Vintage Suitcases Illustration | Mix & Mute your Watercolor | Elisabetta Furcht | Skillshare

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Vintage Suitcases Illustration | Mix & Mute your Watercolor

teacher avatar Elisabetta Furcht, Making Art Accessible

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

10 Lessons (1h 11m)
    • 1. Introduction

    • 2. Your Supplies

    • 3. Pencil Sketch

    • 4. Ink Outline

    • 5. Watercolor First Layer

    • 6. Watercolor Second Layer

    • 7. Add Depth

    • 8. Ink Details

    • 9. Add Background

    • 10. Wrap Up

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About This Class

Learn with me to mix muted tones and paint a vintage watercolor sketch!

In this step by step class, you will paint three beautiful suitcases, and achieve a vintage, sophisticated result.


In this friendly class, not only you will paint along with me with confidence, but you will learn: 

  • to pick the right art supplies 
  • to draw a composition from your imagination finding inspiration on multiple reference images
  • to simplify an object and draw a simple sketch
  • to add unique details that add realism and charm
  • to outline with ink
  • to mix colors in order to obtain desaturated, muted tones 
  • to add multiple watercolor layers in order to achieve a naturally weathered, organic look.
  • to add light and shadow to make your sketch pop!

This class is suitable for beginners, but also for any intermediate student who would like to try and mix muted tones. Or for any student who would like to relax and paint along with me!!

I have attached several reference images in the project section for your inspiration, but I encourage you to search for your own images on Google or Pinterest.

I hope you now grab your supplies and start sketching: I'll see in you in my class.


Meet Your Teacher

Teacher Profile Image

Elisabetta Furcht

Making Art Accessible


Hi! I'm Elisabetta, an Italian watercolor artist based in Turin, where I live with my husband, my dog and two cats.

I started painting later in life, after a long career in Marketing and Advertising.

When my son left for college, he gave me a watercolor set for my birthday. I started sketching and I never stopped. 

I love sketching the world around me: corners of my beautiful city, street scenes, everyday objects around my house, and the food I cook. Sketching is really a self-care routine for me!

I am mainly a watercolor artist, but I also love gouache, oil pastels and colored pencils.

I firmly believe that in art talent is overrated and that anyone can learn!

Practice is key: so let's start sketching together... See full profile

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1. Introduction: Hello, I'm Elizabeth buying Italian with the Colorado. I am self-taught artist and I begin sketching later in life. So I do believe that anyone can sketch, anyone can learn what counts really is your passion and constant practice. Today you will learn some new watercolor secrets in his class. And blue is sketched together in detailed steps. These vintage suit case, what will you learn? Kidney? You will learn how to achieve that. Whether Luke, in water color through very accurate column with seeing and measuring. You will learn also how to mute down. And we saturate your colors in order to achieve a natural and organic look. Also, in this class, you will need how to simplify from an objects, from a reference image or maybe objects that you have around your house. And how to add the nice and cute details. In ink and watercolor. We will add a touch of realism through consistent Latin shadow. Addition. Without achieving a photographically, we are looking for a sketcher that these obviously hand-drawn. I'm sure that you will like in these classes. It's easy and it's also suitable for beginners or intermediate students that would like to understand how to mix the colors and then down. So what are you waiting for? Let's sketch together our suitcases. And let's see the supplies that you need in this lesson. So. 2. Your Supplies: Most important supply faint paper for this. For this lecture, I will use a wet in wet technique or so. I will use some cotton paper, a 100 percent cotton, you see? A 100 percent cotton. It is very important that it is watercolor paper and the weight is 300 grams. Gsm, or 140 pounds. You see here 300 GSM per square meter. And a 100 percent cotton is desirable, but not compulsory. It's optional. It's easier if it is cotton because we will be using a wet on wet technique. But if you take a sturdy watercolor paper with this weight is going to be okay. The format is neither too small, not too big, is 26 centimeters by 10 per seven inches. So this is the paper, the most important piece of supply. Then we will have our watercolor paint. I'm using this palette where I have a mixture of different brands. And some are pans summer, two tubes that I have squeezed and lead try in these pens empty and they squeeze the tubes. Tied light. So I will be using three different colors. I want to give a vintage Lucas, so I will use mutate the desaturated color. If you don't have them, we will see how you can mix your color so that you can have a muted feeling. How we'll be using a mix of blues. I will be using above all, indigo, blue. Then I will use some green. So you can use olive green or sap green. Or maybe you can even use some viridian green that you mix with yellow cursor, you desaturated amniotic down. I will be using earthy green. Earth green, a very muted earthy green that I like very, very much. I will also be using, of course, earthy colors like Indian red or yellow, ocher or burnt sienna. And you can mix different colors so that you achieve a color variation that is very, very nice in watercolor. Then we will need, of course, some dependency for your sketch and an eraser. A ruler. Mixing palette. You can use a different one. Or maybe you have a mixing palette that comes with your watercolor set. And I like to have it not particularly clean because if I mix my colors with the leftovers on my palette, I get nice desaturated colors in an organic way. But for this drawing, I have cleaned up my palette so I can show you a how to desaturate them and move them down. Also, you will be needing some kitchen paper to absorb excess water and to block to your brushes. You will be needing a pen for your sketch. And I always use this uni-ball, Eye me cron, be careful. The most important thing is that it is waterproof. Make sure it is waterproofing before you start applying your watercolor. Otherwise, you will smile to your ink all over and it's not nice in the end. And then we will be using our watercolor brushes. Okay, for brushes, I have a variety. Maybe I will use a flat brush for the background. I will use a bigger, a medium brush and a smaller one for details, or even smaller than this one because I have smaller brushes that I use for details. You can also use a white gel pen. To add the highlights. Here you have your white gel pen. I use this Jelly Roll from Saqqara and it's very useful in the end to have the, to add highlights. Some disease. A collection of spice pack for water color. You just use what you have been, you can achieve lovely results in that case. 3. Pencil Sketch: Reference images and pique my favorite suitcases and put them together in one image. That is my younger son inspired and not copy from a reference image. Okay, So we start, it's a stack of three suitcases. I will start from the lower one. Here, a larger one. We start with the pencil sketch. So it's just a guide for the pen later because there will be outlined these suitcases in pen later. So the first cases then I will put another suitcase is maybe not exactly in the middle here, slightly on the left. Okay, I will climb it. I hope it's parallel. Like this. This is the line and then 11 more. Here. Just the general shape. Now let's refine the sketch. Here. We will also put some perspective like this. And we will find the line that this may be. In this case, we put it into This ruler is a bit shorter, but you can take longer ruler. And we should find the middle point. You can use your ruler to measure it. It's 13, 15 centimeters signs here the middle point, but you can also eyeball it. And this line will be the opening of our suitcase. Below, we will put the two golden plates and the handle. For the handle, the inner edge is square. In the outer edge, we can make it rounder like this. Then we have, here we have our call. A smaller rectangle like this. Maybe more round. Like the typical black color vintage package has these fan-shaped been in here like this? Not in the middle, but you see it's on the left-hand side, so it's more on the right for the little rectangle. Same here. We start with the back comb, rounded. We said it's a little fan. And so this is the unknown. Then we can choose a different model for the second one. In this can be also in the mean will be certainly the central black color for the central back on I have eyeballed, but it's not correct is not the only middle. So I measure it, it's safer. It's 11, so it's 55. Tobacco is here. Always round. And here. Another rectangle. And our usual handoff now they're handled can be on the upper side. So we will have here and here. And then the outer reach and factor lower pitch like this. Then we will refine it with our pen. Now it's only a pencil sketch. And for the last one, and we can have a different model of suitcase. And just said, go outwards like this. Here can be slightly above the mid line. And we can use the same backhoe for simplicity here and here. And our handle. I prefer to measure, it's all more or less a slot in the middle. So we'll put my The Tobacco's here and here, the n square and around. Okay, So this is our basic pencil. Maybe we can add some stickers. Stickers can just come out of the lower suitcase, like leaves them around one here, maybe. Just eyeball proportions and a longer one here. Okay? So now we have stickers, we have some perspective here. So now we can also put some bacause here just to vary the mode here. And here we can have Goldenberg calls just to add some variation in the model of the suitcase. So we have three suitcase that are not exactly the same. So let's outline it. 4. Ink Outline: I will use my beloved uni-ball pen, which is very, very convenient and very smooth. And it's my favorite. So I will start from the upper suitcase so I don't smudge the lowest suitcase. Remember when you offline. Not to be too precise, just some lines would be dotted, some lines will be just a hint. So for instance, we have a line on top. So on top we will have a line that is just suggested and dotted because we have light. Also here. It's not now to read. Sydney is so we can just update. Then we can change these things. Here we have lower power, sketchy line, not the computer like lines. So it must show that it is a hand-drawn. Here we have our back call mounted. Here. I will be slightly more precise. With my pencil drawing. Here, you can have slightly rounded corners like this. Here I will have my, Let's have a vintage free so be very sketchy. Sketchy as simple and easy. Stan, now, you start from the back calls here. So we can go slightly inwards, slightly inwards. And you have the lower Riemann. Always rounded edges don't have sharp angles, so sharp corners because they're not nice. So always be rounded. Here. I can go on the slightly higher. And here also because it was to be handled and our buck. And then back on in the middle. For these back on, I would watch again my reference image and I will put down smaller rectangle. We hear that lockup. Like, okay, I'm satisfied. And here also just suggest this coordinate. Same here. Remember always rounded angles. The outer shape, then the backoff. See, you know, I make, you've seen them not a continuous line but somewhere, just dotted. And the year rounder in factor. We'll call square rectangle here. And my speakers, I'm here. Okay, Perfect. Now we should wait for these 10 to me that for the ink to dry. And then we can erase eat because after raising from top and whoever is patency lines. So I see I forgot to these. 5. Watercolor First Layer: Let's start from top suitcase because I have erased everything, but not perfectly. But I will start from this one. So I can skip these so they don't bleed. And then I will go to the bottle wine, then I will go back to the midline. So I start with the first layer for the top suitcase. I will take this brush because it's not very big. Must adapt to my brush, to the size of the sketch. I can use a bigger brush for this one, but furthest one, I will not. So I will choose maybe green. And we start by wetting my suitcase. Not everywhere is keeping the handle and the black hole. Just put some water. Be careful to skip that here. If you haven't just locked it with your kitchen paper, okay, then I will use the sum of my earthy green, which is very light. It's not very strong. Naturally, you can use a stronger color if you prefer. But this is very nice because it's for vintage dress sketches. It's idea. I will start from the edges. You can skip some spots in lymphedema white. In watercolor. It's always nice, especially for instance on top of because you have light on top, but the way you have more lie to you will have, you can leave a white spots. You see it's very, very light to green, so strong. So I maybe can add some color variation, some sap green. Why would he still wet? I will take my sap green and just add in some places. Now, I want to saturate my sap green. So to make it more organic, more natural. When you have green, you take the opposite color because green is blue and yellow, red is the opposite colors. So you take a touch of alizarin crimson and you, and I added to my sap green and voila. Just the magic. It's sneaky down and it's much more natural and organic. Like corners are in real life. I keep them. Had been colors here and there. Just the first player. And I can also treat with my kitchen paper to add the two together. Then we go to this one. For this one, I will also three wet my suitcase. I can take a bigger brush for this one like I will add some water here and there. I will avoid the handle and the back calls, the Goldenberg calls, and the stickers will take some burnt sienna. For instance. Here I have my burnt sienna. And we'll do some Alizarin crimson here. Cool, because first of all, if I use a limited palette, I have a right to use the Alizarin crimson to mute down the greener. If I use it to move down the button sienna, I will have a harmonic color palette. I will color. That's it met them if it is lied, because we will add the more layers. You can always leave some whites for Watson. Remember that it adds interest to your drawing. If I have made some mistakes, for instance, here you see I have fetched the back cons, so I cannot always worth it. And here, here, okay, clean water, kitchen paper. Now we go to this one, and these can be very interesting in blue. So I will mix some indigo, blue, water it down. Because the first step, the first layout, the first year, would be varied. Very, very lighter. We can try different techniques and go drying wet to this time. Always remember to leave some white spots. We should have, we should wait for these to dry. But the here today is very hot day, some careful that will dry and not. Remember that watercolor always dry. Lighter. Just be careful to avoid a golden part or the handle. The goal is to find length. And this is our first layer. Just let it dry. Can we will, after the second method. 6. Watercolor Second Layer: Go on to the second. For the second layer, we must absolutely make sure that the first layer is completely dry. Today here, it's a hot day, so are we want wait to match. But the best way to make sure that the first layer is dry is to cheat with the back of your hand because if you touch it with your finger like this, you will leave a trace. But like this, if it is cold, it means that it is still wet. But it's okay because you can work on watercolor. Why it's well done or when it is dry by you cannot work on water color in-between the tool because you will ruin it. So it must absolutely be dry. If you're in a hurry, you can use a hairdryer to speed up the process. But we can start again with the green the green suitcase. Now we'll take a smaller brush because we need to make shadows to make sure that our shadow is consistent. I will put an arrow on the right hand corner. So we wouldn't know where light is aware is shadow. We can add the second layer, putting a layer of sap green. So we'll prepare more sap green. Always add a touch of alizarin crimson so that it is community. We muted That one. Okay. And I will add some shadow here and there. So I know that I will have a shadow here below this sort of coordinate. And then I blend it so that I don't have the entries. I will put some I will put some green here. This is round, so to make it around, we need to put some shadow in the bottom part of the around the corner. But to do so must be quite dry. Our brush is not same here. And then I will put some, some color here and there to give away. So blended. Add some. Maybe we can out some that I can comics that the green by adding maybe some brown. I have some brown to my sap green. So I can point, this is wet. I can add, especially in this bottom part. I cannot this brownish green here. Remember that it's more away from lights. You can exaggerate here. And also remember that here you have apply, you have the closing some shadow here. Now we will add more shadow in the end. Here. Maybe you can blend some. And also you can add some lighter green in some points. For instance, some yellow ocher, which is also earthy color, to add some lighter here and there, some color variation. Now we let this dry. Now we come to these which is larger and more complicated. But the process is the same. I will add some color where I think I will have shadows behind this suitcase because you remember light is from here. Here. Also this corner. Because I want to give the idea of roundness. Here we have some shadow because we have relied on just a hint. Maybe you can leave the corner lighter. Just put some water, clear water to wet it again. And now we cannot do it here in there, some color for kind of mediation, some pure lead selling pizza. So we find these and some maybe some yellow ocher, yellow. So to add some light yellow ocher, prepare it here for some nice color variation. Here we have lied, so it's perfect. You have more yellow ocher here. And we can also add some brown here also. For further stronger color variation. More even lower part. And on the left-hand side away from light. Okay. We go back to our indigo blue and we prepare some same thing where you think you have shadowing. More. Indigo allows beautiful color variation, even just with the same paint. You don't need to use different colors. Here. The bottom part, stay away from Don Cash e, lower case, otherwise equitably there. We cannot fix these whiter later. Insist way of introduction. Okay. If you see her at the edges, you can go back and fix them. You see like this. And also some hard edges would be perfectly acceptable in your sketch. Now, I will, I would like to add even darker green to the first case. Let's see if we add some of these. Indigo blue. So I use my limited palette. Just use it in some places in a way that suitcase. So it's very good and darker in some points. Lighter in some points. We use some more yellow ocher and some points. Okay. The edges here, if I know my console, we use some, some more light to want to take away these. Now we let these second layer dry and we add. 7. Add Depth: Okay, Now we need to add some depth. We start to paint the accessories. We take a very fine brush and we start adding the goal details. For gold, you can take your yellow all current and you can mute it down. We didn't touch of black, just to touch on black. And this gives the idea of our data. Colder. Some, maybe some more. Okay? The, maybe some, if you prefer some yellow, some white highlights, or you can add them later with them. Your white gel pen. You have gold here. You have cold. You have cold here. Here. I'm already giving some highlights. You see it's a sketch so you don't have to be perfect. Just have fun is the most important thing. Here has golden buckles. Leave some white here and there. For the highlights. We man my yellow ocher touch of black gives a goal. We're done. Here is reasonably stay too. But because yellow curry is very opaque, we can cover it back though. This and this. Okay? Now what we can do is set our finger the stickers for this seekers. We can use contrasting colors. I think a smaller brush. And now we'll put, I don't need to put the Neogene colors here because I will be playing ticks. So I can put some, for instance, yellow, Indian yellow. Yeah, we can put some green because we're away from green so I can take some sap Kanien, slightly diluted. And then we will write something that we like. And here we can put the, for instance, some, you can put the red outline and leave white the inside so I can take some my Alizarin cream Sunday I have used already and put an I lie. And put the bore the same. Maybe it's a factor. Okay, peace. Now we can obtain to the hand knows the handles will have let their feelings so they can be brown or yellow curry. So here we can make them all brown. So we fix some Van Dyke brown here and use it for the three nodes. Always, the lower part must be correct because it's in shadow. And leave maybe some way towards the upper part. Remember, shadow would be on the left-hand side and on the lower side. So here and here, here, and here. And then you can blend it to the top. And you can always, while it is wet, you can put some accent even more. So you have a nice contrast, it stands out. Then we need to put the shadow here. For shadows, I will take some stronger burnt sienna. We start from here. I would have some, some stronger burnt sienna with a touch of my background. And I would put here a striper of pure burnt sienna. We did all of our Van Dyke brown like this. And then I can blend the edge. And I will also have some shadow on this side of the handle. And these also on the side of the back. The side of the bar code where we have some shadow like this, Samy here. And on the lower side. So just blend it if you can. And s2 equal because it's nice to have some contrast. Also, we will have some shadow where we have the closing. So same here. We take our Van Dyke brown with some burnt sienna and we make it lovely shadow here. And also here we blend. Need to take this opportunity to add color variation. And here we have both. So behind this suitcase we'll have some shadow. And maybe in front here. I've always had to adjust. If you can see here we have our shadow. I can value to these two to reinforce the, maybe the porters here. And then blend it, lands it. Just to add some color variation. Here. We did some here. And then to give some roundness, just blend in towards the needs of our suitcase. A steak. Okay. Same here with the green. I will take some sap green down with some alexander Thompson. And I will add my shot on. So we said here, but we have shallow here in the bottom of this round. Also, I will have it here on the bottom of this round, but also on these part of the suitcase and around the buckle. Around the handle on this side would be handled in DBA. And below the opening here. Now, take some clear water and try to blend as much as possible. With clear water. If you're not happy, you can redo the process. Once it is. Once it is dry. I insist here on the bottom because that's really a shadow here. And just tap it here. Here. It goes. Not enough, some dark enough. Okay, splendid. But now with the blue, with the blue, I take my beautiful indigo blue. And here I will add some shadow. Here. On the side of the hand, on this side of the back, calm below the back, call the opening. The bottom edge of this suitcase. These side the side of the suitcase, just below the green suitcase. Let's blend it. Color here. Here. Here would need to add some shadow. But then we can take some brown, brown like this. And also maybe here, small lines, pure grown. More tips. Here. We have more depth to now. Share. We can take care. Also, we can take some brown, some debt blending nicely. And otherwise, these too much difference, too much cooler. 8. Ink Details : Now we can face and add the details here, like I can write here, called Tina, which he's a famous tourist mountain village here in Italy. Here I can write the grammar. For instance. You can provide everything you lie. And here I can. This is just an example. Now. We can add some details with the white gel pen. For instance, we can add some white dots here on the end or you see, just to give this where the look and accentuate light, we can add the highlights on hold. And we can put the small dots here and there. Just to add a weather looks I like to put them maybe 3455333. We can add maybe some shadow on the speakers also for some indigo. And we make sit with the brown so that we get a nice brown, nice gray. You can mix it so we get a nice gray. And I can add some here. Some shadow on stickers, produce more depth. This It's more realistic using dots in groups of 35. Now, last, here, we have ionized. We can also add some decoration. For instance, here we can add the border like this. It's very nice. Okay, like this. And also with our black ink, we can make stronger black lines where we have a shadow. Here. Here. We have shiny and stronger. Every time you think there is shadow, you reinforce that black line. Also, this bottom part of the suitcase, we'd be darker. So you can praying for some. The Black Book. Same here. Same here. We have the opening. I don't think that I see anymore the tasted I can add them or maybe I could add many more detail. But I think I will choose to stop here. Otherwise, I might roll. 9. Add Background: Last, but not least, we need to add the above-ground them to have the background. We need to choose a line. So we make a line that is seven centimeters from both Tom. And I can draw it by hand. And now we draw a big round and the shadow so that they don't feel high on the sheet. So I take a bigger brush, should I mix some of the blue B, some of the sienna? So I get to new term corner. And that will add some shadow where I think I have, especially on this side, I will add some shadow and I can hide the complete big round, remembering just to have that on the side because we have Shandong. Just the wide brush strokes. So sketch a detailed painting. And here I will have my strongest shadows, so maybe I can mix my semi indigo. This is good. Here. I would put my shadow, light strokes. You can also add some clarification here. For instance, you can add some. Now you to enroll curve towards the light mix. We want it to black so that now this is dry. I will add some shadow below the suitcase, but we know that can the shadow here taking more brown in mixing so that I have a dark gray. I add more Enrico. I have a dark gray. I can darken the shadow here. Be careful not to leave the y. Here. First. I'll add some more dark towards this case. Now gland Italy third. Here. You can also add some small splatter on the ground. Here we are. I see you in my next lesson for final considerations. 10. Wrap Up: Congratulations. You have sketched your suitcases with me. I'm sure that your sketch is great. And I would really love to see that in the project gallery. So please do upload it in the gallery. And also, don't forget to follow me on Skillshare so you don't miss my next classes. Also, you can find me on Instagram under Elizabeth fool. You will find the link in my profile. And if you post your project on social media, please do not forget to tag me. I'm so happy that we have sketched along and I'll see you in my next class.