Paint a Pastel Teacup | Karen Ciocca | Skillshare

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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

5 Lessons (35m)
    • 1. Pastel Tea Cup Trailer

      0:37
    • 2. Firstlesson

      12:11
    • 3. Making It Pop

      18:35
    • 4. Adding the Final Details

      3:15
    • 5. Last Words

      0:51
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1

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About This Class

In this class I will show you how to get that shiny cup and saucer with a reflection on the table and the napkin texture while paying attention to color temperatures light and shadows. 

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Meet Your Teacher

Teacher Profile Image

Karen Ciocca

Graphic Designer, Illustrator, Fine Artist

Teacher

Hello Friends!

I am presently the Art and Marketing Director at a Granola-Nut company who also distributes organic and all-natural nuts, seeds and fruit to supermarkets and chains nationwide. 

My career has been as a corporate and boutique agency in-house graphic/package designer and digital illustrator. My packaging illustration and design work have been on retail and supermarket shelves for over 30 years. Including Pilot Pen, Bigelow Tea, Perrier, Lindt Chocolate, Poland Spring, Aurora Products.  

I am also a professional fine artist and I love to paint animals and nature. Having been commissioned numerous times. 

I am excited to share my skills as a Graphic Designer and Fine Artist here on Skillshare! 

 <... See full profile

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Transcripts

1. Pastel Tea Cup Trailer: everybody. My name is Karen Soca. I'm a graphic designer, a digital illustrator and a fine artist. Thank you for joining me to learn how to paint this pastel teacup and let's get started. 2. Firstlesson: how everyone. You can download this image in the notes section and use it to trace from, and you can learn to prepare your paper and my intro to pesto painting class. So if you don't want to draw your image, you just trace your image by taking a pastel and rubbing on the back of the copy paper and then trace it onto your prepare pastel paper. These are the colors that I'm using to start personal co new pastels. The 24 counts set and I You can get this on Amazon. You get it in your local art store. If you can get it in your big box stores to like Michael's or any craft store will have these. What's the time here? I'm starting to block in all of my darks, and I'm starting with blue because, like I said before, this was a morning shot, and I feel that the early morning shots you know it's a brand new day. It's blue and it's cool, and it's a beautiful shade. The temperature for your images. If you took an image, big data, the temperature of your photo will be different than the temperature may begin. to the day, which would be a little bit warmer, some putting in colors that you won't see maybe right away, because when you started painting, you might say, Well, this is Brown I'm gonna put brown in, but I like to put a underlay of different colors in this long should have values right then , more colors that used together like this purple songs of values air correct. It makes for more interesting painting. It'll show through the different layers, and it'll just blow more look more vibrant and alive. So now I am adding the brown for the table, and it's kind of messy. The whole thing right now, when you're doing your under painting, we're just loosely putting the colors in Syria or lights and darks, always having a light coming from one side. Your light source and your shadows from another. Decide is the right side is the light source, and left side is the more shadow Vera Edsel in elongated shadow as well. So that's gonna make a difference. Now I'm starting to put it on my the cup itself, and I'm putting in a darker gray color here. I'm gonna act purples and probably some blue as well. It's reflective light. So this is a shiny object and it's got a reflective right in it. And this is all gonna show through on your final layer. So we're going to take some rubbing alcohol. And when we have this down and just make this a solid if used your paper her, you know, um, layer, so it makes it easier for the other layers on top. To here, you always start with the harder pastels, likened pastels, and then we graduate to softer pastels. You can do a whole painting with the new pastels. I've done that once you're happy with your darkest shades that you put down all your darker values. I I take my rubbing alcohol and a flat brush, and I just start building that layer into my paper. And yet, again, it's Messi. You don't have to be too careful here because all of this is gonna be covered up. But I mean, you want to go the shape of your objective working in. So I mean, it does show through somewhat, especially the color, and you can see all these values are just about the same. Just put some light blue there, but getting will dry anymore. Here you go now stripping, huh? That's okay. Sometimes I like those trips. It's kind of funky and cool. You could show through weaken. Leave some of those marks. It's kind of style you're going out, and I'm not super realistic. But I'm like things to be represented well, And look what like what It ISS. And you could see this brown. It's just looking really beautiful. And when it mixes with that blue, it's almost black. And I think blacks could be very flat refuse, just black in itself. So that's the other reason I like to use blue. And like a bird number together to create a black usually always works out well. So now is the time to go and grab a cup of yummy tea and enjoy it and just let this pastel dry completely before you even touch it with any more dry pastels. So now you can see that it has dried and it's a little dollar, and I'm going to go back in and add some more of the dark's and good fuzz. Some of the edges with my pastels and I'm starting to add in the reflective light with my medium values. My camera likes to focus on the nearest thing it looks like, so it gets blurry, but you can still see what I'm doing. So completely covered that with a medium pastel. That's sort of the cool pastel as well. And here I'm adding blue, and it's after the same value as the grave just put in. But this is reflective light from the morning, and the pastels itself are going to start blending. Probably much with my finger to visit is porcelain. Finding the purples on the inside, trying to get that look of being a bowl. Being that, you know, cup looks very flat right now. We got to get it to look round and deep. Yeah, the way you do anything in our is with like it's an illusion of like, and it's all about value, so you have all of that together. You have your light and dark. You have color, temperature and value, so you could use really any color you wanted to. Is long as the values are correct, the painting will work and you can see it's starting to turn. Now I like that darker sort of my like blue. I forget the color names, wrote him down there in there more gray, and I'm gonna do this all over so you know, smudging it and you want to go in the direction of the way you want it to look. So if it's round, go round, make it look around, leading some not smudge, some smudged like things to have a attention. And it's not perfect yet it tidies up near the end, so I'm never really concerned. I start gradually tightening tightening things as I go along, but I don't get overly concerned with it because I'm still just worried about the values. I added some more about bright light, and that wasn't a bright white that was more of a off way color. It's more purple, any other inside reflective light. It's looking pretty good. I added a touch of green there because I feel like there's something in the room that was being you. There's plant behind me. My tea bag is a little green. It's green tea. Yeah, there we go. It just adds sparkle and truth to paintings. It looks believable In the end. I'm not always looking for perfection. But I am looking for believable. He had that cool morning blue, and that purple is a little bit warmer, like to usually put in warm next to a cool because it helps it look even more cool. Gives it that vibrance, that life it's really starting to to change now. Okay, so in the next video, we're disclaimed to keep moving along and with our layers, and you could see how it builds up, so enjoy and I will. 3. Making It Pop : - in this section, we're just going to keep lending and creating the gloss effect, working with the light and shadow. So we're gradually using our softer pastels because they're easier to paint up for the harder pastels. I'm using my finger to blend and will use tools as well. But this seems to make the teacup look shiny. Er, where amusingly fingers. I'm going to really pop that these edges with right, right, the lightest light I could find, and I'm using my wrist to get that round effect. It helps when you use your whole wrist. I like to stand and look back at my painting from a foot or two and just see what it needs . Here. I'm adding more texture and lines to my table, and I'm blending it with another pastel and start to look like wood, leaving my intense darks right behind the cloth to the upper left side. I sped up video because otherwise would be here for two hours, and I think you could see how it's coming together. Look at the wood is really starting to look like wood. I'm adding red. It's the only place in this image room adding red but I thought it needed that warms. I'm using the site of my pastels. It gives the texture, is pulling up the texture from the paper, too, and a little bit of right off way. I'm putting here in blue, the light blue. There's a reflection on the table of the napkin, and you're just gradually work it just key pushing and pulling until you see that illusion shining through Beautiful. Now for the napkin. I've really trying to pop those edges and where the light is, you know, reflecting with shadows and stepping back for seconds. Looking at it, coming back and saying I need a little bit of light here needed a little bit of a punch here, maybe a slight dark lying there making decisions. - So I'm just gonna let this run for a minute so you could see how I'm applying the lights. And I'm lending a lot with the Pasto over the pastel because I really want that texture to stay in there. That cloth and I don't want to blend it too much like my teacup, but I do want to hide in the illusion. Yes, rightist rights to really make those reflections pop so inside the casted shadow, I didn't right to the edge of probably dull that slightly. But here, inside the glass, you know, you just have that reflection on the inner side the ambient light, reflective lights and just sometimes that one little dot could make all the difference in your illusion. I'm really trying to get a hard edge here. I'm sure I'll be cleaning that up a little bit. And that cup. See, there I am with my tool. That's a watercolor smudging tool. It's them using its rubber, and I kind of like else much I just made. It's like a little hello. I want to keep the edge, Chris. And sometimes it's hard when your pet cells air. So why so come back in with a tool and just sort of something it or hard in it? Just the edges. Just get it a little bit more pristine and meat, so I keep adding worldwide and using my blender and trying to keep some edges kind of hard, where I need him hard around the edge of the the Cup and in some places like to break it up a little bit. A swell and not have the edge going all way completely around sharp, just a few. But I just broken up. I keep tripping over my easels. It shakes, So I apologize for that. And there's my tool again. Ineffectual, because it's like a rubber 0.1. And I think I got about 20 years ago. You still use it for watercolors, but it's good for this. Gives me a nice clean edge and try to use my whole wrist because you can get kind of around shake when you get your wrist involved. It's really coming along. It looks tedious. I think you know, it's just a matter of working it. I said it up, but I didn't want to speed it up too much Where you couldn't see. The more you practice, the better you get with anything. If you were gonna play an instrument, you would. You always start on Hey, not knowing and with practice, you start playing a few notes and then after a week or so, you're playing tunes and you're playing little songs and it's an accomplishment. And I think, um, whatever you put your mind to, you can dio, I'm adding, were blue, their little text your back. What pushing whole really looking for where? Like the lights? Really breaking up that edge with the cup candle, Just really looking for the contrast. Now it's little layers. It's little you know which what I love about pastels. If you make a mistake, you can always take them off him and start over with watercolors. It's a lot harder, sort of unforgiving. There is a sharp edge. I'm gonna just touch up a little with something smaller than my finger. Little pink. I like pink reflective light. It's really beautiful. Miss Sparkle like that dot in your eye. That little worm, the warm against the cool, really helps. So in the next video, we're just going to matter a lot of detail at the design in. I'm going in there with a softer pastel on really popping that weight. We've overdone it. Probably talk back even a little bit more. I think I was working on the shape. They're more you see the blue you and let's get that handle back in there. There you go. It's looking pretty good. I'll see you in the next video, and we're gonna finish this up. You 4. Adding the Final Details: Okay, Now all we have to do is put in the details. I started out by putting a very light mark around my saucer of where, though, where the pattern design waas. And now just gonna come in with the blue and put that final detail in those dreams and it could have not really precise because it's an illusion. You can make it perfect, super realistic if you wanted to, But that's just not my style. I'm just gonna let this run and you could see how I just go over my marks. And I'm just tidying up the painting and it really just just like adding that pattern makes the illustration really come to life. So even though it's not super realistic, it has a very realistic feel to it. Now they're putting the site details on the cut. It really pulls the whole image together, and it makes it look like it's closer to you. And it just really adds that dimension into the illustration. Just softening it up a little bit tiding up my edges. I'm gonna take my tool and grab some dark. Um, I'm gonna grab some dark colors from the background and just tidy up the handle of it. See, right there. Get your finger in there. So these tools are really handy. And that just sharpens that corner closer to you. It makes it look closer to you. Same here. I'm just using my tool to get that little smudge and show up in that edge. Closer to you, they looks great. I'm sure yours does too. I can't wait to see what you've done. So please post your projects in the project section and any questions you have, you know, I'll see you the next final thoughts. I know. 5. Last Words: thank you again for taking my pastel painting class. I hope you enjoyed it. And if you did, please give me a thumbs up. But more than that, I'd like to see what you have done. So please post your project in the project section. And if you have any questions, please feel free to ask me any pastel related questions. Um, my future pastel classes will be more geared towards painting the landscape. And we're just gonna build on our skill sets here. And I hope you come along with me until then. Happy painting, and I'll see you later.