleaned mine and I hadn't been, I hadn't taken a before shot to illustrate this slide. Anyway, they did that favor for me. And can you tell that my friend who's cabinet is on the left, loves color and maybe has something to do with Michigan State University. And my friend on the right is a very, very big friend to wildlife and participates in all kinds of programs to save them and help them. And she's friends with all of them. If you think about it, we like mug so much that we actually named our cabinets after them. If you say cupboard a little more slowly, it is cup board, a special place for cups. I recently cleaned out our mock covered which was stack to high with mugged x2 we never used. And a lot of them left and now are among cupboard looks like this. And it's still a lot of mugs Because I still loved Many of the RD ones and I've decided to know and to keep them, but to try to use them more often. My husband uses one mug every day and so do we have all of this choice? If we stop to think about it? I sometimes use a mug as a water jar for paint. That's a dangerous thing. A lot of people do it and a lot of people either put their paintbrush in their coffee or sip their paint water. So that's not the best of ideas, but it is a nice thing to keep something that, that is that artful around when you're making your sketching. And I decided to be a great idea to celebrate the favorite mugs of mine and my sketchbook. I could select one each morning for my coffee and sketch it while I sipped. And each one also has a story to add. Where did it come from and why is it still hear what makes it special enough to stay in my life in doing these kinds of Sketchbook pages was so fun that I decided to make a class about it so that you could do it to. The other thing about mugs IS they make a good subject for learning something about symmetry and proportion. Most mugs, whatever shape they happened to be, are symmetrical. And matching one side to the other isn't always the easiest thing in the world. And I also can't teach you how to draw the specific mugs in your cupboard because I don't know what they are. And so the lessons will be based on three mugs from my cupboard. And I will provide a photograph in a PDF of them for you to have to work from and work along with me. And then your project, you'll take what you learn about drawing and painting mugs and about symmetry and a bell proportion. Which means how does a handle relate to the size, how does the height relate to the width, and so on. You can take those skills and then your project can be to take your own MOG of the cabinet and do a page on it. So our first module will be a very simple one. It's manufactured. It is a shape that is just ubiquitous in the MOOC world. And they're the ones that are usually decorated with lovely thoughts. And I didn't stick completely to my model. It says live simply, but it wasn't that simple of a design. So I simplified man, and that is artists license. And you can do that. You can either do a very realistic picture of your mug or you can change what you think should be changed just to make it a better sketch. The second mug is little more complicated. It's partially glazed and partially not glazed and it's a pod bellied MOG was a very big handle. And so it presents a cemetery challenge because your brain doesn't always want to draw a reverse on the right side of what a drew on the left side. But we have tricks for that. And we have tricks for getting the look of engraving and a real granular related glaze. And you will learn those on the symmetrical mug. And last but far from least is landscape mug made by a friend of mine who works knew the Grand Canyon. And again, I did some artistic license things to make changes to mine. And again, it's a mug that is partially glazed and partially not glazed. Some of the color is coming from looking right at the Clay. So by now I know you're excited to get started and we are using the same supplies we always do with the addition of a little grid ruler, which I will be introducing and which is listed in the supply list in the project section. And when you upload your MOG. Another thing to share in the project section that would be a lot of fun if you can get a good shot of your mug cupboard. And we'll be able to tell a little bit about your story. For now, let's go learn how to draw mugs. 2. Simple Mug 1: Mugs come in a variety of shapes. They all have something in common, which is that they are symmetrical. If you draw a center line down the middle, it'll be the same on one side as the other, not counting the handle. They all have a handle. Now with those two similarities, otherwise, they're totally different. Most of the time this shape though, is the most common. Also the easiest to draw, which makes sense, right? And you can download this particular mug. I'm in the project section and you can draw along with me because it may not match a mug from your cupboard. If it does match a mode from your covered, then go ahead and get that one. But if you don't happen to have one like this or you just want to do the same thing I do for this learning experience. Then great. Download the photo and we'll go from there. So in learning to draw our mugs, we are going to learn about symmetry. And in order to learn about the cemetery, we'll use boxes because you can, looking dead on. You can fit any MOG to a frame of a box. And once you do that, it's easy to deal with getting it right about this symmetry on the sides. And it's also easy to add the little, little oval at the top that we add when we look slightly down at something. So the way that you're seeing the smug right now is pretty much the way that we're going to be drawing it, but we're going to start with a street on situation using a box. Now certainly we can all draw box freehand by now or with the help of our little rulers. And we'll look at how that happens. And then I'm gonna make a suggestion to make life easier because we always like it when life is easier. I start with a free hand line. I've drawn sketches, I always too so that I can correct its straightness and how vertical it is as I see it becoming a line. So if too far to the right, I bringing laughter is too far to the left, I bring it right. I keep it very light so that I can erase whatever isn't right. But then I'm going to add a little extra precaution. Because if you are going to use a box as a guide for something that's symmetrical. And you start off with a box that is not truly vertical and horizontal. You already shot yourself in the foot because anything you do that soon reference to this box is going to be as wonky a subparts itself. So for that reason, it's a really good idea. To make sure that your vertical lines are vertical and horizontal lines are horizontal. And this is tricky because the sketch books, they kind of move around a little bit. And so you're not just seeing the edge of this page, sometimes you're seeing the edge of the other ones behind it. So just be aware of that. And if it's too much of a problem, take a dark piece of paper. Just stick it in here so that you can see where the real edge of the pages. So just like we did when we were in kindergarten, we're gonna measure how far is the top and are my little squares ruler? It's seven little squares. So I want the bottom down here to be that to us. I'm gonna move this out just because I don't like using the end of a ruler ever. And so that Mark would be right here. And so aligning the two marks, I cannot see because of the angle of the camera and everything here, but you get the idea. And so when you draw a line along that, then you'd have a true vertical line. And we want to figure out the approximate width and height of, of coffee cups in general. But we're starting with mugs. I might say. We're starting with the simplest shape. And so we're just going to use this as a reference for our box. And so this is looks like 33 quarters in height. And you have to kinda just eyeball this. And it's three in width. So it's a little bit taller than it is wide. So I don't wanna do this actual size here though. But I am just going to eyeball about the size of where I want the mug on the page. Then I end up drawing and wanted it not to be much bigger than that. I'd like in most cases to fit two marks on a page. And so I'm not going to make them. So I scratched in my horizontals here. I'm gonna make a judgment call. It's not a big difference between the height and the width. And so I'm going to just say that I like something like this. Now I'm going to go and do my check here to make sure that I'm parallel. Will say 1234 little squares. So three biggest Gods sets of squares and four little squares puts us like this. And we should be parallel. There. And so this is up to you depending on the book that you're using. And and my idea usually is if I draw the mark and then I put a little story under it. And so I, that's why I don't want a really big one. And I like to usually due to march for page and this shape of a sketchbook. Sometimes if it's this way, I might do three mugs, but this time I'm working on this. So I'll put my bottom line in there. And then I'm going to make sure my top-line is the same. And that is right there. So it's 12343 little ones. So that's right here. And I'll join those. I'll know that I have a pretty good square. That's a lot of work. And especially if you're gonna do one for every mark that we do as a beginning space. And so what I'm gonna do is measure this and then go cut a piece of cardboard like film a cereal box or the back of a PAD or any stuff piece of cardboard. I'm going to cut it into this shape. And then for all the marks I do for my project, if I want them all to become a uniform, I'm gonna trace that guide box. And then I won't have to go through all this work. And I will have uniformity of a kind and it'll be easy. That's the important part. Now because of some of our studying of cemetery, where are often going to be dividing our guide Vox and half exactly. And because that's true, it's just him because these choices are arbitrary. It just makes a whole bunch of sense. If we do this in something that divides easily in the half. So as it turns out, it just happened for me, but mine is two inches across and two and a quarter inches tall. That's the exact same relationship is 3n 33 quarter, you know, cares. But it's close. And so I'm going to go and cut my cardboard to buy 200 quarter or might even do more than one in case I mess one up. And I will be right back and show you how easy it is to use that. So when we go to draw another MOG a, we can get our little guidance box justified. 3. Simple Mug 2: Now if you look at this MOG in straight on perspective like that, you don't have to do anything else to the shape of the body and the mug except add a handle. But that's the easy and simple and most boring way to do it. But if you're a beginning sketcher, a beginning art person, and beginning draw her. This is a great way to go because you're going to understand what this is actually shaped like and you can grow from here always. And so I'm going to go simple first and talk about the handle on the mug. Now, proportion, right? A little proportion. We don't have to worry about symmetry on this mug because it's really simple in its sides aren't curving around and doing stuff. And so that's off our plate, but for portion is not off of our plate. And so I'm going to take a ruler here with the intention of finding out how much of my width of three inches is this handle? It's almost an inch and a half. Not quite. It's an ancient three-eighths. And so when we draw the handle, we wanted to have proportion to be almost half of this. So I'm going to make a mark here. Half of this for me is one inch and almost half I'm going to say is I don't remember, really goes seven eighths. I, but I should, but I should. So this is the extent out here of as far as the Handel goes. Now handles in most cases are a letter D or C, depending if you are left-handed handle person, or a right. Now, I always draw my dogs the way I use mugs, which is I'm right-handed. And so that is up to you or if you wanted variety, you know, you could have a page with two mugs, Ana and once handled on this side and one on that side, it just all totally up to you. I usually just do them all with the letter D. And so the next thing, so we got that all down in. The next thing that we need to know is like where's that D going to hit the mug because it's not very often, right at the top and right at the bottom, although it is sometimes I'm never say number. I buy a lot of handmade ceramic mugs and no one ever knows. They're kind of v. But in this case, our Handel does not meet at the top. It's down a little bit and this down a little bit. And how much is that little bit? If we're going to estimate it from what the size of the mug is. So we said the height of our mug. Was 33 quarters and the space for the handle here is a half an inch of that 33 quarters. We're taking an inch off of that ended up at 23 quarters. And so we have to kind of just fake it here. But it looks something like about here and about here. Now if you were doing direct proportions, then you have a different story to tell. But I am trying to estimate the proportions here because our measurement isn't just straight on deal. So we're not going to go up as far as I'm going here. This D doesn't go way up and then down to pretty much goes out street curved, and then down capital D and Dan and n. All right, and then we can see that it broadens here so that it works to the cup. But otherwise is going to be a line that's parallel. The outside line that we drew down here also, it gets wider. Were at joints a cup. But once it gets to the parts, it's going out here, it's curving out. You're going to be paralleling. And I'm going to turn my book to do that better because when you draw parallel lines, you do it best if you were watching the line you're trying to parallel. Have that, that should be a little more, doesn't really taper end down there a little bit though, a little bit and need get my fuzzy lines again real thick here, but that's okay because I M hunting for the parallel line. And I think if I squint and I look at gut, pretty, pretty good shape there and in pretty good proportion. I don't know. What do you think? Maybe I didn't leave quite enough at the top and the bottom, but you know what? I am not I don't think I'm concerned about that. This could have been a little bigger, a little, you know, this could have been a little flatter, but looks like that mode to me, so I'm good. So I am going to inking this shape if all I am doing is a straight on view on this mug. But I want to point out, if I'm not, how am I going to change this? So I'm looking down at it a little bit. The candle. Let's look down a little bit and really study it. I'm looking in the camera reference to get just a nice, easy overall. Okay, let's look at how much does it change this? Not a lot, really. So for our purposes, we're not gonna, we're not gonna care about this and some handles, it would make a difference. But what we want to see is, is a narrow oval at the top. And then we'll make the line at the bottom of the MOG curve to match that. Because if you look at a dead on like this, these two lines are parallel, this one and this one. And so if this one, if we're gonna tip it so that we see that one curved. Watch what happens? The bottom curves to the same kind of way. And that's extreme there. You don't see the side of it. I don't wanna do that. I just wanted to do something like this. Okay, I'll figure it out. So what I'm doing, I'm going to make that overhaul from this point to this point above and below. The same amount because those darn ovals are completely symmetric, call each of these quarters of it. You should be able to flip around and fit exactly an either quadrant here. And that's a key to think about when you're drawing ovals, is that's just true. And that's what makes them so hard to draw is that they are symmetrical to an extreme. Now looks weird. But it looks like a lot of people draw cubs when they want to be like expressionistic or when they don't know how to draw cups, you have to make a judgment call on that. But we're going to look like we know what we're doing. And we're going to try we're going to try to put this on, this on as a kind of a match to that straight line. So good luck with that. But I'm going to try and I'm watching this live. I'm trying to parallel this line. And so we'll see how we do and we will adjust it if we didn't really get it. So I can take that straight line out now. I'm gonna take this straight line l. Wow, pretty close. But I'm going to bring it in here so that we can see a little more carefully how we could, how we should just play with this to match, okay? Because what? It looks pretty good, but I wouldn't let this pass because I'm low on the side. If I were to measure this from here to here, it would be bigger. And from here to here. So I have to flesh that out. And I'm just going to do it by just drawn right over what I've got already until it feels right. And I got to pick it up to look to see if it feels right. And I do. Now you notice in all of this that these two sides don't change. And that's because we are not doing anything to them of any extreme kind. I mean, if we were to do foreshortening, things like this, you'd see the two lines start to converge at the top, but we're not doing that, and we're not doing enough of this to make that happen. So they get closer at the bottom, at least not in a sketch, if you were doing an engineering drawing and be a different story. So there we have the three-dimensional view of the mug instead of the straight forward. This one is harder, but it is more interesting. Now i'm going to ink this in and I'll be right back because we are going to put our design on here. And in some tricky ways. 4. Simple Mug 3: I've got my ink on. And if you have as much trouble going around curves with ink as the rest of the human population. You gotta give up on perfect is shape can be perfect. The, I am almost convinced I should start with sketch and keep it sketchy. But I just never do it but I should because trying to put a cleaning client around some shapes such as not claim. But here we are. And now it's time to consider the design on the cup and what's the best we can do with it. Now, i loved it. This says live simply. But I don't think this is simple, does design at all. Because you got three birds there and one running down here. And I really love him. And when I look at this, I think I could use some artistic license. I would still have the idea of the real mug. But I would like it better. I think if I moved the lives simply of higher. If I move this bird running on this branch of hire and put some leaves on this branch. To me that would say simple, I'm better than this design does. And it wouldn't be an exact copy, but I don't think that matters when you're doing portraits of your mugs anyway. It's just that I like it and I am doing it. So I have a right to do it that way, right? That's what I think. So I'm going to and that's going to bring up a couple of issues. So what, we're going to have a blue sky that's gonna go almost to the top and not a quiet and almost to the bottom and not quite. And so come in here a little closer. And I am taking pencil again, and I am making a parallel line again that is parallel to the top edge. But I'm not going to ink this one. This is a guideline for paint and it will be erased. And I'm turning to vote to do it better. Put that same line down here. And this is our defined area for our blue sky. Now, when you have the background and you have stuff on top of it, there are a number of ways to go in order to not have to paint that background all around, all that stuff on top of it. And so I'm going to first draw my stuff and I'm going to ink my stuff. And then I am going to figure out how I want to go forward with how to block my stuff so I can have the freedom of painting of background easily. Alright, so I'm going to move my lettering live lives simply. You can see that. I'm gonna move it up higher because I just want, you know, I'm gonna make myself a guideline. But you know what can't be a straight one? Because lettering is straight on the cup means that as the cup bends, it will too. So we're going to have the word live, are going to have the word simply. These are guidelines that match the top and the bottom. So and that means the bottom of the letter is like, it's not totally horizontal. And the volume of the eyes a little bit lower. And the bottom of the V is about the same as the i. But then the e is going to go up a little bit higher because following a curved guideline. And then I'm going to start simply like where did they start it under the v. I'm going to move over a little bit so I don't run out of room. And i m p, l, y, the bottom following this curved line. Now I'm gonna put my ink on those because it will show through whatever paint I put on top. My L is not straight up and down. I'm going to change. When we add our background color, anchor ink will show through it. So I can go ahead and I again, I always do my up and down lines before I go back for the curves. Are dot the i's or put the bottom on the L there. Simply. And there's my dog being jealous because she's not getting any attention. And I'm going to erase the pencil out of there because pencil will not erase after you put a wash over something. Good thing to always no and not and you have to learn the hard way. That's why we raise the excess pencil from an ink dry before we go ahead and paint it. And I'm going to clean up the pencil lines at top and bottom For the same reason as I just talked about. Can't be a sketchy line because when we do put water color on, It's not going to erase. So we just want that to be Ghost either, something for us to use. Now I'm going to put my branch on, but it is not going to be totally straight because even if it was when this turned, it did. And I'm putting a couple leaves along it just because it'll be pretty. There are leaves on the handle here too, if I decided I wanted to do some rendition of that. And I'm going to put my little birdie right about here. Let's take a good look at birdie. And I hope you can see him well. I'm gonna start with a capital D right here to draw this bird. And then I'm going to add the other parts to match. So it's on an angle like this, much of an angle. And it's a nice round fat. D, capital D. And then in the capital D, we have a little white spots going to come down there. And we're going to round this corner because this is our birdie. And he's got a little i. And then this part of the capital D comes in and is a wing. And then we're gonna round up this part of the line of the d a little bit. And then come out with a nice little tail there. And he is running. So there's his little foot forward and his little foot backwards. And we're going to strengthen this line. And there we have a sweet little birdie. I'm gonna put ink on him. I'll be back in a minute. We will erase the pencil and then we'll be ready to figure out how we're going to keep him from being part of the background. Now here's one little trick I like, but you have to have the right thing around. You can do this with a non water-soluble colored pencil. Could do the water soluble one but trickier. And you can do it with a permanent marker, not a water soluble marker, but I am going to trace my boundary line in very light. Blue. Ink will stay there and not do any harm and blend into my sky. And it will allow me to get rid of every trace of pencil, which we all know is not going to come out of there. So I'm gonna do that on both the top and the bottom where my pencil line was defining the space. And now I've defined it in a nice powder blue permanent ink. So it's there and no worries ME, birdie is all inked and we're ready to continue. So many times, a person might use masking fluid to mask out these leaves in this birdie. But it's a lot of trouble to get that out and to get it applied and weed forager dry and pick it up again and so on. And so in some cases, you can be tricky and you can do something planned. So that after you've put your wash on here, you're going to be able to pick it up from where they are. And that's what we're going to show you. You have to use this is going to be a sky blue. And so I am going to find a sky blue that does not stains lot of stating color and it lifts really well. And luckily, Vered diameter is a blue. It's made by, there's one by mission and there's one by Daniel Smith. And it's a very sweet sky blue. But the other part is it lifts really well. And that's going to be important to us here. 5. Simple Mug 4: I have mixed myself a little wash over died or blue here. It takes very little of the paint itself to make the wash deep enough it as in my other classes, when we mix washes, we start with some clear water. We wet some pain on a brush and mixed city on. And then we tested by Washington are brush-off and then going into the wash and painting little tests places. Why wash your brush off? Because while you've been mixing of the full strength pain into this water, you picked up a lot of full string color in here. It would not give you an idea of what your wash really is. So I'm dampening and wiping off my brush. I'm using a number six pointed round here. I don't use very big brushes because I'd like to have control. You probably know that about me. I know. But anyway, I'm going to pick up my wash. And I'm going to get it on my cup as quickly and as accurately as I can. So moving very fast. You don't have to, if you don't live in low humidity, you can move much more slowly and carefully and make sure that this ends up as a clean line up here and down here. Turning the book so that I can follow that line neatly and not swap the painter all over the place. And there we go. We have something that's very close to what we have on the cup. And putting a little shadow at the edges, which you can't see it because I had it in their own space on back on track here. Right now, I am washing off the brush. I am dampening it and I am going to pick up some clouds. Some of this will blend back. But I want this look awesome clouds in the background. And that's the way to do it, is to pick up some of this pain than when you're doing this, you see how nicely that lives. We're going to get a smaller brush and we are going to lift the paint entirely. We hope out of that area that we don't want it to be n. So I'm looking for my number two, which is somewhere in this unruly pile. And I am going to go in here with water. And I'm going to pick. This up, not with water, but with a clean, damp brush. And I'm going to pick it up. And the branch will be brown, so nobody cares. And the bird actually except for this part right here, is going to be blue, little darker than this. So that's okay. And we can always add a little little signal pen or something there. And a green probably be OK. But I just want to pick as much as I can up because I want to use a kind of over YOLO green. And having blue under that is going to really make a difference in that polar. So I'm gonna get all of the blue out of the leaves that I can just by lifting it. Now my last class I introduced a Filburn brush, which does a beautiful, beautiful job of lifting arm and try and grab a small enough on here and see if that will pick up a little more. And it does. So I'm basically just going back in and cleaning off the blue wash. It landed over my other items where it matters. And that is not bad. So now we let this dry and we come back and do our burden, our leaves. Ordinarily, I would just use a small paint brush in watercolor for those, but I have these markers and I have a very fine point and I happen to have the colors exactly the code is that I want. So I've decided to use, this is the nice thing about having some options around that. You can make decisions to use the things that will work best for you. And these markers are very brilliant and they will lift. So I'm going to come in close to show you where I'm gonna put this on. Wanna start with the tail of the little birdie. And then here's wing because I'm going to lift some color from the ring. Going into water, plotting, which is pick up a little bit of that to give it a tiny bit or highlight. Of course, the more I go back to the lighter it gets. And I'm gonna try that with the tail a little bit too. And while I let that dry before I do his head, and we're going to take the Brown marker and do my branch. I'm doing it with a marker just because it's easier and a little more controlled. Mark or a wet paint brush with water color on it is not as controlled as little pointed marker. So our branch is done. I'm not going to try and lift anything there, but I will do it on my leaves. So I chose a really brilliant green to liven things up here, read some life. And I'm going to pick up a highlight out of those because it will look good. What other reason is or do NES right? Just make it look pretty. And you notice that when I lift the green, I'm not really getting a blue cast from behind it. And the reason for that is we went in and we took the blew out, the blue wash out from behind where the leaves would be. Not the leaves are really dark green. We wouldn't have had to do that. And we just don't want them taking on a blue cast. And now go back for his body. Just try not to apply too much color so I can be able to lift it because around his I won't show unless we get him pretty light. This is a Filburn brush, like I talked about in my last workshop. But it is not the kind I told you about and does not lift as well. But I don't really have a tiny enough version of the other one. Or they're kind to do this with their now his I can show. And whose head has some modeling to it? This face. I don't know if it's a he I'm just I'll just say in that. And what else has to happen here? We've got the white on them, Bargh. This bird not have an orange beak, but I'm gonna give him one. And I'm going to beef up his leg with ink because we're not seeing enough of that. This is that review thing you do when you're trying to figure out if it's time to quit or not. If it's done or not. I knew that tiny orange beak. I just think it will have a nice effect. It does, it actually really shows up. So let's compare our model and our finish. I think mine says live simply, a little more simply than this one does. But there's something else I want to see. I want to see a little bit of shadow like little lighting here is weird Of course. But if we put our mug like so, we have shadow inside the mug, you see that in there? And I think I wanna do that because leaving it just plain white like this, it just doesn't have enough form to it. And the other place is like the inside of this handle. And so I think I will do that with a gray watercolor pencil. And then I will have just really great control of how much I get and how much I don't get. So I've done a couple of things here. I put some bloom, was using watercolor pencil along the edge of the handle. Because the truth is that that handler, when even when you look straight on, it has a shows a little line, a blue, but when we're looking at it a little bit of an angle. Much of an angle, but we're we're looking at right about there. You see there's some blue does show up. And so then I added a little gray on the other side of the handle to show some shadow. And I went up at the top here very lightly with the watercolor grey pencil on i and i just at the corners and a little line along here. And I've got wet it yet. So I'm going to do that to make it just nice and blended. Just a little bit of shadow inside the cup. Lightest area would be up here, corners and behind the front edge would be the darkest. And I'm going to call it a day. Am I birdie mug? I think the I've done an honorable job here. Yeah, I like it. I got blue, I got clouds, got my little birds. My white at the top and bottom by blue's a little different. That's okay. And we're gonna call this one down. So I have a little story to put under it which I won't bore you with. But the idea of our challenges, taking each mug from are covered and seeing if we can remember where that came from. How did it come into our life? Why is it still there? If you can't remember, you might want to toss ash. Plus it's a beautiful work of art. The story of this is that at 1 in my lawn, 25 years of having galleries, we had one that was called the Art Garden, and it was mostly all handmade. But we bought a few gift items eg, if she saw something that we really loved. And these marks I really loved, this is one of them in the examples I showed you is another one that's yellow or green, I think a light green bass, I can't remember. So where I'm going to do is put my little story underneath here and of a where this came from. And I'll be ready for my next mug over here. 6. Symmetrical Mug 1: I decided that I would not put a second mug on this page because this handles coal has leaves on it. And I think that I'm going to do a second view of this to show the handle with the little leaves on it because it'll be queued. So I moved over here from my, my second mode, but I'm going to draw, and I'm going to show it to you. And it's a complicated shape. We're jumping right from the simplest to not so simple. And the other thing is dimension wise, it's different. This was more of a regular square or rectangle. And this is a rectangle two, but it's fatter and it's also taller. And I had to try to figure out what that proportion was. And so I just want to say before I get into all of this, that this whole project might be more fun for you if you do really lose sketching and you don't bother with proportion. But if you're a person who likes things to be in proportion, then I'm gonna give you the clues on how to do something like this. I switched to this ruler now. And I love this little ruler. It's by Westcott and has got those little squares. And it's so wonderful for sketching because every time you want to check, you know, how far something is from something or how it relates to something that is so easy to see how many little squares instead of, you know, a regular roar and you're trying to count eight tenths or whatever. Just a lot easier. So I've added this to our supply list as time and it's very inexpensive on Amazon, something like three or $4 maybe. And you can get them in art supplies stores to. So I found out in my MOG is 43 quarters high inches. And so this little ruler happens to be half inches. So if I wanted to make this drawing about half the size of the mug, then I'm going to count half inches instead. And so I go 1234 and about three quarters. And that gives me that height. And then across we had 33 quarters, so 123 and about three quarters. And so this is a really easy way to cut anything in half. Are you drawing something half of its actual size? You just use these little things as you're inches and you're in business. Anyway. The next thing that we need to do is we need to find the center of our, of our box here. And so if in the interval are here it is two and a quarter wide and half of that. Now two and a quarter of sorry, 13 quarters wide. Half of that is what are the seven quarters or 3.5 quarters of an inch. And so that brings us to right about here. You can use any method you want to find the center, but it's important to find the center. And because we're going to base our cemetery on that. And so I'm turning this and I am going to make a guideline right up the center of this box. And I didn't really get it right up the center, of course, because it wasn't right on the mark. And be as true to vertical as you can. So when we do this, we now have allowed ourselves to work on only 1.5 of this at a time. And so we're going to look at what kind of line we're going to have to draw on that half. So we know that the RAM is all the way out to the edge of the measurement. And it's vowed if you look at those green part, is about a third of the mug. And a line goes across to your integrals all the way from side to side. So about a third of the way and I'm eyeballing them. I am not going to try and do it mathematically. I'm just gonna go and see there's, there's there, right about here. And I'm putting this line all the way across even though we were first working only on the left side. So this little business here, this little income that is going to have to happen between there and there. And it's a nice even, well, not really even curve, but we can go through even curve. Alright, so now we have that happening. And we're back out to the edge so we don't even have to worry about where the curved part starts. So we're going to bring that on this edge here, and it comes in just at the bottom. There is a little div here. You can do that or not do that if it complicates things, don't do it. If something that means something to you do it. I'm not sure. So and I also out of my box here a little bit, but I'm not really too sad about that. I might put that little input deal there just for interest. So now I have really, is, I have the left side of this MOG out there. Now I gotta do the right side, and there are two choices. You can get in here and look at this and do your drawing. And you go, you do this sketchy for heaven's sake. There's no way to expect your brain to do this any other way. And you watch the shape you are trying to mimic, but also watch the relationship to the middle line. Your brain does not want to reverse stuff. It's just the way it is. And when you try to force that, you get into a lot of wonky trouble. But it can't be done. Because if you practice for a million years, your brain will get used to it and do it. But there is an easier way. And I'm going to let this go outside this box a little bit because I want the roundness to be more round and I haven't got that going on here. So I'm going to round it even more to make it more true to what the mug really looks like. So far, so good. Now this, I can tell by this line, I'm out further on this side than this side. So I'm going to just back and forth and there. And I'm gonna put my little divot over here. Now that is the way to do it. If you've had a lot of practice, if doing this frustrates you two pieces, then there is an easy way to go at it once you have one side of something drawn. Sometimes a scrap piece of tracing favorite can be an artist best friend. And this is one of those times. And this is not cheating by the way. This you drew it. You can trace it if you drew it. That's my rule of thumb. You need a pencil that's a little softer than our 3H that we use. Or for h this one is, but this is a harder LED, this is a more smear a lad. And so we are going to put the piece of tracing paper over the side that we drew. And with the softer pencil, we're going to trace the line of the left side over tending right now, then you haven't drawn this. This is also good for checking if you've free handed it to. But anyway, this is for like you drew this and you just can't deal with reversing it, your brain just won't help you. So you trace aside you drew, and then it's really important that you put a line up mark on that center line. Then you flip it. You line up the center line and get this guy in the box. And let's pretend that is an under there. You trace that line onto this side. So I am going to get rid of this so that you can see that a happened. But it also is a really good method for checking. If you have drawn by hand. Is it symmetrical? So we're going to line up our, our bottom line with the bottom here are top line with the top of the box. And then I usually use, you can use a ballpoint pen or something. I usually use my harder pencil. And I trace right over that line. And there it is. Right there. And all you gotta do is be funneled up. So Cemetery by magic. And we're going to use these a couple more times because the other mugs, I have a pretty darn complicated. This and this one is two. Very true. So I'm going to clean this up and I'm going to come back and work from there. 7. Symmetrical Mug 2: So here we have the body without handle of our morgue and we have to put the handle on. So I have to find out a couple of things about this mug and I'm going to bag salad again. To do that. I want to know where does connects top and bottom. And so if you look very carefully here and I'm turning it so I hope you can see it. Well. There. This joins right about in the center of our curve that we drew. The bottom of it comes in and joins. The top of this, comes out almost at the room. And then goes down into our wacky capital D, more like a question mark almost. And it comes in, the outside, comes in right at the bottom. This part of it right here. And goes up a little bit thin and then goes out. And so the top joins right there, which is about a third of the way up this section of the mug. So let's try that. Let's try putting those marks and where we think our joints are gonna be. So G. Try to lean a so I can see it at an angle. It's not work at all there. Alright, so what we said was that the contact point was right in the middle, that the handle went up almost to the top and then went outward. Okay. And the contact point is where the Handle also rules out this way. So right now we are just establishing our contacts coming in, right in under that Rahm common right out from almost the center of that curve. And then it goes and does its thing. But we're interested in what is going to happen when it comes back. And so what we have is kinda a little foot here that goes almost to the bottom of the MOG. Not quiet and add a third of the way up. So let's see, of this is about a third. There was about a third. So right about here. It leaves this kinda segways into that with a nice little curve. So now we know where were connected. And what we need to know is this going to look like a big ir. So I'm just gonna, I'm just gonna throw that on there or just the general shape. Like an ear. Like a question mark, like a capital D, That's kinda wonky. So down here, or drawing, half of this would be that distance where our midsection was. And the handles gotta be that far out if it's going to be in the right proportion. So square of that. And how low you look good. I had that out there. All right. So let's finish off this curve right here. Coming out of here. And don't worry cuz I know it has to be thicker. And I'm putting the outside edge in first. And then let us decide how thick it is pretty thick. More than this. So we're going to make it as thick at the top and the bottom as it actually is. And that I think, whoops, enough, right, enough like this. So it's time to clean up and to figure out how we're gonna paint this and get this kind of effect somehow. Now this model is perfectly okay. The way it was if you were going for the street on angle would need to change anything. I always like to just take a little bit of perspective to it. How did I do that? Again, I went to my top line here and I tried to make myself an oval. This is same above and below. And round these corners a little bit because they're not sharp. The other change that would have to happen would be that this cross line would also now take the same curve as that. And the bottom would do that. The same kind of curve, I might be a little too curved down here. Omega quite surround. Kind of take that line. And now we have just a little bit of a perspective, a little bit of looking down on the morgue, and that makes it look a whole bunch more sophisticated. Already. Plant my pencil lines and putting some inclines. And I'm going to come back and we're gonna do our painting. 8. Symmetrical Mug 3: One of the things that I find to be the most fun and the most challenging was doing mugs, is that most of mine are ceramic and most of them are handmade and their beliefs with all kinds of interesting stuff and decorated with interesting stuff. So trying to use watercolor and match the look of glaze on ceramic is tricky, but it is fun. And so I probably go overboard. And what I try to do, like with most things. But I did not use black ink on hair. I'm gonna do I'm gonna try and get this going mostly with paint. But I used a like a russet permanent marker. This is a zig marker, but any any permanent marker that's not going to run. I outlined in that instead of in the black and then I raised all my pencil. And in looking at the US, though, there are a couple of parts that the, the Russell is a really strong asset. One is here across this line. N1 is the remedy. And also also whereas this handle there, okay, I hope you can see that also this insight line of the handle. So where that happens, I am going to these markers are great, but if you don't have a dual, the runway is fat and the other one's not. If you don't have that kind of thing, you can make two lines with the fine tip. But I'm gonna get my fat end here and turn the book so I can do what I'm doing. I'm going to make this a more pronounced area of this color on the painting right up to it with migraine. And we'll see what we do after that. But also the RAM going all the way around. And then as we said, this inside line of the hand or inside edge. So we're going to use my paint. Does permanent line of reddish brown is still gonna be there? I want to start with the easiest Pr, which is this background. The reason I say it's easiest part is b. The green is going to be weird. We're not going to be able to match this really because it's metallic. So we're going to choose something that we like that's in that color family. But the easiest painting is going to be on the body where we're working with kinda looks like a raw sienna basically. And that's what I'm going to use for it. And I'm going to ignore the decoration until last and probably go in with a with a thin tip marker, maybe this one or maybe a water-soluble and it know to put those in after this background is okay. Let's take a little look at the color chart here and have it close to the mark itself. There's gonna be a little shading right in here, which is where that inset was, which I didn't end up putting online. Why complicate the world, right? So this color right here is raw sienna. And if I hold it and you kind of see it's pretty good color to use for this. And then for this little reddish shading, I'm going to use a quinn rust, which is It's like if you don't have that, use burnt sienna, but you can see right here the difference in brilliance and the total liquid rosters, like somebody woke up a burnt sienna. And so it's got some real vibrance to it. So I'm going to use that for my shading on this, for the color of the of the moat body. I'm using a pretty big paintbrush For me. It's an eight, I think. And I just want to get this color on here smoothly and quickly so that I can work with picking it up and getting my highlights and so on. So going into my raw sienna and I'm going to lay it on I usually on any round pot surface like this, I even started out putting the paint on in keeping with the shape so that the shape of the morgue is like a ball. So I'm not putting us on as straight lines. I'm putting it on kind of like how it is. No more hair a little more. Over here. I want a kind of a granulate surface because it is ceramic. I'm not going to try to smooth things out very much. And there are some shutter area. And I'm not going to lift either very much because what I'm getting here already, a ceramic with a rough granular surface is not something as kind of a big shine to it. And so the highlight will be there, but it will not be real obvious. So we're still wet and the shadow area, I'm just adding a little more color stall. And I'm not going into water to dip my brush to come back. I am just dabbing it on the paper towel so that it has us paint in. It's drier, but it's not going to pick up a lot is just going to get that gone for me. And then I want to smooth out the values here where it goes into the shadow side of the mug. And like I said, granulation is a good thing. So all these little dots in spots are good. Now one little trick that I need to do and I'm really do you baiting here whether I should do this with paint while it's still wet would have to be the tiniest bit. I am going to get a very small brush. And if, if I start swearing here and the lesson is going to be because I wish I could do it this way. But if you don't take chances, you just don't live dangerously. And if you don't live dangerously, them was point, right? So I'm going to get a little bit of my Quinn roast. Very little. I don't want them much. And I'm just going to see if I can feed little of that in here. You can see that I got to be really careful not to overdo it. And it wouldn't be even either. So I am getting this paint off of this brush, drying the brush, and I'm just going to come back and get things. So there's not anything too obvious happening there. Oops. I hope you can see that I'm not in close, but I don't have to to stop and do that for yeah. Oh, I like that. Now the only thing I don't like is that I've got a bleed up here into this space and I don't know if it was my permanent marker or my watercolor. If I try to remove it and won't remove, then I know. But the beauty of this is that the edge of the MOG itself is pretty rough there where the red meats and so I'm not going to be overly concerned. I'm going to let this dry and not mess with it until it does. 9. Symmetrical Mug 4: You might hear people talk about convenience greens. And there's a real split field on this. Because with the blues and the yellows that you have available in watercolor, you can make a million grains. And people say Old and I don't need to buy him into two, but it's hard to repeat them. And in my world, I like to get as close to what I'm trying to match and then adjust the color. And so I collect every green I can find. And I have a lot of them. And so one is called rain forests denotes from American journey, which is cheap Joe's brand for watercolor. And that's going to be the closest that you're going to get to what I'm gonna do here. But you can use any green one that you mix or any convenient screen because this is just, you might not even be doing this cup. You might be doing your own company didn't even have any green. But if you're doing this and following along with the photo, then I am going to show you how to use two greens to get where you wanna go. So I have this color chart. These happened to be confections, watercolors, very strange thing. There are made like buy scrapbooking company kind of thing and sold that way. But they're artist grade paint and they're really incredible because they're like guage and watercolor had a kid together. They haven't opacity. That is, is not as much as squash and more than watercolor. And they also have just an incredible range of colours with cool names. So I am going to use a finally fear that is very close to reinforced. And it's going to be two blue and two dark for this in the long run. And so what I often do is I will put the color that's really close and I will layer another color over it to tone it the way I wanted to go. And this one here, this is called serenity. See what I mean about the colors and their names. And I thought if I put serenity over vine leaf, I'm gonna get really, really close to this green. So that's what I'm gonna do. I'm gonna show you how that works by starting on this part of the monk. So I have my water and my towel, my paper towel. And I'm going to get this vine leaf first. I'm gonna turn my book so I can paint most comfortably. And I'm going to do the vine leaf roofs whole section not going over my Brown now because I want that there. And turn it this way. And I'm gonna do the heavy application lifting thing that I've taught in one of my workshops on skill share. And you'll see it again here. And now I'm going to let it dry though, because I want to over paint the other one has a layer and it will watercolor disturbed away or under a yeah, probably. But not enough that we're gonna care. So I'm going to feed some moisture back in. This is a little different than usual because our highlight is going to be here and here, and our deepest area is going to be in the middle. But still I want to loosen all this pigment by just adding and water and getting it flowing around. And then I'll be able to lift it from where I wanna lift it from. And when it sound, they're all thick and heavy. You can't really do that. You gotta get that moisture in there first. And we spread it evenly over the area. Little darker on the shadow side here. And then my my pickup is going to be along here. And on here. My lift, you might say. And no down doesn't look right yet. But you're gonna see this will not be as light up here as well be done here because, why? Because this surface is curving outward so it's gonna catch light on it. And light from above is still not going to hit too much right under the realm. So I like that. But now I'm gonna get my Filburn brush that we learned about in my last workshop. In it just makes a wonderful lifting brush and smooths everything out so that your values just go Sweetly on to one another. And I want to know a little bit more light up here. And of course the real mug is, is sort of metallic, So that's just a different or too. But we're not going for the metallic look because we could make a big mess doing that. And I don't want to you get into using metallic paints and it can get lost pretty easily. I hope everybody can see this even though I'm not close. You're getting the idea. And there's a lot of, it's a glaze that is glossy, so catches a lot of light. So when I look at my model, I'm seeing all kinds of highlights that I don't want to get involved with. I'm still adding a little more dark to the shoulder. When you do that, you have to make sure that wetness gets everywhere because otherwise you're gonna have a hard line a little dry there. So if I can make that stay like it is. I can't, of course there it goes with, I have too much water at idiom, but I'm using this Hilbert brush just with a feathery, feathery touch. And I'm just kind of watch that dry. Won't make you watch that drive it unwritten watch dry. And I'm going to recommend that you watch most painting that you do dry because watercolor, If you look away or you go and get a drink or something, you come back and it has done something that it decided to do without asking you. And that's not a good thing. 10. Symmetrical Mug 5: So I've taken a couple of steps without you here so that you don't have to watch all this paint dry. And I'm gonna point out what I did. I put the vine leaf grain, the deep green on the handle and I lifted some. I painted the interior of the cop with the vinyl Leaf Green. I lifted a highlight along the edge. Then I came back to my front panel here and I lifted a highlight along this edge because that's what happens when light hits the edge of a room, of a cup. And so I'm going to turn this green to look a little more like the actual COP and I might just screw it up, you know. I don't know. But you'll see the difference in u over I'm over painting with a kind of a, well you'll see a weird Green and it's kind of an, you see how this paint goes on almost like a goulash. And the green is a powdery green. And so when I do this, I have a usually trying to make the color more subtle, more earthy. I don't know what word to more muted maybe would be a good word to use. And I'm going to, this is a layer. So you go back in and you pick this paint back up. So I'm reading it right now. And then I'm gonna use my Filburn brush to pick it back up, allowing the green beneath to show and just be toned a little to be a more muted, more creamy kind of green. I'm going to show you the COP again. To show you that this is a, this is a pretty good match. See the handle, and here, this is a better manage than this. This is like two ya'll and too bright. And this brings it right into more of this territory when it dries, it'll be even more so, so I'm willing to do this in this area and then I am ready for designs and the body of the cup. And I will be back to do that. This will be tricky and so I'm not going to try and do it on camera because I actually want this to be good because this is my own mug, a sketchbook. So I'm, I'm not doing this separately in a lesson book. I'm doing it with you like a project. I'm glad that you weren't watching because I had to catch up with myself and a lot of ways. I'm the next thing that I'm going to do, the designs on this. But I'm going to come back also with my permanent marker. And I'm wanting to put back some of that that rust color that it got a little bit obscured by the paint. We want that rose color and known as part of the personality. And what even shot some heron there. The RAM has some too that I don't, I don't want the lost either. Alright, I am happy with this and I want to think through how I want to do these designs. So I want to consider the design now. I have the cup sitting like this on this side and I really like the 3D thing that Disorders did as well. I collected her pottery. And, but I don't really like this leaf because it doesn't have the same feeling as the rest of the mug. A love these and this, and those. But I think I'm going to pull out my artistic license. And I'm going to put what I want on there, which is going to mean flipping the the design, taking the back and putting it on the front. But you know what? You're allowed to do that because of artistic license, you can change things to suit yourself. So now what to use to put these on here? Obviously, a marker would work like the one I used for all lining in a darker brown. But I'm almost thinking that a real fine tip and water soluble maybe marker or partially water-soluble marker might be better. And I have some made by two below. The might be the perfect thing and I am going to get them and test them. In every sketchbook that I own. I dedicate the back of it too, when I call it back door. This is the last page and I use it for testing and I here's some wash tests here, draw things and I feel out ideas and I tried different painting techniques. Now the backdoor and my sketchbooks becomes a back porch pretty soon because I always use more than, more than one page. And that was true here too. As when I need to test anything, I go back there and do it. And all these tests than are in the same book with the sketches that they were test for. So it's kind of a kinda half ask I do wake or again, I things but As CAD owl, I do things and it's better than no organizations when I look at it. So I came to my back porch and I took my raw sienna and painted just a couple of areas which are the same as my base of my copper. I want to put my little foliage things on. And so I thought I would try some different effects. And sovereign were fun. But then I realized, wait a minute, I was using a watercolor pencil and I was making marks into this wash when it was still damp. And I like it, but my cup is not still damp and I'm not going to dampen it to do this. So then I had to decide whether I liked just the and I've got a rule dark brown here. Whether I liked the look of just drawing with it like here, you can see the sharp and these are just color attests to the same thing. These lines are really sharp and I thought they were a little too sharp. So I came down and I got this stub below. There's like, I don't know, they make 38 colors of these and they're actually water-soluble a little, but not too much. So you draw something and then you can hit it with a little water brows, but it doesn't go very far. And so this was laying around and I thought, well, I'll try that. But I wasn't as crazy about that when I put the water on it. And so what I came up with in the end that my technique is going to be as I'm going to use a watercolor pencil in a dark brown. I'm going to sketch my weeds and such. And then I'm barely touch it. I was using a water brush those too much to try touching. I am going to get my regular little paint Raj and just have a damped the way that we use it when we when we lift and I'm gonna see if I can come in and just barely tap those reads and get an effect like I did here. So it's like it looks a little sunken n because I made the lines not quite as sharp. So we'll see how it works out. So I mentioned that I was gonna get my designs from the other side of the cup because I liked him better. And I also nagana totally copy them. And so obviously it in a redo those heat. But I took the dry watercolor pencil and did this on the dry paint on my cup. And I used partially this swan and a kind of a rendition of this, and a rendition of this one. So again, my mug is not going to look exactly, but it is a feeling and it has the right shape, we know that. So I wanted to show you that just slightly moistening technique and hopefully not mess it up and have to what? So I'm going to try to be very careful to barely have a wet brush. And in that endeavor, I'm wedding it in clear water and it is my number two pointed round. And I am just going to pad it in here. And I hope this is close enough for you to see. But I'm getting the I'm getting it to blur a little. And give us that looked at the cup has that these are sunken in and Little Shadows created and it's organic. But you, if you did it too much, now you'd get this word Ron, Ron edge pigments or watercolor pencil. So I like that. I made this less obvious and more, you know, the one on here was kinda more suggested. And that's what I'm going for. And the one on the left was strong and I want it strong, but I still want a little personality. And you want to try this on your back door or scrap paper some first and get a feeling for it. I mean, you've put this much work into your mug. You don't wanna be jumping in there and taken chances are reckon anything. So I like how this is turning out. And that is going to bring us to the end. And we're only going this way because these over here only had fully edge on one side and not both. Okay, I am going to call this finished. And my story for this one is just simply an artist that I met and I loved her work. And I bought the smog from her at a studio tour. And she used to be a neighbor and the village where I live. But as you move to another village and they had a studio tour, and I was happy to find her. I even carried her work in one of my galleries to might've been the art garden, but it might have been oh heavens, lifeboat within any thing over the past all these years. But I still have this Moglen I signed on the bottom and her name is Sandy and I think of her Whenever I see it. 11. Landscape Mug 1: We're going to try one more mode for my cupboard and then turn you loose. I think with enough information to go after doing some of the bugs that are in your cupboard. And this is a stone where mug. And it's pretty special because I used to go to the Grand Canyon all the time and, and I bought several pieces by this artist. His name is Mark RNA. And this was a very early piece and I still have it. This shape is different than the round shape we were just working with the designers. Interesting, we've got more blue sky. So let's see what we can do with this. We will start with our box and I made it with the template and then I, I perceive the truth is that this is not really taller than the round one was, but it seems like it. And so I'm going to make it look like it till. So the first thing we have to do is put our center line in and get rid of the fly that just joined us. I hope he gets bored and goes away. I never kill anything. And so if he doesn't go away, I'm going to have to get up and chase them away. So my width here 1234 and my center line will run at 22. And I just put it in there as a guide for myself. And start with the left hand side like we did before. So it is a little deceiving because I wish I could give this whole thing in here. Yeah, there. Okay. It looks like the bottom is wider than the top. It's not true though if you measure it. So we know our corner at the top is going to come right out. And so is that bottom piece going to come right out to the edge of the box? So we can start with that knowledge is that our Lipp has, is right there. And then it comes in, in kind of a nice little curve thing that kinda triangular and into probably doesn't even come down as far as I just had it, but I'm gonna go with that anyway so that we have some feeling of of difference there. And aside, does not curve that much. Let's look at a, a curves a little bit, but not that much. So and run, it gets all the way down here. It takes a little dip and goes back out. The look of that should be a little bit curved, but not around. All right. I think it's kind of close to what we have here. Yeah. Yeah. You can't be perfect. So you got it at some point, you just give up and do it. So here's our piece of tracing paper again will use z, the other side of it. And what's important to remember is that you make your trace what you just drew. What do I need? More beefy pencil hair. The 3b, that should do it. We trace our line of the edge of the mug. But we, it's very, very important to put in the center, I'm Mark. So when you flip it, you're going to make sure that you have it aligned. So we do this. And again, of course you can freehand draw this if you feel confident to do it. But I just wanted to run through this little business one more time. Or take my harder lead pencil and just draw over that line with the little pressure. And I got it. It's not, you know, it's not real strong and that's a good thing because I can be fed up with this. Alright? Now once again, we're going to look at where the handle happens. And this time we have this curve up here. And it seems like the top of the handle comes in right at the bottom of that curve. And where does the bottom come in? I have to switch back to the non sorry pencil higher. Where's the bottom of the handle? Well, we have this little lip on the bottom and then we have this little indentation. And it's right at the top of that little indentation that the handle comes in and join somebody. And the handle is shaped again like an ear. So all we have to do is figure out how far it goes out in relation to the body. In other words, look at the proportion. So the top of the mug, 1-2-3, 4-5-6 of my little my big squares rather. And This Handel goes out, I'm not, I'm not measuring from in here because that's different. Although it isn't, is it because it just hits on the outside. So nevermind. Alright, so I'm just going to say, okay, there's four big squares. This was six big squares. So four is about two-thirds of six. And so about two-thirds of this is half. So about two-thirds is rho that far. And if we find out how far that is, it is too big squares and three little ones. And so the outside edge of our handle is going to be too big squares and three little ones. Lou is going to come out that far. And in it does it comes out good, long way. So let's do that here. Okay. And this is a this is a foot that comes in here and then goes out. So it doesn't come in just really straight. And up here, the handle curves in to become a part of the body here. And the handles relatively thick. This cup, this four is here and this clay bends up here and does this. So I think we've got enough of a guideline to nowhere are handle is going to go. I'm maybe a little thick down home run or work with that as I format. And there, I think we have a drawing that's relatively close to what the mug actually is. Now I don't want to be looking at the side again. And so I'm going to make my my narrow and this is taller than this one, so it's going to be even more narrow. Oval cell phone only. Going there. I'm watching that line right there to try to stay same distance top and bottom there. And that means this straight line can get out of here. So don't screw our our eyesight up. And this has a little bump. And then it would be around at the bottom also. So there we have a version that would be a little bit 3D nylon and get rid of the straight line at the bottom. So I'm going to ink this and we're gonna come back and decide how we're going to do a real beautiful southwestern scene. And sky on there. 12. Landscape Mug 2: I'm back and I have my basic mug shape inked in. Students sometimes say, Why don't you do the inking on camera? And the reason is I almost stand on my head to do the inking. Inking is tough and you know that. And the more you practice, the better you give which never get perfect. And so I'll just turn this broke every which way and it gets out of the camera and everything would make such a mess. And my inking usually is bubbly and wicked, just like anybody. But I manage in the paint stage to usually get that to a better place. So now the illustration on the smog, we know that we're going to have blue sky and clouds again. This time not going to be more intensive, uh, different. So I'll show you how to make that happen. They were very soft on our first mug. Here're, but now I want somebody find clouds as time. So we're gonna take a little different approach. First, we have to draw in this lovely landscape, where can I put it so that you can see it? Alright, I'm gonna start with a little line around the bottom here. Because there is one. So just it's the foot. The reason that these mugs have what's called a foot is that stone, rare clay. You can't let the glaze go all the way down to the bottom or it will stick the kiln shelf and so on stonework anyway, there's eyes of foot. The other claim is earthenware and I'll squat actually about ceramics, but I just know the spinning explained to me that there's got to be a foot piece of stone or so the next thing I have here are a couple of little dark brown hills. They go kind of up to the handle on over and then off. So I'm gonna do that by saying it's starts here. And does that. And the next thing we have is some southwestern rock or there's a lot of different names for these buttes and all kinds of things. Towers depends on their size, but they go up to about three quarters of the mug. So let's see if that was a halfway mark. And this is a quarter, and that's a quarter. My towers are going to do my tallest towers going to end there. So I'm just sketching. Bring that down. Goes over a little bit and there's a shorter guy here. And I'm not going to make this an exact duplicate. Because why would I and then it gets about here. And it is on some kind of a rise there. And it looks like this comes over and blends into that rise. And there is a connection back there. And this tower goes out a little bit and goes down. You have your downloaded photo of this mug so you can look at that if you want to see what I'm talking about. So I can't have them Morgan here and be up close for you. And then I feel kind of goes off there. And I do that a little bit scurry. There should be some this colored hill under here, but I didn't make I made this one too high. So I'm keeping it the way it is. There's some grasses on this. And he's really got the, he's got a whole lot of mosaic work there for the rock to indicate the rod, but you don't always see that that clearly. And so I'm gonna do the easier way of doing these rock formations, which is a series of vertical divisions like so. And you make the top Roth like dot line in there. I think I'll bring out all the way up. And this is coming down here. And I'm going to do that there. And make this one. These should not be even divisions either. And then there's kind of a bottom line going there. And this just kind of comes down into this, this hill here. Right? A little more grasses. And this, I want to be a little more ragged. So I'm just going to add a couple of edges there. So sort of like that. And I'm going to ink those lines in and I'm going to do it darkly. I mean, darkly. I'm good at do it with a fatter line because this is pretty incised into this mug. So we don't want, need delicate stuff going on here. So I'm gonna do that with maybe a medium point or even larger point of fine liner. We're gonna start with my sky because it's lighter and any darker color or cover it up if I make mistakes. But like before, I've, I've taken Virgo lighter blue, and I've made a wash. And this time I have made a pretty intense ones when I'm testing it here on my back door. Rather than be light like that or that. I wanted to kind of intense like this because that's the way it is on the MOG. So I also have a clean Kleenex sitting here. And with that I'm going to be doing a cloud lift. And it will be dramatic rather than the subtle one that we got by using our usual lifting technique. So the first thing I'm, I'm using a pointed round and a size four. This is a risotto brush. I am going to go in and put in this very intense blue sky. And again, I'm moving quickly because of drying time, which you may not you may have a little more forgiveness where you live. But I don't know. I know I don't so I have to move along. Gotta hear there then I got to pick up. Or it could be a flaw in the paper, but that's okay. This is a ceramic mug, so perfect. Perfection of surface is not part of the game here. And go back and over here, make sure that I still have dampness everywhere. And the cloud on the actual COP is halfway around the side. But I want a little more obvious here. Watch these edges when you do a wash. Because if you didn't get all the way there, it'll start drying from there and then it gives you ugly marks. So dump in the brush and I am grabbing the clean eggs and wanting and I am going to pick up cloud. Then I'm going to add little Clearwater back into that area and pick up some more. And here, I'll pick up more. Now, don't I mean, try to be not regular with us, right? You don't want it to look like all on purpose and stuff. Command right here on this one, this goes behind the rock and disappears around the mug and keep an eye on things for a minute. So sometimes I push at the side of clouds just to make them more risky. And you hardly ever want a really hard line. Plowed. If I feel like I'm losing too much my whiteness, I go back in clear water on a brush and do another lift. Let's just takes column as you do your sky and you babysit your sky. And make sure it does what you want instead of what it might decide it wants. Why outlook, and that's the thing that water car ads where we all find it so exciting and so frustrating. But there are, I've got a pretty strong blue and I've got a pretty strong sky alike it, I'm gonna go with it. And the other part that is blue is the handle. And that's not going to cause us to much trouble. I'm just gonna do a simple highlight lift on this because I'm not putting clouds on the handle. And I went ran at a line there, but I've shown you before how that can be corrected. And I'll show you again because a lot of curtis okay. And I'm just going to smooth this and lift it going in from two directions, which is odd, but you can get away with it. And I'm going to grab my blunder, my filter to see if I can just pick up little more highlight right in the middle handle. A lot better when I did the mistakes out of there. And then the other blue area is inside the room. And because that shadowed and I'm going to make that deep. And there was all the same glaze. I'm gonna get a smaller brush to pick up that highlight because I don't want it to stay dark in the corners. And I have to add a little more into this corner because inside the code, it's always darker at the corners. And uranium off of here. So I start here at the corners and inside RAM. And you don't want any hard line happening there either. Okay, it's not too shabby added. That looks kind of good. So our next trick rule comeback witnesses dry. We'll get rid of those and we will paint our landscape here. 13. Landscape Mug 3: So it's time to choose a color for the landscape. And I don't want a lot of Brown's can be real dead. And I don't want that feeling. But I don't want a real golden color like that either because that wouldn't be exactly right. So what I'm going to use, uses a color called raw umber. Different manufacturers make it differently. This is a Winsor Newton here, and this is actually Winsor Newton Codman. This is a good way to see the difference between a student pane and an artist grade paint by the same manufacturer. It's real obvious here, isn't it? The difference is more pigment. So that's why you can get student paints and you can do fun things with them. And you're gonna get to a point where you're gonna go. Man, I wish that that had more torrent. That's the time to switch. So I'm going to do my, my monoliths or wherever they are here. And raw, unburned if I think it's too doll, i'm gonna lighten it up with a little overcoat of There's some kind of yellow ochre. And that would bring it up to standards for. So let's see what that looks like. I'm going to use a lift technique. And I'm going to do each of these sections separately so that they stand out. So I'm going into my raw number hair and said I have pan. I'm trying to get some strength of color going on to see how this is going to look. It's still not a really strong color. Numbers always just a little white and the subtle. And like I have done with leaves before, I'm gonna do every other one here and then come back and lift because it's quicker. And then give them body lifting so that, you know, it's not like a flat surface on that rock. Alright, that's not gonna be bad. I think that's going to have enough warmth to it. So I'm going to move over nail and do every other one on the other tower. There's little blue there, but we can live with it. It'll go into the shadow. There was a plane that's very different here. I know in both places people live. Planes going over is like. Happening all the time, but not in Santa Fe. We're not really in a flight path. Once in a while. I like it. So I'm gonna go down in here just because I'm going to give these a little tiny bit of extra drying time. So this is what this actually is, is these things crumbled away by erosion. So same color. They're kind of just kind of falls in a sediment or sand. And it makes little foothills on these rock formations. Now if we were in so Donna, with this, we'd be doing these on a bright orange burnt sienna kinda thing. Because they are, No, it's very magical. Book on and picking up some ground here for the sake of interest. And now I'm gonna go back. Do the every other again. And the one next to it is dry. So it's not going to run in and change anything I did. Right. And I might even go over here and take care of this 12 and come back and lift some interest. And then I only have one more area in that color and it's this edge right here. Leave a little dark and light. Because the light hits these very unevenly because these are going in and out. And all I need to I don't need more Painter. I need to lift here. All right. And I'm gonna come down and put that one in and then see if I think that I have enough depth of colour to be interesting. If not, I would go back and a darker color or second code of the US. But I think when I get the dark brown down here, that that's fine. Now we have one more area or worry about while we're waiting for that to dry so that we can do this brown part. And that suits foot. And in this case, in this MOG, the foot is the same colors, the hills because there's smog isn't glazed and they Hills. This is actually the color of the, of the clay of the stoma and this mug was made with. And so what the artist did was he just incised it and rubbed in antique and glaze into it or maybe rub this one and then wiped it back. But he didn't have to paint that color. That's why we haven't got a perfect match. Because if you look at this carefully, it's all textured and like clay, I love it. All right, so this foot is also the bearer clays, so I'm going to use the same color for the foot of the mug. And there we go. And there's no light hitting down here. I'm going to just kinda leave it without picking anything up. And that's a nice little darker contrasts to that anyway. So I'm letting that drying I'm earned come back with a dark brown. Put in this and this and my mug is done. So for cleaning this mess about here, I cleaned up my other mistakes so we wouldn't have to sit through that. But I'm gonna do one more demo for you of how you clean of a mistake like this when you go out to the lines. As long as you're not using a staining color, this can work. So I have a clean water brush and I get in here, I don't go right up there and starts spreading water are commands sneak up on it from our here. And so getting things kinda wet, breaking up that edge of that mistake area. And as I'm being so gentle because non cotton sketchbook paper comes up easily if you get all scrubby on it. So I'm being very gentle, just come padding, trying not to get into the handle area and rewind anything. And then blotting with a clean part of my Kleenex and I've got that gone as much as I'm gonna get a god. So the other thing I did was I chose a color for that dark. I wanted something a little warm then a warmer than what's on the actual COP. Because this is like an oxide kinda deal and it's kinda nice, but just a little warmer. So Van Dyke Brown has a very good brown. Yeah. It will go on really dark. You can use it for darks. And and it's also, you can pick it up a little bit. But we're gonna do our lifting very conservatively because we don't want to weigh lifted. We wanted just a little. So I'm getting Van Dyke brown on my brush, turning my books so I can see what I'm doing. Putting an AS other dark hillside, making sure the whole area is what now, I am not going to clean the paint off my brush. I'm just going to dab it on the paper towels so that I can pick up and not pick up dramatically. So I lift, I'm gonna go in here and just lighten this. I'll see if I had planed my rush. And there were there was freshwater on hair, this would be picking up a whole lot more. And I didn't want that this time because that's not the way the mortgage is. And it is still, I think, picked up just a tiny bit to much in hair. So again, I'm going to clean my brush off, kind of smooth that out a little. So it's not a straight line. And there we go. I like that. I am debating. I may come in and make my grad with a marker, dark brown marker, make my grass manage that area. Not sure. And since I'm not sure, I'm not gonna do it yet. Now the other changes that I made, I added a little shadow at the top and bottom by Handel. And a little along this edge. I was very conservative. And remember how we did. We added a little bit of red here. After it was dry, we were being nervous. Same thing. So I was just really, really careful. I had my Filburn brush right there to to fudge the Azure, do whatever I had to do to keep it from going in and making a hard line. So there is our Southwest stonework mock. And I'll be back in a minute to wrap up this whole mugshot deal. 14. Conclusion: To wrap up this class and encourage you to go out and be excited to do your page would be a little slide show to show you a few of the pages that I have done this way. And I debated about whether to put music behind it, but I'm not going to, this is going to be a little silent slideshow, and I'm gonna leave each slide in place for long enough for you to read the little story I put with it, then you'll get the idea of the stories that you can put with your mugs as well. And hopefully then you're gonna just run right off and grab your supplies and go looking for a favorite.