Sketchbook Practice : Loose and Lively Watercolor Drinks | Ohn Mar Win | Skillshare

Sketchbook Practice : Loose and Lively Watercolor Drinks

Ohn Mar Win, Illustrator surface designer teacher

Sketchbook Practice : Loose and Lively Watercolor Drinks

Ohn Mar Win, Illustrator surface designer teacher

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9 Lessons (55m)
    • 1. Introduction to Class

    • 2. Materials & Research

    • 3. Warm up Exercise

    • 4. Orange Juice - Easy

    • 5. Cola - Easy

    • 6. Mojito - Intermediate

    • 7. Mai Tai - Intermediate

    • 8. Mulled Wine - Advanced

    • 9. Final Thoughts

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About This Class

Painting a drink in a glass is not as daunting as it sounds. In this class I have broken down the steps into simple exercises that will give you confidence to help you move through each stage. Once you understand much of it is simply gauging areas of light and dark to create the depth and contrast your watercolour drinks will spectactular. I'm really looking forward to seeing lots of refreshing and delicious drinks.

I've illustrated drinks and glass jars and bottles for branding, packaging and books. I'll be sharing with you some top tips and tricks to create effective sketches in watercolour. I have divided the class in to easy, intermediate and advanced so I hope you will undertake what feel comfortable pursuing, where ever you are in your creative journey.

Meet Your Teacher

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Ohn Mar Win

Illustrator surface designer teacher

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 Hello I'm Ohn Mar a UK based illustrator and surface designer with a long and varied 20 year career. I started out many moons ago as in house designer producing greetings cards, stationery and moonlighting as a editorial illustrator for lifestyle magazine. These days I'm is primarily known for her textural foodie images, which have now appeared on branding  and packaging projects for clients from the US, Canada, Europe, and SE Asia. I was lucky enough to have The Most Gorgeous Cookbook Ever printed, a book of 30 of my own illustrated recipes.  I have had the pleasure of also illustrated cookery titles for Kyle Books, Sterling/ Barnes and Noble, Quarto Publishing,  and The Sunday Times magazine. Furthermore I was honoured to have my foodie ar... See full profile

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1. Introduction to Class: Hello. I'm Emma, and I'm an illustrator and surface designer. Sometimes I'm asked to draw drinks and cocktails for books, packaging, and also branding. In this class, I want to share with you some of the top tips and tricks that I've learned throughout the years to make a really luscious looking drink. It isn't as daunting as it sounds. A lot of it is just a contrast between light and dark, and the process that I'll take you through, I promise you, is really easy. We're going to just start off with a warm-up exercise where we're playing about with wet on wet technique. Then we'll progress slowly and you can see how I add more details to it and it's a fun process. I really hope you'll join me and discover a fascination for drinks like me. 2. Materials & Research: First of all, I think it's really worth looking at some glasses. If you got any at home, I do urge you to take them out and have a look at them. With glass, when you're trying to paint it, much of it is just contrast. It isn't very much to do with color. You can see highlights; you can see through it. It may seem that it's very tricky especially when you get liquid inside it like that. There's a law of refraction taking place. But I'm going to hopefully teach you a way of looking at the contrast within each glass. It doesn't have to be tricky, and a lot of it is just breaking it down into the most basic forms. If we were to take this wine glass, for example, and hold it up like that. I know this is a black surface, but you can see the contrast here underneath. These highlights here, which give depth and also tell you the roundness of the glass. Also down the stem, there's contrast here and at the base. This is the things we're going to pick up on, and please don't be scared. I'm going to try and break it down and make it as easy as possible. First of all, you will need bold colors. I'm using the Winsor & Newton 24 Pan Set. I've added a few more blues. Also, for highlights, I like to use white gouache or perhaps a POSCA pen. I don't know until I get to that point which technique I'm going to use. For work like this, I like to have a selection of round brushes. They're quite big so that I can apply the wash really quickly. I do think for this exercise, it is really important that you research the drinks that you're attracted to. I've just typed in drinks on Google and did an image search. This is all that's coming up. I really think you're going to be drawn to certain images over others after seeing some cherry, and I've just typed in cherry drinks. A lot of it looks alcoholic, but there's this really sweet-looking ice cream float. Anything like that, if you are drawn to it and there's a lot of dramatic half things happening. The contrast between light and dark is going to really help you to understand how to put drinks down in watercolor. Now we're going on to Pinterest. Again, a really great place to find images for reference. I just typed in summer drinks because they look so refreshing. There's so much to choose from, raspberry peach, lemonade, strawberry peach, mocktails, slushies. There's just so much here. Look at this one, Color Changing Galaxy Lemonade Slushie with No Food Coloring. Wow, that could be pretty neat to put down in watercolor, don't you think? Whatever you're drawn to, please find yourself really good images to work from so that you can look in-depth at the contrast and the shading and the reflections that are happening on the glass or within the drink. 3. Warm up Exercise : I did promise you that I would make this process as easy as possible that anybody can paint their favorite drink of cocktail. First of all, I want to tell you there is a method to my madness. Please try to follow these steps to make it as easy as possible for you to understand why I've done things in the order that I've done them. First of all, what we're going to do as a warm up exercise, which means that just have fun with this and go with the flow, is I've googled drinks glasses and we're going to simply look at the shapes. Just look at any shape that really catch your fantasy, and we're only to use one color. I'm going to use a Payne's gray, and I'll show you what we're doing next. I'm mixing just a really watery Payne's gray, and all we're going to do is silhouettes of glasses in a really light wash. Quickly as possible. That's just a basic glass shape, I'm going to move on to another shape. That's probably a bit too dark, but let's see what effects that makes. I'm just going to add water to that one because there's too much happening now. Don't think too long and hard about it, just keep moving. Let's do another shape here. We'll just do one more. I am just looking at my reference and trying to get down the silhouette. Now, going back to this first one and you can see that the water or the wash is still on the surface of the paper. What we're going to do is now mix up a slightly deeper shade or the Payne's gray and just drop in. Let's see what happens. Drop it in, drop it in there, you can see it spreading up. What happens if we do that to it? Let's just leave it up as it goes and we're just going to carry on, just dropping in more concentrated color at various points because this is called wet on wet, this technique. Where we're dropping in more paint where it is still wet. On this one, it's starting to dry on this side but it's still very wet on this side, but let's see what happens here. What happens if we put that there? You're going to have to experiment yourself, it depends on what paints you're using, how diluted your pigments are, and also the drawing time. But we're just having fun here. Look what's happened when I add that really concentrated Payne's gray, there and there. That's all we're going to do. We're just looking and finding out how our paint will behave. That's it for now. If you give yourself permission to play with this just for five minutes, you will find the rest of this class so much easier. I really urge you to just muck about with your paints, do as many shapes as you can and just see what happens and really enjoy this process and enjoy the time that you give yourself to be carefree. 4. Orange Juice - Easy: Now, we're going to move on to easy orange juice. We're going to do exactly the same thing here, you choose a good reference with orange juice and a glass. Again, we are just experimenting, do not get to [inaudible] up by depicting anything at this stage. I've got a very light orange yellow gouache, I'm applying it very freely, just following the contours of this reference that I've got, and while it is still wet, I'm going to drop in much more concentrated color. Let's see what happens, and the more concentrated it is, the more dramatic it will be, let's just drop it on this side. Nice. While that's doing this thing, I might just quickly do another one next to it. Still we'll square one, and I think in this one I'm going to put yellow here, quite concentrated yellow, and then go in again add much deeper orangey red. Lets see what happens, that might need some help but rarely experimenting, so lets carry on with this, dropping in orange now, there we go. Now, there's really great things happening there. With this one, I'm going to add an outline of the glass. I'm just going to use some of that Payne's gray that I had already, very light gouache, and so the outline of the glass, the base starts about there, that's too dark, I'm just going to wet my brushes in water, just to dilute it down a bit and follow it up. You can hardly see the outline of the glass on this side until you get to the top there, so that's what I'm doing, and you got something like that. That ties in with the fact that it's suppose to be dark on this side. While it's still wet, I might just drop in another bit of orange. See if that's going to help. These actually dark, could just down this edge there, so let's wait for that to dry a little bit more, and let's add the glass to this one. You can see it just slightly merged in there, that's absolutely fine, so it gives that liquidity feel. That's the edge of a glass up there, and just because we're still experimenting, I might just draw that in there, see what happens, that's got some nice effects. Now, you can leave that to draw naturally as it is for I often have a hair dryer on standby. I have had questions about why I use a hair dryer and there's rumors that it will spoil the paint. I want to say that I did use to be an in-house artist for eight years and we always use hair dryers. We were presenting work to major clients in the UK and it didn't seem to affect the colors. If it was going to be an issue, I'm sure the clients would have said something, so don't be afraid to use hair dryers. I've just blasted it gently with a hair dryer for just a minute or so, and you can still see there still patches of paint that hasn't quite dried out. But if you look closely, you can see that the color gouache have intermingled with each other and creating some of these effects, and also gone into the outline of the glass. Again, I think that just really adds to the atmosphere that these are refreshing drinks in these glasses, we're not trying to recreate an exact copy of what I saw on Google or an image library site, so this is the effect that I'm always trying to recreate. As a food illustrator, I don't try to show an exact copy, it is an interpretation of it and that's what I want you to do on the interpretation of a drink. I'll just do one more because I'm in the mood, maybe of some cola. 5. Cola - Easy: I'm going to try some Cola. It's often depicted in a glass with ice. Let's give it a go. I've mixed up a brown with a little bit of Payne's gray and some red. We cannot do exactly the same again and just get an outline going. Rather a silhouette. The shape of the glass is quite iconic, but we're not going to overthink it. It's approximately like that. We're going to draw pin some really dark tones at the bottom. Because the examples that I can see, it's really dark at the bottom and slowly gets lighter as we go up the glass because there's a whole lot of ice at the top. Let's see if we can recreate something similar but not to get too caught up by it. I'm going to drop in more warmer tones of a brown at the top, I think. Make quite watery and spread that around a little bit more. I've got just a touch with more. See like burnt sienna type brown that we'll do that day. And looking to the side, if you lean down and look sideways onto your sheet of paper, I know when I put dropping another color, it's just a little bit too much. I'm just going to blast it with a hair dryer just for two seconds. That will just give me enough. I'm going to drop in more dark brown at the bottom, just straight up, just here. Now we're going to add the glass which goes round. It's actually dark on the sides. I might do something about that. This is the reference. I've got the flits in from light to dark. Can you see just this edge here where it's merged in with the brown of the inside? I really liked that effect. It really solve adds to the feeling that this is a very refreshing drink. I'm just dragging it down here as well. I'm not going to attempt to do the ice at this stage, I will show you how to things to consider. But at this stage we're only playing and we're getting familiar with this territory. I'm going to leave that one now. I'm just going to try one more here. Same again, I'm just going to do one that goes straight up. I'm not going to bother with any fancy glass shapes belonging to a certain company. Let's try something really dark at the bottom. I'm going to mix up a bit of purple in this, just to give it a bit more [inaudible]. I'm going to just go down this side. Let's see what happens, tilt out Sketchbook slightly. Nice. Let's have the side of the glass now. I would quite like to just color. I'd like to draw that out into the side of the glass. Let's just do it. See what effects we get. I'm just dipping my paint brush into just plain water. There we go. Let's follow that through up here. Just draw that in and do the same on this side. I haven't changed my brush over. This is all it's got is water and that's the sort of effect that we are able to create. Which I really like. No, it's, I considered it and to a certain extent I knew what was going to happen, but you have to really have faith that it's going to turn out absolutely fantastic. Not try if I can just bring that edge here into the edge of that glass. And I'm just going to add the rim here. Say this is our two. We did the warm-up. Now payer. We did two orange juices just playing around tonally, more concentrated orange on top of yellow wash and two Colas where again, we put more concentrated color using the wet on wet method. Look what's happened in that time. I just put that doc down the right-hand side and it's merged in with the rest. I just love this sort of approach and I hope that you're able to lean into it and appreciate the results you're going to get. 6. Mojito - Intermediate : I've chosen to do a mojito, which is one of my favorite drinks. I've mixed up a very pale, yellowish green. The reference that I found has lots of mint leaves in it and lime. Again, I'm going to block out the shape of the glass. This one is pretty tall and thin and it's wider at the top. Its more like that and there's also ice at the tops, so I'm going to leave that section at the top quite pale. It's still fairly wet, but on this side it's starting to dry out a little bit. Before I forget, I'm just going to add the edge of the glass which is dark, which I'm just going to map out using that green wash. On the side again is a lime slice. I think the wash is just starting to soak in. Now I'm going to just in this section here where there's a slice of lime. I'm going to mix up a slightly darker green, so that darker wedge of lime comes in about here and that is going into the wet on wet section. We're not going to worry about that because it all adds to the idea that it's pretty wet inside that glass and when light travels through a glass, it does different things. Rest of the lime comes in about here. Again, we're just looking for areas of color, areas of light and dark and it carries on being dark up there. There's more mint leaves here, so it goes all the way down there, so lets, something that's a bit darker down here. That's enough, this screw your eyes up just a tiny bit. There's a dark green area here behind the lime it is dark, considerably darker, and here. That almost defines the shape of the lime. I'm going all the way in there. It probably joins up about there, so that's good. The star of the ice is about there. I know it doesn't look like much at the moment, have faith. We can add a little bit more green areas. These are mint greens because there are a lot of lime leaves that's being shoved in there. I'm just going to add drops of neutral sections of green and then I'm just going to use the paintbrush with water to fill in some of these areas. I'm washing my brush now and it's just got plain water on there. This is going into the iced section and there is not cubes as such, it's just rounds of ice. Again, all I've got on there is water. I'm going to trying to define the areas of the ice by using light and dark greens. This area here is just mint and this is mint too, the mint extends there. Actually, I think it's time to define the edge of the glass. I'm going to mix up a pale gray green and, actually that's a bit too dark. I'm going to add a bit of water to that. Comes down here and it merges in with that minty section there and that extends down to here. There is a darker section there, I think where the edge of the glass will merge in with a mint, and now we get to the very base of the glass here. In my reference there is a dark section there, right on the left-hand side. Tiny suggestion of a curve and again, it picks up on this section. We're going to extend that lovely pale green, blue, gray up into the minty areas here to define the edge of the glass where it is darker. This section is dark too and this section here, it is the line that is contrasted against the edge of the glass. The lime is darker than the edge of that glass, so let's start on that line. Again in this particular reference that I've got the light shining through it. It looks more pale yellow than anything, but we know it's a lime. I don't want to make it look like lemon. That is the edge of the glass, I've just define the edge of the glass using the lime and the same again here. I must add that sprig of mint, sprouting at the top of the glass before I forget. It comes in at the top here, there we go and the leaf does that, it goes over the side of the glass like so. I'm going to blast it with a bit of hair dryer because it's just too wet for me to work with. Just adding a tiny area of darker green for contrast, there. Now the edge of the rind of the line rather, not too saturated. Just the hint. I think we need to define the areas of the ice just a little bit further, but I do think we're almost there though, there's a cube here and a cube that sits on top like so at an angle, and the cube that goes off into the side of that glass. It is just light and dark, we're not trying to outline the edge of the ice cube. Going in now with just a brush that's only got water on it and I'm just going to draw these out. Because at the moment that's to defined, for my liking anyway, you can do what you want. That's about right for me and we just need a bit more definition down here. This section here is still wet so still using my brush that's got nothing on it, but water. Just the merest hint of mint leaves. I just need to define again that rim of the glass. That section was still wet so I was able to use what was happening there to define the edge of the glass. That's the outer rim, so that lime goes into the glass at that point there. I really like that as it is. If you've watched my other class about using white gel pens, you know how handy they can be. I urge to go and check out that class. I'm just using this to define the rind, the pith of that lime and the segments as well. I think that's a great way to just highlight how really lovely a mojito is as well. I do think that is all it needed. It's just an impression of a mojito rather than a full long copy of my reference. I really enjoyed doing that and that is really refreshing to me. 7. Mai Tai - Intermediate: The next cocktail I've chosen to illustrate in watercolor is Mai Tai. The particular reference that I found is very red and orange at the top and quite pale at the bottom. I've done my base layer of yellow. While it's still wet and dropping in various shades of orange and red, as you can see, it is spreading out very quickly. I just wanted to emphasize that rim of the glass just there. I've taken brush reaches water to spread that out a tiny bit more. I put a hair dryer to it. As you can see in the top right, the paint did rather spread out, but amazingly, that looks just like a straw which I wasn't intending to add. But that's the amazing serendipitous thing about painting like this. Now I'm adding just a little bit more depth by using another shade of orange. Looking closely at the reference. On the left there, there is actually a wedge of pineapples. So I'm just adding the beginnings of that. It sits on the edge of the glass. That is yellow and its contrasting nicely against the top rim of the glass, which is filled with red. Now I'm adding the iconic cherry. You'll see me next painting the cocktail umbrella. I chose a lovely peachy orange color. Again, the umbrella was a different color. This is my interpretation of it because, I wanted it to coincide with the other colors that are appearing within this watercolor. So please use your judgment and use your intuition because it will serve you well. Make sure you don't overthink too much though, because then your sketch will start to look a little bit too labored and that isn't what we want. I've just decided to fully embrace, that happy accident by making that more into a straw. This edge on the left, it just needed a bit more definition against that pineapple. Also to give a greater feeling that, that was the edge of the glass. The next part was actually adding the sides of the glass. I used a really warm gray. I think I must have mixed in a tiny bit of red as well, as the edges of the glass was still a little bit wet it did start to merge like just there. Now, that stage was pretty much finished. I decided to get out my posca pen just to add the finishing touches. It's a very reflective glass. So I decided to just use the tiniest hints of white highlights using quieter, thick nid posca pen. I could see within the glass there were lights shining off the ice cubes and also the fruit that was maybe in there. I'm not overdoing it because it would have spoiled it too much. Just the mirror's hints just to give you an indication that, it was a lush looking drink. That was pretty much it. Here we have a really quick time-lapse of a cranberry cocktail that I really like the look of. This is just a short process of how I created it. There is ice in there and you can just see me start to block out areas of dark, behind the ice and around the ice. That's all you have to do really. 8. Mulled Wine - Advanced: For this video, I want to do mulled wine, it's one of my favorite drinks and I am recording this very close to the winter holidays. I've mixed up a red for my base, this is what I'm going to draw the silhouette of this mulled wine glass cup that is in a pinky brownie color. It's a lot more wider at the top and comes down like that, quite narrow, like so. We've got two in my reference, there's two orange slices in the middle. It's dark at the top, dark at the bottom. Hold on, what would make my life easier is, if I put the edge of the mulled wine as it touches the rim of the glass just there, it's very dark up there. What I'm going to do is drop in some really dark, purpley-brown. I hope this is going to work. Let's do it because it's still very wet up there. Let's see what happens there. It's pretty much all in this area, and on this side too, I just add another tiny bit more of a wine color since is mulled wine. That goes all the way down to this side and then at the bottom. We will put in suggestions of orange slices floating in there. But I think that'll do for now. Then we've got also orange slices and then some star nice up there as well. I'm going to give it a little brush with the hairdryer. That was just a few seconds worth. I just needed this bit in the middle to dry off just a little bit because I wanted the orange slices in there. It's about here, and that it's spreading just a little bit, which is all I wanted. The slices are suspended in there, and there's another one just behind it about there. Now we're going to tackle, I think, to give mulled wine some structure, I'm going to have to add the shape of the glass now. I'm just using a bit of that plum color. I'm going to start looking at the outline because there's also a handle which I have to incorporate. Actually, I'm going to start down here, because that's the base there. Then underneath it there's this, and then the actual base. The handle comes in about here, and it's very difficult to see, but we might have to give a better suggestion for this example. Because I still want it to read as a handle, it goes to about here. Because that bit is still wet, can you see where I've just put the brush? I might draw that in because I really like the wet where it's doing its thing. I'm going to put just plain water on my brush and then draw that. This area that's still wet, I'm going to draw it round. Because it adds to that reflective quality, and it's a good read for glass thing. That needs to be a little bit rounder. That will do for now. That's a good structure and I'm going to bring that up, add tiny bit more plum to my brush. That's the rim of the glass up here. I'm not going to do it all the way around, it's just a suggestion at this stage just to give me a bit more of a framework to work from because there's also orange line is up there. Yeah, so this joins up down here, and I think it'll would be nice if this section were, there's too much water on there, to bleed. Yeah, that's what I wanted, to bleed into the edge of the glass like that. Perfect. Now I'm going to put in two more orange slices that are up there. Now these are much brighter because obviously they're not suspended in the mulled wine. But I'm still going to keep it fairly light. Oh, that's a bit too orange. See that's the rhyme, that one comes in like that. Like so. You can see the rest of it go into the mulled wine. It gets darker as it goes down, so let's include that aspect. Good. There is another slice there but I feel it's going to be too busy, so I'm going to leave it like that. Once again, this is your interpretation of a drink. This is my interpretation of what I'm seeing and I have decided that it would be too crowded up there, so I'm going to leave the other orange slice out. It is just half an orange. That comes into the wine and, again, as you see in the other two slices that are already in the glass, it does get dark. I'm going to make it quite red, but a dull red because it's inside that mulled wine. Great. Now, we're going to add a bit more depth within this section because it's not reading as mulled wine at the moment. But, we're going to sort that out. Let's give it just another blast up. Right. Again, we're going to go in now. I know we were talking about a plum color. I'm going to go in with a brownie plum I think this time around. This is the second layer, the second wash, which will give more definition to this orange lines that's in there. Let's be bold with the use of the paintbrush. This section here is dark. Actually that merges almost with that and the outline of the orange is silhouetted against the rest of that mold wine. Let's do that to it. This slice comes around, does that. This is the edge of the second slice there and looking for other really dark areas. This whole section is really dark. Let's go in. I'm going to add a touch more purple I think and tiny mini drop of Payne's gray. This section defines this orange slice that's in there. This is the outside of the glass and this is the inside of the glass and here it is dark. I'm going to fill that in now in oval, following the contours of that glass. You can see it here. This is still that side of the glass. What you have happening is the rim goes round behind it. You have to really observe your reference picture. Does that. This entire rim is dark. Then let's take a break, look again. There's a light area there that defines the rim and bob tick count becomes dark again here. While I still work I can actually merge that. Like so and that goes up to there, but there is a small lights of reflection that is looking great. This section I think would good if I. It is still wet down here, so I'm just going to use a brush that has got water on it to draw that down. That's made all the difference because there is a reflection of that glass here and that actually goes all the way around in that fashion like that. This section is much darker on this sides. I'm just going to give that a little bit of a boost on there and there are quite just a few small areas of dark on this handle just here and here. It's dried out little bit. It would've been good if would still wet. Let's see that section where I've just put that down if I can use this wet section to just draw that in. Yeah, that defines the edge of the glass better and also the start of that handle. I'm pleased about that. The inside of that handle is darker as well. That's good. It does something like that. This dark area actually extends into the edge of the glass. The handle is actually tiny bit. You can just see the edge of the glass behind the handle and that continues down like that there. That actually is super puzzled observation, I got there in the end. I was thinking that didn't look quite right. But I think that's much better now. I feel for me that the mulled wine is a bit too contrasted in the middle where it's orange and also, I've left out the star anise, which I really like. I love star anise as a flavor. I'm just going to fill in orange section. Go back to my plummy red. I'm going to put a tiny bit of orange and red in there. The contrast in there is too much and it doesn't read as being suspended. Better and now the star anise at the top, I think. Now, I'm quite tempted to add a cinnamon stick, but I haven't allowed for the refraction to take place. Now I'm going to keep it simple. Let's not overthink it. But let's assess it. Let's draw it and then assess it. Now, one final touch I want to do. I am going to use it very sparingly, is adding postcard pen highlights. I think it would just helped to bring out just the edges of the glass because I haven't been able to create a clean edge just here, for example and along here. Also there's highlights to this bit here and this edge here. It's just a mirrors hint Just to give a suggestion of what's going on. Also just inside there is just the edge of that orange and also inside the tube suspended within the mulled wine is the edge there. Also this inside edge, just in there and there's a highlight of down the side of this glass here and just catches the outside edge of that orange and tiny reflection there. I'm coming around to this side. It's also catching tiny part of that orange there. There's a few things happening there and here as well. Maybe add highlight there and tiny bit there. I do believe that's pretty much it. That's all I feel that I need to do. When you come to do yours, you can assess it and make your own mind up. But I think that's pretty much it for now. There's one mulled wine and I'm really pleased with that. 9. Final Thoughts: I really hope you have enjoyed this class and you've learned a lot about the wet-on-wet technique, and you've experimented yourself, and you've discovered some amazing color combinations because some of those cocktails are really far out. I cannot wait to see what you produce. If you'd like me to find your work on Instagram, please hashtag on my Skillshare, and I will do my best to comment on each and every one of yours. I do urge you to post your drinks and cocktails in the classroom so that we can look and we can comment. I'd be so grateful if you would share. In this next little video, I'm going to show you the book cover I created for the Healthy Hedonist, and how I was inspired by the image that they gave me as reference, and how I was able to use my own interpretation for the cover. I wanted to show you this book that I illustrated called the Healthy Hedonist. As you can see on the front cover, there are two cocktails and a cocktail shaker in the background. The inspiration came from images that they actually gave me. This is my reference. That was the Pea Cooler and also the blood orange and carrot negroni. As you can see, if you compare this image, this image, and the front cover, it is an interpretation when I am asked by a client what they're looking for often is my interpretation of something when they never really asked me for a complete copy. The angle of this is slightly different from this, although it is similar in fill. If you look at the original photograph, this is a much more simplified version of this because we decided that the carrot going through the blood orange didn't quiet read, so we put the carrot on the side. I hope in this class you're able to feel confident to do your interpretation of a reference image. Now that you've learned these techniques, maybe you can go beyond cocktails or cola. I started playing about with ice cream sundaes and ice cream floats, and I'm just going to show you a few examples here. Maybe it will wet your appetite on many levels and inspire you. Thank you so much for joining me in this class. I really appreciate it. Have a great week. Sorry, hit the camera. I beg your pardon. There's a dump truck going by. In this class I want to share with you some of the top tips and tricks. In this class.