Watercolor for Breakfast: A 7-Day Editorial Food Illustration Daily Practice | Jessie Kanelos Weiner | Skillshare

Watercolor for Breakfast: A 7-Day Editorial Food Illustration Daily Practice

Jessie Kanelos Weiner, Watercolor illustrator & author

Watercolor for Breakfast: A 7-Day Editorial Food Illustration Daily Practice

Jessie Kanelos Weiner, Watercolor illustrator & author

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11 Lessons (1h 26m)
    • 1. Intro

      1:44
    • 2. About This Course

      2:35
    • 3. A 7-Minute Intro to Watercolor

      6:20
    • 4. Day 1: The Mondays

      14:42
    • 5. Day 2: Savory Spot Illustration

      10:23
    • 6. Day 3: Anywhere But Here

      10:00
    • 7. Day 4: Still life

      8:52
    • 8. Day 5: Illustrated Recipe

      11:54
    • 9. Day 6: Think Drink

      9:31
    • 10. Day 7: Watercolor for Breakfast

      9:06
    • 11. Conclusion

      0:32
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About This Class

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Do you feel uninspired and want to start a daily creative practice? Join artist, author, and illustrator Jessie Kanelos Weiner to learn how to create beautiful watercolor editorial food illustrations in this 7-day daily practice inspired by the most important meal of the day, breakfast. 

This course is for anyone who already loves food and watercolor, but you need a little push to think more conceptually about your illustrations.

You will gain valuable insight into how to see and communicate visual ideas including tips and tricks from a professional food and drink illustrator, and how to apply these methods to your own creative practices to start adding imagination, movement and whimsy to your food illustrations.

There are always 10,000 excuses to not start developing a new skill. Creating a daily practise can carve out the time to evolve your watercolor skills. If you eat breakfast already, then there’s no excuse not to start.

Art directors often ask to see your personal work because it is much more evocative of your own interests and truth. If you are interested in pursuing illustration or building up a portfolio, this course is a good catalyst in creating 7 new, engaging food illustrations by the end of the week.

Meet Your Teacher

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Jessie Kanelos Weiner

Watercolor illustrator & author

Teacher

Paris by way of Chicago & NYC. Illustration by way of costume design. I've drawn an Oreo hotdog for Vogue. Welcome to my watercolor world! I illustrate all things food, travel, lifestyle and architecture for clients like WSJ, NYT and Chevrolet. Lately I've enjoyed drawing the humor found in life as a new mom, being a long-term American in Paris and making sense of this crazy time. 

 

I've taught watercolor workshops all over the world and teach drawing/illustration at The Paris College of Art. I was once a young artist who didn't know "what" to draw. Let me teach you everything I've learned along the way.

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Transcripts

1. Intro: That is not a face tattoo, that is a piece of eraser. Hi, my name is Jessie Kanelos Weiner. I'm an illustrator and author of several books, and I've been based in Paris for over a decade. I work for clients like both the New York Times and the Wall Street Journal and I'm known for my whimsical watercolor style, and also I'm able to communicate complex ideas through food illustrations. In this course, I'm going to walk you through a daily challenge using your breakfast as amuse. This course is for anyone who is looking to up their game in watercolor, you might love food already and you just want to start pushing your work and taking it to the next level. Teach you how to think differently about food and using things that you have already that you'll be eating for breakfast. Take you from just drawing something to that thing telling you a story. I also worked as a food stylist for many years, so I'll share a little bit about building a composition and color and some things that I think about too when I am working on a food illustration. One of the reasons that I love food so much is it's been a lifelong passion of mine. I subscribed to Gourmet Magazine as a kid and I've always just been really fueled by color and taste and you can see it definitely in my food as well. Eventually through time I was able to merge my love of food with watercolor and this really happened through putting in the work. I was drawing every day. I started a blog where I was illustrating my little stories and that's really where I found the catalyst to push my work and to start taking it further. This could be a good course for aspiring illustrators or this really is a great way to start thinking more conceptually about your work. This is my domain, I know it really well, and I'm really excited to show everything I know with you. So let's get started. 2. About This Course: Here's a little bit more about what you need to know about this class in particular. Welcome to my home kitchen. This is where I worked part of the time. The moment my work really took off is when I was able to connect an idea and an image together to create an engaging editorial illustration. An editorial illustration is something that can add a little bit of visual interest to an article or something else. If you're interested in developing your portfolio, then this is a great class to do so. One One that I found super inspiring words, I saw [inaudible] speak in Paris about 10 years ago when I was just getting started and she said the way that she improved her work when she was just beginning, was to give herself a fake assignment or a commission. She dreamed really big and that, okay, what if Chanel commission me to draw an ad campaign for all the billboards in Paris or something like this. Giving herself these little prompts can oftentimes be the catalyst to create engaging work. In this course every day I'm going to give you a little prompt based on breakfast foods to help push your work further and to create engaging work. I'm going to go really step-by-step and share my own creative process, how I sketch, how I think, and also ways to break you out of your little bubble if you're feeling frustrated about the work that you're doing. This course will be broken down into a few sections. Since a lot of people are intimidated by watercolor. I'm going to go into just a really quick seven-minute, watercolor primers. If you're new to the practice or you still feel a little frustrated, then I'll share just some tips and tricks to get fully acclimated before we begin, there will be seven different days. You can start at any moment of the week. Don't feel obliged. Just start on Monday or Sunday and every day I'll give you a different assignment. These include thinking about spot illustrations, which are teeny tiny illustrations that are often commission. This includes thinking about drink illustration, which is a whole thing to explore because drink photos can often be redundant. So there are lots of things that watercolor is and illustrators can say about drinks. We'll also find inspiration in coffee, and also some tips on illustrating recipes. Also thinking beyond your own current reality and thinking about a dream breakfast that you had. These are just fun ways to think differently about your work, to push yourself, and also create really beautiful work inspired by your own reality. By the end of this week, you should have a beautiful portfolio of work and hopefully a couple of portfolio pieces that you can add to your website or in a print portfolio. Let's have a little bit of fun and let's get cooking and drawing. 3. A 7-Minute Intro to Watercolor: I work exclusively in watercolor, which I love because the colors are vibrant and there's something very ephemeral of it. For a lot of people, this is frustrating, it's a medium that messes up often. In this micro course, I'm just going to walk you through a non-exhaustive intro to watercolors. Just some do's and don'ts, how to control your product and just lots of tips and tricks in a compact video lesson. This's under seven minutes, so if you are stumped and you feel like your work isn't moving forward and you don't feel confident about your watercolor, then this is for you. Here's everything you need for your watercolor practice. I'm going to use a sturdy watercolor paper, 300 grams per meter squared, which is expensive, but it absorbs water really well. I'm going to use kuretake watercolors on the bottom, but feel free to use a simpler kit. These are my favorite brushes, I like having a finer tip brush for details and some thicker brushes for backgrounds. You need a super light touch and a hard pencil. I'm going to use HB because with watercolor, once you add on the color, you can't erase it. Need a big basin of water, I like using an old jar, the bigger the better and a mixing surface. I work on a marble table, so I mix directly on that, but feel free to take out a plate, or you can mix directly in the pallet itself, but it can be quite small and you need to wash it more often. With that said, we need some paper towels to pick up any mistakes and also for dabbing color. Here's a little bit about color 101. The easiest way to get to know your colors is to create a color wheel. So draw a circle and divide it into six parts and you're going to fill in the primary colors, these are red, yellow, and blue. Now you're going to mix your own secondary colors, you could use directly from the palette, but I encourage you to mix them yourself. Red and yellow mixed together make orange, spoiler alert. Just really use your eye to find a good color that is in easy transition between the red and the yellow on the color wheel itself. Blue and red make purple, and green and blue make green. If you've done this well, your eye should travel harmoniously around and around the color wheel, just like so, and be sure to rinse your watercolor brush before using or changing colors. I'm sure you're wondering, "Okay, what about the white watercolor? What does that do?" It makes a color look a little bit less like itself by adding more pigment. To make a color lighter, you could either add more water or you could add the white watercolor. As you can see, it adds more pigment, so it's softer effect. Another exercise you can do is create an umbra effect between black and white, or just using the black pigment on the bottom and then using water to create a continuous gradient from black to white. The color wheel can be useful in a couple of ways, so if your orange is looking too orange, you can add teeny tiny bit of blue in the opposite end of the color wheel to create a version less like itself. Also if you want to add a shadow that makes an object pop, for example, I added a little bit of blue to put as a shadow under the orange to make it pop. Also if you want to take your color wheel, the next step you can create a circle with 12 parts and create tertiary colors as well. Here are just a few mistakes that new water-colorist make and how to avoid them. So the first is your watercolor is looking super overworked, so that's because your surface itself might be quite dirty. If you mix all the colors together, they make it brown and hence your illustration is super brown, so you can just clean your palate regularly or your plate or your tabletop surface. Or you can also just wash it off like a dish. The other reason is your watercolors themselves might be dirty, so just wet the surface and dab up all the extra pigment with a paper towel. Also, since you're essentially painting with water itself, if your watercolor water is looking like the one on the right, then change it and always rinse your brush in between each color. Another thing is your work might be a little bit too timid when you get started. This might be because of a water control issue, so if you're using a big brush, I recommend using a smaller one, that way you absorb less water and you have more control over the pigment on the page. You also might want to use more of the pigment directly from the palette itself just to give a brighter color. Your watercolors might be great quality, so you might want to invest in better watercolor or buy liquid watercolors which are super, super bright and colorful and really fun to play around with even if you're not timid, but you can see already you've got a really great effect. The other one I call color by number, this means you aren't mixing your colors and you're creating really flat representation of whatever it is you're drawing. Instead of using the color directly from the palette, mix, mix, mix every time and be sure to add enough water and optimize the white space on the page. Watercolor is all about retaining some white space because it gives you great transparency. Look at your primary reference, find where your light source is coming from and just really start working up your pigment from the bottom up. As you can see, I added a darker color on the bottom and added more and more water and I'm really just optimizing the white space and keeping some of the page blank as well. That'll make it much easier to understand the pigment and the volume of the set object. Here're a few overall tips: watercolor is a game of patience, so either you can let each layer dry one by one, it can get a little bit long and tedious though. You could use a hairdryer or if it's a sunny day, put it in the sun or you can throw it on a radiator for a couple of minutes, just don't walk away for too long. Watercolor's especially frustrating because you can just mess it up with the wrong gesture or a slip of the hand. So what I like to do is to take a clean paper towel and just put it under my hand, especially when I'm adding fine detail. Another good thing about paper towels, is you can dab up any water spots that you accidentally splash and also another thing with watercolor is sometimes you can't dab up a mistake and it just completely ruins the illustration. So you could add a background or sometimes you just have to scrap it and move on. But that's just a part of learning. Now you should feel confident moving forward that you have a little bit of a better sense of how to use water and the color itself and let's get started on the seven-day exercise. 4. Day 1: The Mondays: It's Monday morning and, or whatever day of the week you'll be getting this. I don't know if you're a coffee drinker, but for me that is what I need to get started. In this lesson, I'm going to teach you just a little bit about my own creative process and how I develop sketches and concepts, and we'll create a drawing inspired by whatever it is that gets you out of bed on a Monday morning. It's Monday. We all need coffee. I haven't been able to wake up yet, but what I love about editorial illustration in particular is, an art director will come to you with a prompt and it's up to you to find a bunch of creative solutions to whatever it is that they bring to you. With that said, every day I'm going to give you what I think is a little creative prompts just to get you thinking and to really start thinking playfully about how you put your work together. If you don't drink coffee, then you can do something related to tea, but the overall emotion is need to wake up and coffee. The thing is with this practice is I want you to use what you have on hand just because you can move things around, you're not reliant on anyone else's images and you can just be as playful as you want to be. First of all, I'm thinking of maybe a tight rope block, but I'm walking on a cup of coffee, but if I fall into the coffee, that's not really a good thing. That's probably not the best idea, maybe the cup could say, Monday, but I want to fall into the coffee, so I guess that one work [inaudible]. But you see the hands sticking out like this. Maybe I see a nose. This says, Monday, it's holding your head out of water, but it's coffee blah blah blah, maybe be that's not representative of coffee enough. How about thinking about the need for a lot of coffee. I'm going to draw my coffee maker here, and I'm going to incorporate myself. I'm walking hand in hand with the coffee maker. All ideas are good ideas and then we can go back and edit exactly what we want to say. What if the coffee maker is like a bottle of champagne, instead champagne glasses, we make a coffee cup fountain. This is a home run for me, put a coffee splashes but that is definitely my hashtag current mood. If I were working with an art director, I might pick out the best two or three of these sketches and send them to the art director and get their opinion. Then it's up to them to determine exactly what they want, but this, for me, is good and I'm going to show you how I execute it in water color. I'm going to use my coffee pot here as a reference. It's always great to have a primary reference, so don't be afraid to use that, and I'm just going to map it out with the pencil. I want to make sure that I have enough room here to make three rows of coffee cups. I want to just map that out in my composition and I also want to determine, "Okay, if I'm going to share this on Instagram, then I'm not going to make the coffee pot up here and have the coffee drip all the way to the bottom here." I want to make it as square as possible, and then try to work within this, that way it looks good for Instagram itself. These are all just little things to determine if you're giving yourself a commission, so to speak. It's good to determine all these things ahead of time, so you're not lost and afterwards, you're not stuck trying to figure out how exactly you're going to share something that looks like you want it to on Instagram. I'm just going to study this here. When I'm looking at this, I'm just going to have to pay attention to the reflection. Obviously, my light source is coming from ahead of me from the window. I'm just going to map this out. The coffee stream is going to come straight down the middle. This'll help me proportion, 1, 2, 3 rows of coffee cups. Here, they're inspired by my own coffee cup, but I think I'm going to make them transparent just to give a wink to champagne glasses. At this point it might look a line empty effect, I am inspired by any in particular, but I think I'm just going to wing it this time. If the stream is coming from here, I'm just going to use this as a guide for my coffee maker. Of course, it's okay if it's not completely perfect. This is the watercolor kit that I use and I'm very loyal to it at the moment just because I love how the colors look. I'm just so used to it now that it's hard to give it up and go back to another set. As you can see, I'm using black, but I'm just going to dilute it to make a really, let's say, 20 percent gray like this. I'm just going to use this to map out my elements. What I like doing this technique, a lot of people say just sketch with confidence, like it's the final thing, but I like the gestural quality of the first sketch line that gives it a little bit of life. Then determining it with the watercolor on top just defines a line so I know exactly what I want to do. I don't want to add too dark of a line because I can flatten the watercolor too if it's too harsh. Just a very soft gray line, just like that. I'm just going to study this real quick. Obviously the light source is coming from this stripe here from the reflection of the window. I also see myself and the length of the tripod in here. I'm not going to include everything, but I'm just studying the color. Of course, this is gray with some hints of blue. There's a little bit of blue sky, I think, on this today. It's a little bit more brown at the bottom, so I'll incorporate that in the color as well. Before I begin, I'm just going to use a light wash to map out the lightest part, which is the reflection from the window like this. Then I'm going to use this as a marker just to start building out. I know I'm always going to save this white space on the page. With watercolor, you can always add more, but you can't take away. It's always best to be cautious and start light. It depends on what you're doing though. I'll go into some other techniques later on, but this is just what works for me. At this point I'm going to add a little bit of color just because I don't want it to look completely flat, that's a thing with black and white, sometimes it can be a little bit flat. I'm just going to add a touch of color and also a touch of black too. So you can see that the pigment is working on the page itself. Here we go, and then I'm going to start working out like this. I also see that it's lighter on the bottom. I'm just going to make a mental note of how I want to work this out. Who's going to add some water down below, see how the pigment is stretching on the paper and then the lip of this coffee pot is a little bit darker. I'm just going to work this up like this. As I like to say, once the paper is wet, then it's activated, so to speak. You have maybe a minute or so where you can keep adding things. This comes a little bit easier with time to know when to stop and when it's looking a little bit too muddle, but for me, this is where all the magic happens. When I think about the light is coming from here, so I want to make sure that that bottom part is dark. With that said, I'm going to replicate the highlights here on the bottom part. This is more of a fluted shape, so I'm going to be sure to save that and to make it reflect the shape itself. Then I'm going to add a little bit of brown and orange just to recreate that loved and used quality in this coffee pot. It's one of the reasons why I encourage you to use items around the house is if you're new to watercolor, it's just a great way to study what's in front of you. Just drawing what you think something looks like you're actually drawing the thing itself, which has more truth and can also give you a better understanding of what it is you're drawing and a better result. Before I add the handle which is quite black and opaque, I'm just going to let this dry, and I can always add more. To contrast the brown coffee with the coffee cups, I'm going to make these coffee cups transparent. This is one of the choices I'm making as I'm doing this. I think that if the coffee cups are, we think of glasses are often green and a little bit blue. I think that'll be a good contrast to the coffee itself, the shades that I want to use. Here's a little bit of blue, a little bit of green, and a little bit of black too. You can see I have almost like a micro palette here. Another thing that's unique to my own watercolor technique is I had mixed directly on a surface so you could use a plate if you don't have to have a marble table, you have a glass table that works well. Otherwise, you could use a palette. But I just like living in the moment in doing it this way but feel free to do whatever you like. If you're working on a teeny-tiny palette on a watercolor kit. Oftentimes, you may not feel as free to be gestural and move around as much. That's why I like doing this. With that said, my stream of coffee is going to come but this is going to be a little bit lose just because I want it to have some movement. Then also think about, you can easily stack six cups on top of one another too if you need that visual reference. Obviously, it's okay if it's not perfect because it's really more about the gesture than the actual final piece itself. Here we have our base. I'm going to add some handles and other great things about working from things you have on hand is, for example, I'm hesitating about how to draw the handles of the mug. I just took this one out. It's obviously not the same form as the ones that I drew, but at least I can move the cup around and really study the angles just to give myself a little bit of primary information here. Just go back to the whole idea of wait, I'm just going to add a little bit of a darker line here and just add a definitive black line underneath this will give the cups good weight. Also, understand that they're not just floating in air but they're honest surface. Now we're going to move on to the coffee part. Just at first glance, I really love this umber brown. I think that's the right name for it. I think that's perfect coffee-colored differently like your coffee but this looks like a good Italian roast. A little bit more brown here too and mix the two together. I'm just going to commit. This is super playful because there's some splashes and it's quite loose so I'm going to use a looser hand. This is something that comes with time as well as your treatment. Not exactly in the middle but that's okay. I'm just going to keep this loose and make it splashy since this is transparent in a transparent mug and a little bit more water too if it's looking a little bit one-note. We also have to think about if the mug itself is opaque like this, one side is darker than the other. But since these are glass cups and we need to make sure that the coffee inside isn't completely the same uniform shade of brown. I'm going to make one side darker [inaudible] , make them a uniformly little bit darker on the right side that way they have some volume is coming from. Even if you're making things up like I am here, it's always good to decide on where your light is coming from that way. There's some truth to it and it doesn't look completely out of left field. I'm going to add a little bit of orange too just because I want to keep the color super bright. Always look up splashes to see how it looks in photos if you aren't confident in how you're executing this. Just a general rule of thumb, things look better on the page if there an odd number of objects. For example, you only have four slashes here but I'm just missing one time going a little bit more of a splashy that way your eyes dancing around like this. I'm going to let this dry. Then I'm going to add some final details to the coffee pot and we will look at this together and just a couple of minutes, if you are hesitating about when to stop, a good thing to do is just step away from your drawing for a while and come back to it with fresh eyes. Here for example, if I'm squinting my eyes I can't see these cups. I'm just going to add a little bit more color. Try to play with the transparency. If you're new to watercolor, take out a glass and draw, it's really the best way to learn how to use your pigment. Drawing really never stops. Once your eyes are open how to replicate a glass, for example, you won't stop looking at things. I want to think about how the cups are stacked and what that means. When one cup of stacked on another, this looks okay. I still think my coffee pot means a little bit of work because it's looking a little flat at the moment. Otherwise, I think we're in pretty good shape for moving forward. Head back to my trusty coffee pot. As you can see where the two pieces connect, there's a dark line here and then there's also the darkness of the handle and also a little bit of reflection from the light over here. Of course, with watercolor, the less water you add, the darker the pigment won't piece. As you can see, I just messed up my paper, which happens, unfortunately, it was perfect to handle. I'm just going to use a finer brush to add the black line that separates the top from the bottom. Then also a little bit of a line here to give it some perspective. Also, this book here that I'm going to add a little bit of detail. To avoid doing something like this and the future, there are a few things that you can do and you can just be super careful that comes with time and with more confidence or you can lay out a clean paper towel on the page itself and rest your hand on that just to avoid any mix-ups and any potential boo-boos or I could add another coffee spot there. I still think that I'm not experiencing the weight that I want to feel. I might add a shadow on the bottom here so these cups are stacked on top of each other but you want to feel the weight of all of them being on a table or a surface. I'm going to add a black shadow, is really popping a lot more, and add some more water because it's looking dark enough. It's going to work this out. Hesitating. They can go do the dishes, walk around the block, come back to this with fresh eyes, and see how it looks. But for me, I think I'm pretty happy with it. I've decided I'm going to add another coffee splash there or not but I think this looks it'll work for now. As you can see, I had motor control issues so you just dabbed up the water where it was starting to spread and it was able to stop this spread just a little bit so I can rework this. Here we have our beautiful illustration and a little touch of sunshine, which tells me that today it will be all right. Now give this a try. Find your inspiration in coffee or whatever it is that gets you out of bed on Monday morning. Use your primary references if you have them and really look at what you're drawing which gives you all the information that you need, so have fun with this one. Now you know what I had for breakfast. What are you having? [MUSIC]. 5. Day 2: Savory Spot Illustration: In this lesson, I'm going to walk you through a savory spot illustration. Spot illustrations are little tiny illustrations that illustrate an article. You might be commissioned to do a header illustration, but the spots are really just there to illuminate the article and to create a little bit of visual interest. I'm going to walk you through a spot illustration inspired by a very trendy breakfast item. We're going to find inspiration in avocado toast, but feel free to use whatever savory breakfast option that you have. I'm just going to look at the form of the bread and the avocado itself, and there's some pretty fun options here. I'm just going to sketch these out really quick in sharpie, just to start getting the brain juices flowing. Let's see if the coffee is working yet. When I think about toast, I'm thinking of a toaster. What if the avocado is the toaster? If you follow my work, you know I've done this already. It's no surprise, but it's a good example. A toast that's flying out of the avocado. If it's not easy enough to understand, then we could add a little bit of a chord that puts into the outline on the wall. Keep this loose and quick just because I always say that the best ideas come from the worst. I'm just looking at the texture of the outside of this and looking at the crest of the bread. I draw just a basic piece of bread like this. But instead of the crust of the bread, you get this black texture of the avocado like that, and it's green, and this is the pit. Here, we have two options. I like the graphic quality of this one, so I'm going to draw this out in watercolor. Now that we have our idea, more or less flesh out here, I'm going to pursue this one here. I'm just going to study the colors here of the avocado since you are lucky enough, hopefully, to have your primary reference in front of you. This is a really great time to study. Near the pit, the avocado's more yellow, and on the outside, it's more green. To do that, I'm going to use a big brush and start confidently filling in the surface area with a nice bright yellow, like this. Then, we can build up the green on the paper itself. There we are. As you can see, I'm adding quite a bit of water using a bigger brush just because I want the color to mingle on the paper, so we get a good ombre effect. There's our first layer, and then while it's still wet, I don't want to waste any time. I'm going to add a little bit of this grassy green, like this. Start building it up little by little. Already, you can see that you get that really fresh avocado green. The only issue with doing this wet effect is that it may not dry completely flat. Instead of using a hairdryer, I'm going to let it dry naturally. I'm just going to go back with a finer brush now. Always rinse your brushes. This is a more confident green. I'm getting a little bit more pigment and less water. I'm just going to add that, just on the exterior, just to replicate that strong confident green on the exterior. Here we go. I'm just going to let this dry. Take a fine opportunity to add a little bit more water and start working out this green. I think it's very evocative of the avocado itself. We'll let this dry completely, then I'm going to work on the exterior, and I'm going to work on the pit itself. Just looking at this, my light source is coming from the window. If you feel like your food illustrations aren't completely 3D looking, then if you have your primary reference in front of you, just look at where the light is coming from. Mine's coming from the window over here. With that said, I'm going to keep this part of the pit white, and then I'm going to add a little bit of texture of the avocado skin itself around the toast, and I'm going to really study where the light is coming from and make sure that it's darker on the left side than to the right. That's just a tip to get realistic results. Let this dry, and I'll get back to you in just a second with the next step. I'm just going to look at this here. I'm going to optimize the reflection coming from the right side of me. I'm just going to mix my greens. I'm just going to create a really soft wash here. I'm going to save the white space. This is often what I do just to anticipate having the white space because if you start dark, then you can't take it away. It's like salt on food, you can always put more, but you can't take it away. As you can see, I created a little bit of a map here with the reflection coming from the right, and I'm going to start building up the pigment on the page. Looking at this, it's a really nice red-brown. I might add just a little bit of orange to, and add that to the right side just to create another sense of the proportion and to get a good idea of the light itself. This is looking quite red at the moment. I'm going to start building up my browns on the left side since my light is coming from the right. Little by little, we'll be there. For a lot of traditional watercolors, this is [inaudible] as we say in French because I'm letting the pigments marry on the page itself. But for me, this gives me really great mixing and almost a half hazard effect that I really like in watercolor and in food illustration, in particular. With time, you'll become more confident. You'll be able to perform, as it were, a little bit better. But this is just my own personal technique. Since the page is wet, since this area is wet in particular, I'm just going to keep building up until I think it's looking good. This is a good thing about having more expensive, more heavy paper is because it can hold a little bit more water. I'm being quite generous with the water here just because I need to spread on as much a surface area as I can. This looks pretty good. The white space still looks quite white, so I might go back later and add a little bit of a wash. But otherwise, I'm pretty happy with this, and it looks a lot like an avocado. Let's study our object here. I'm going to start a little bit more with the washing and more water, and then I'll add a little bit of texture later on. It's looking very light, but I can always add more. Here, I'm going to use the wet technique and then build on top. But here, I'm not going to use a wet technique because I want a little bit more reflection. With that said, I'm going to use a finer brush, and I'm going to create a little bit of texture here. These are little raised bumps, so I'm just going to draw little circles to create some of that texture. That looks very evocative, I must say. I always say that weight is important in watercolor too so I'm just going to add a confident black line down below so we understand where the avocado toast hit the table. Now, I'm going to dilute this just a little bit. I'm going to start building up some of these bumps here. I'm just going to draw little circles, and then I I always add more pigment later. But this is just a way to reinforce that it is indeed avocado toast. Then, we'll get darker below since the light source is coming from here, down from here on. I'll make it a little bit darker, which means I'll make smaller circles and put them closer together. Here we go. This is looking good. Then, since the skin goes all the way around, I'm just going to add a little bit of black all the way around. Just a word from the wise, since I have a tendency of going like this and ruining my whole watercolor, I'm just going to turn this around and work from the other side so I don't mess it up. Thin black line like this. Here we go. I'm going to let this dry once more, and then we'll add any final details that we need, but I think it looks very much like avocado toast. I'm just going to add a couple of more details because it's looking like it needs a few just to pop. I'm going to add a little bit more definition on the left side since our light is coming from the right. This is fully dry, so I'm going to dare to put my hand on the watercolor. Here we go. Like that. Then, I'm going to add a little bit more detail here, just to recreate that skin. As you can see, this makes it pop just one more time. Keep building it out. Always looking at my reference because everything I need is there. I'm not drawing what I think an avocado looks like, I have an avocado here. There we go. I'm just going to add a little bit more to the black line, differentiate the skin up on top. I'm just going to look at the pit. I'm going to add a little bit of a black line, just a very thin black line here, just to make it pop and to separate the flesh from the pit itself, one more black line here. Now, you have everything you need to execute your own savory spot if it were. Think about something that you'd like to make. It can be a toad in the hole or something else See. How to fry an egg, anything like that. That could just be a good visual reference point. Keep it simple, sketch everything out ahead of time, and I'm really looking forward to seeing what you put together. Now you understand a little bit about how I develop the spot illustrations. I encourage you to do the same based on whatever it is you're having for breakfast this morning. Tomorrow we're going to dream a little bit beyond our own present reality. 6. Day 3: Anywhere But Here: In this lesson, I'm going to explore the idea anywhere but here. You might have a beautiful breakfast in front of you, but you're still dreaming about the Tuscan breakfast you had on a terrace or your grandmother's pancake recipe or whatever. In this class, I'll help you to think about drawing a breakfast from another time and place, and also incorporating fantasy. Also incorporating some whimsy into your drawing. This next exercise, I really want you to think about a fond food memory, or a food memory from some past travels that left a lasting impact. For example, I do live in Paris, hence these beautiful pastries. But what I really miss is going to the café and having a full French breakfast there. I'm going to explore that as my motive. When you think about anywhere, but here, you want to think about a place, some sensorial memory, and also to incorporate the food from that memory. Obviously, you may not have all of these lovely food from your memory with you. I'm going to start brainstorming. What I miss is sitting at a café. What if I create a Parisian café with these breakfast foods. For example, I'm just looking at my raisin roll [inaudible] here. What if I make a café table out of that, and what if instead of me, there's a croissant sitting at a café chair. Of course, I miss having coffee with a friend at one of these cafes. Perhaps the friend sitting opposite of me is a brioche, maybe I'm the brioche. That's idea number 1, where perhaps it's as simple as a cafe table, cafe chair, but there's the croissant. We have our sense of place here with the Eiffel tower in the background. Perhaps it is a current reality self portrait. Here's my famous bangs, and instead of a normal mask I have one that is croissant, and a cup of coffee, and I wishful thinking. If you are questioning what to think about the certain place in itself, then you can always look at research images and see what comes up when you search that place. For example, if it's Paris, of course you think of the Eiffel tower, you think of all of these iconic pastries. If you're stumped, you can always look at how that place has been represented in the past. Not to copy it, but just to understand some basic things that people will annotate with that place in particular. Of course, I always like mashing up the fantasy with the reality. It could be fantasy, could almost make a chart like illustration. The fantasy would be your full Parisian breakfast, and the reality is a sand bowl of cheerios. Feel free to play around with any of these ideas. This is just everything off the top of my head, but the more personal you make it the better. Maybe you remember the pancakes that your grandma made you as a kid, how about incorporating some of the colors from your grandma's kitchen, or maybe there's another smell of Nescafe that really brings you back. Think about all these little details that you can include. At this point I have some pretty solid sketches. For me at the moment this is the winner, just because it's the most whimsical and it's the strongest concept. I'm not going to make this of eyes on table though because it's just be to paste straight forward though. When you're sketching think of the place, sensoral memory, and incorporate the food and also yourself if you want to for extra credit. The more and more you draw the easier these ideas can come and will come. At the beginning I always was frustrated that I still feel like I can push my idea developing a little bit more, but you just have to work that muscle and the ideas come through time and practice. Of course, like all things. I've lived in Paris for 12 years, and a lot of people might think that there are no such things as bad croissants. But if you've tasted around you know that that is not true. Where you find a good croissant you stay very loyal to it. There's our basic sketch. This is just a simple one, of course you can make it as complex as you want to. But I just really like the feeling and humor in this one. I'm just going to let my base layer dry, and all start building my layers. We can use a big brush to start filling in my brioche, and I'm just going to add some of these really great burnt umber paste all the time I love it. Find the right angle, this looks like a good angle to commit to. I'm just going to start working on up little by little. I see a lot of brown tones, and I also see the yellowish crumb of the brioche as well. I'll be sure to add as much yellow as I can, keep my light source is coming from my right as always. I'm just going to keep that in mind, there's also some egg wash on here so there's a good reflection from my light source. I'll just be sure to incorporate as much water as I can to keep those spaces empty. Always optimize your white-space using watercolor. Then I'm going to start working it up, I'm going to add more water and while it still activated, and you can just add little bit more color and just keep building as we go. Now I have my croissant, this is a good thing to study as far as the light source. I have my highlights coming from the window and I'll just start filling in. For now I'm going to start filling in the darkest spots just so I can start building up little by little. Let's clear some of this brown. Also because I have a table here, I need to consider how the shadows will be placed on the brioche and the croissant as well. I'll make sure that the underneath part are a little bit darker, to create this flaky nature of the croissant I'm just going to use almost a stippling effect but with the side of my brush. Let me show you. As you can see what makes this flaky is that there's a good mix of light and dark. This is something to consider when you're adding things with texture. Another thing to consider, I learnt this from another Skillshare teacher is I'm using a smooth paper just because it's easier to touch up later and when I'm Photo-shopping everything. But if you use a paper with a little bit of a texture, then that can add quite a bit to burnt goods for example. Moving forward, if you are drawing a cake or something like that and it needs a little bit something else then consider using a paper with a little bit of texture. Your not to paint the whole surface itself. If I were just to paint everything with a wash, then I wouldn't have any of these white spots which really give it a good flaky textures. Just always be cautious, and please study what you're doing ahead of time before you commit that way you can be strategic about how much pigment you add and how to execute it. Here my colors are looking a little bit flat now finally, once you understand your water colors well you'll sometimes find out that they dry a little bit lighter than they are initially painted on the page. I'm just going to boost my colors a little bit. I'm going to add mix some yellow with some orange and some red to make just a really flashy brown, double down on the color and add some red and some orange to my brown and just start flushing it out. Then I'm going to add a little bit. You use a finer brush to add some brown or the bottom of the croissant meets the chair. Under the weight, probably sounding like a broken record now. But weight is super important, because we don't want it to float a bit more where it's hitting the chair, the shadow under the table as well. There you go. Just something to consider moving forward is since the croissant and the brioche are orangeish brown then I could use blue to really make them pop or to use them in my advantage. Either I could paint the chairs blue or the table itself blue. I'm going to paint the table blue, and that way it makes the coffee pop and also the croissant and the brioche. These are all things that you can think about before you attack color, and if you're doing something not entirely based off of life then you can just have as much fun as you want. See how something looks you can always paint your sketch like this. That looks good to me, I'm going to commit to this color scheme. Already this is really popping. I'm going to use this darker blue now just to add my shadows, use this lighter blue to add some detail to the cafe chairs. Just going to add a couple more details to the chairs to make them a little bit more detail. My light is coming from the right, I'm just going to make it a little bit darker. Looking like it's floating so I'm just going to add a little bit more detail there, little bit more detail to our croissant. Of course, there needs to be coffee so I'm just going to add a little bit of coffee. It only said the weight one in this lesson, I'm just going to add a little bit of weight to the bottom of the chairs. I think we're in pretty good shape here. Here we go, here's our drawing. This is just a fun take on a dream breakfast. Hopefully the cafes will open again, and I can have coffee and a croissant with their friends. Have fun with this one. Really think about the place, your sensory, memory, and incorporate food and something about yourself to just makes it a little extra personal. Now hopefully you've been transported to another time and place. I encourage you to use your own memory, thinking about all of your senses to create an evocative illustration inspired by a food memory. Tomorrow I'm going to share some food styling tips from my previous life. 7. Day 4: Still life: In my previous life, I worked as a food stylist for about four or five years and I was also working as a food illustrator. This is a time where I was really able to develop my craft and really think globally about how I construct an image, whether it was for a photo or for an illustration. In this lesson I'm going to share just tips and tricks, things you may not have thought about before, to really help you create more engaging and interesting food illustrations, while also thinking about building a still life and all the little tips and tricks to create more engaging work. Here are a few tips and tricks to keep in mind when you are putting together a food illustration. For example, you could just add the fruit ingredient or you can cut it in half, or find other ways to explore the texture and really add a little bit more contexts. For example, here I'm adding a citrus juicer, it already adds a little bit of visual interest in storytelling and also a complimentary color. Another thing that you can do is cut the fruit or vegetable up and add a knife just for a little bit more context. Another thing, is simple as turning an object into its light. We all need our light, gives it a lot more detail. Another thing to explore is adapting the fruit or vegetable by finding other ways to serve it. Here I'm just peeling the zest to create almost a little curl, which could add a pop of color or a little bit of visual interests in case I need a little extra element. If your still life and or food illustration is missing a little bit of freshness, you can always pick a leaf or a little bunch of flowers just to add a pop of color. Also white is a good safe bet as far as styling is concerned, just because it makes everything pop on top of it. But here, this orange is on tone on tone, excuse the baby plate, but you get the idea that there's less contrast. Some of the food stylist who are the most well-paid really know how to work with texture of liquid. Here, for example, on the left is just some yogurt I popped on a plate, but on the right, I really stirred it well, and I'm just really smoothing it out with a spoon already, it's much more appetizing. Food styling really is about playing until you find the right solution. Don't be afraid to put some things there, take things away. As you can see, I put a big bunch of bananas but it was too chunky, so I'm just adding two, but that's not enough. It all is just about finding the right balance and the right proportion. Don't be afraid to play. A lot of young illustrators and artists are always afraid to fill in backgrounds, especially with watercolor. Because you put in the work to make a beautiful watercolor, sometimes the background can just completely mess up and your whole watercolor is ruined. I have just a roll of paper, you could easily just use construction paper, it doesn't have to be big size at all. But here, as you can see, this is very tone on tone. I'm just playing with the color ahead of time before I commit to a background, this is more contrasting with the blue and the orange. Another rule of thumb is green doesn't work for food illustrations, as you can see, it flattens the overall image. Another joke between food stylists is that food styling is all about casting, so to speak. As you can see, I cut these cherry tomatoes in half and on the right is much more of a representation of a cherry tomato because we see the seeds, we see the texture, so draw the one on the right instead of the one on the left. Sometimes all you need is a pop of color, so you could add some parsley or just a garnish just to make the redness in the tomato really pop. As you can see here, I put these little cherry tomatoes in this teeny-tiny bowl, but we can't really understand the texture and the contrast between all the elements. Feel free to spread them out on a plate just so you see them and you'll understand them well. Sometimes all you need is just a good pinch of sea salt, and even a little glug of grassy green olive oil can really make something pop and also give you good appetizing final result. Even adding little bit of oil helps to pick up the light. Adapt these tips in the future and it'll help you create much more engaging food illustrations. In this exercise of the day, I'm just going to build a still life like I were styling it for a photo. I'm going to use a large scale paper just to have an idea of my overall color scheme. But if you don't have one, that's fine, I'm just going to pop this up on a bottle, that's a little hot tip. I'm going to use mostly tone on tone. As you can see, I have a banana and orange and then also little bit of contrast from the citrus juicer. I'm just going to start building this up little by little and start playing around with the proportion and the textures and all of the wonderful things that we look for in a still life. With that said, if you've been to art school or you've taken art classes, you know there always has to be something transparent added at the last minute. So I'm just going to add a glass of milk and also a couple of cookies, because this wouldn't be a substantial breakfast without them. I'm just going to put them on the edge of the glass to give it some topsy turvy energy. Here's our overall still life, and I'm pretty happy with this one, so let's get started. One of the first things that I learned in food styling was that you have to style the image for the angle in where the camera is pointing. Of course it seems obvious now, but if I styled this standing up versus sitting down, then it would completely change the image. Be sure that you're styling for the angle in which you are drawing everything, that already will give you much more intention when you're drawing. I want this to be loose, so I'm just going to sketch this out with a light watercolor wash, but feel free to use a pencil if you aren't confident with this technique yet. Here we have our final sketch in place. I'm just going to start building up the colors little by little, and before I'm going to really study the still life. What are the darkest places? I see some darkness in the citrus juicer and some lightness of the reflection of that as well. Always be intentional and really take a minute or two to study what you're doing ahead of time just to help prepare yourself to execute this the best possible way. That also helps to ease into the shading as well. Here we have a little bit of blue I'm going to add to the citrus juicer little by little, just to give it some contrast. As you know me by now, I'm not going to let you get off easy with this one. I want you to add a couple of fantastical elements to this, meaning maybe an insect or something else. For example, I'm going to add half of a lime here on top of the orange just to add a little bit more cooler tones, and I'm also going to add a butterfly because they're pretty and I like adding a touch of nature into my still lifes as well. This is a good exercise of observing what's in front of you and then also looking at flat image to add inspiration of something else. That is your challenge to use your still life constructed and also to add a fantasy element. I'm just taking a look at this here, and everything seems clumped together. I'm just going to add a little bit of contrast with a confident black line under each object itself and also to differentiate each object. As you can see, I'm going to add some details to my butterfly. If you follow my work, you know that I like including butterflies and insects just because it adds a little bit of life and I love merging the poetic reality with food illustrations in particular. Feel free to add whatever it is that inspires you, you know yourself, you could add anything really of cartoon character, I don't know. Whatever it is that brings you joy, add that. I'm just going to keep filling in the details here, and as you can see, I'm just filling in the elements little by little, dozing out the pigment as it were. I'm just going to take another final look at my still life and commit to adding a color background just like so. To do this, I encourage you to use a bigger brush just because you need to cover more surface area than you would if you're just painting the banana, for example, and I want you to add a color background. I'm just going to keep filling this in and I'm pretty happy with how this looks. Here we have our beautiful drawing of the day. In this exercise, I want you to apply all the styling tips, be bold of color, add a color background and a couple of fantastical elements, too, if you like. Otherwise, this is joyful and I'm really happy with it. Now you know everything I know about food styling and I encourage you to style your still lifes moving forward and also thinking a little bit more strategically about composition and color and all of these little things that can just make your mind click a little bit more when you are constructing a food illustration. Tomorrow I'm going to help you think-drink, which means how to draw different drink illustrations in an engaging way. 8. Day 5: Illustrated Recipe: In this lesson, I'm going to share with you my process of developing an illustrated recipes. As an ambitious home cook, this is just something really fun to explore, so let's get started. A [inaudible] breakfast is made and you've seen exactly how I make these standard pancakes that I make at least four to five times a week in my house for my family. I want this to be super playful. When you're doing an illustrated recipe, you have to consider if you want to include all of the necessary information that you would include in a regular recipe. In general, and in America, at least, recipes are super detailed. They're more or less fail proof. In this case, I'm just going to start sketching and see exactly if I can cut some corners so I don't have to include as much information. When I think about pancakes, oftentimes, I think about a whisk. I had an idea to do almost likely a helix of a whisk, just because that's the biggest gesture in the recipe like this. Then what if all of the ingredients are going around it and we can see how this looks. I'm just going to start filling in the ingredient. We have one egg, teaspoon of sugar, three tablespoons of flour, here's a little bit of vanilla. You can see here that this is maybe a little bit too complicated at this point, but I like this idea because we get the gesture and we get the ingredients at the same time. A little bit of milk into the milk splash and yogurt will be something like this. That's one option. Then from here, all these ingredients could be going into a bowl. This will be simplified later, so no worries if it's looking a little bit messy at the moment and then see a little bit of pancake batter. Always think about your format too and determine that before you get started. That's a pretty decent first run. Another thing that I like to do is cut out the individual elements and play around with those on a piece of paper. If you're hesitating about how to do your composition and you feel like you've got shaky nerves when you're sketching, then why not just cut out all the elements and start pasting them and see how they look. For me, this is the most fun part, is just playing around with any potential ideas. I want to try to strategize the movement of the whisk and also a movement that will fall into a skillet pan because pancakes, of course, are made in a pan, so this could be a good option to create some movement and then also to create a progression from the top to the bottom. When in doubt, do an S-shape, it always looks good on a page. Here, we could do a pan like this, and the famous pancakes and then the pancakes can work their way up like this. Perhaps there's a ladle, the pancake batter. This is full circle. We get an idea of the ingredients, we get an idea of the gesture. Then from here we go into the pancakes themselves. I'm just going to draw the information. That's another great thing about collage is you can just build up from there. I'm going to draw a spoon instead of a ladle, because it's a thick batter. Then here's our pan. There you go. Then perhaps there's a dotted line or some other element that suggests the progression. That for me is a good start. I'm just going to play around with the elements a little bit, and then this is more or less my worked out composition for the watercolor. Here, we have our drawing. I just sketch everything out really lightly in some gray watercolor. The reason I do this is just to redefine any loose lines I might have, and also to create a baseline so to that I can erase the pencil lines, which I'm going to do now. I also put aside some of the different things that I'll be drawing as well, just so that I have my primary references nearby in case I need them. I'm just going to start laying out the color and I'm going to explain exactly what I'm doing along the way. Here's our egg here. If you look at an egg, it is quite opaque, so I'm not going to save any white space. I'm just going to fill in the surface with quite a bit of water and then work it out and add some shadow after. This is just a good way to recreate that texture. I'm going to add a little bit more brown here, and I'm going to determine that my light source is coming from the top right side so all of the different elements will reflect that. That's just a good way to keep it consistent and also make it easy to understand. If you don't have paper towel use toilet paper. I have my yogurt here. This is [inaudible] , but I'm just going to mix this up a little bit and get an idea of the texture and try to replicate that as much as I can. I'm just going to build up the grays in the yogurt cup first. Here we have a spoon of sugar with some brown sugar. I'm going to use this as a reference when I'm drawing. I'm not seeing this gray. I'm going to add a little bit of blue just to start building a lot of contrast. When you're working with a lot of gray tones, sometimes it's good to add a little bit of blue or a little bit of green just to differentiate each object. Here, but I added a little bit of flour on the table too just so that I can understand the texture. Texture is everything in food photos, in recreating the texture of food and also to make it appetizing so when you can use your primary reference, always use it. These are milk spots here so I'm going to add a little bit of yellow too into milk. Isn't just black and white, but it has a little bit of warmth to it. You can see this really is just a preliminary wash and I can just keep building up from here. Here, my milk is looking a little bit like my flour, but in the second round, I'm just going to find a way to differentiate the two. I'm also going to add a little bit more pigment to the egg. Since this is still wet, it'll just blend on its own here. Since the whisk is such a huge part of the recipe, I'm going to make sure that this stands out a little bit more than the rest of the elements. At this point, I might add a little bit more blue to the gray as well just to make sure that this pops as much as possible. Since my light source is coming from the top, I'm just going to be sure to differentiate this as much as possible. Moving down to my frying pan, this is also something to consider when you are making choices about color. I'd like to make this red just because it would pop. But if I were to make it red, then it means that everything would really fall down. Your eye will travel from the top to the bottom. That actually might be a pretty good choice, but red is also the color that we see first so that might be a strong loop. I'm just trying to think of my whole color story. Since the pancakes are warmer, they're brown and happen to be yellow and orange, then perhaps my frying pan will be midnight blue. I think that could be a good choice and it would also reflect the whisk and the spoon and just make everything harmonious. These are all things to think about. If you're stumped and you don't know what to do, feel free to draw a sketch with watercolor and you can try all these things out ahead of time and then determine that before you lay down the color. A midnight blue. I'm just going to commit. Add a little bit of water just because the surface isn't all the same color, the same intensity so I just want to make sure that the outer ends are darker than the middle. Just going to add a little bit of this darker blue as well. A little bit of black on the edges just to create some volume. Since the handle is round? It needs to reflect that as well. I'm going to make sure that I have a little bit of white space on the page so that we understand that it's a round form. Just thinking about form makes all the difference in the world if you're trying to illustrate certain things in certain ways. I have a spoon here that I'm going to use as inspiration. I'm going to look at the reflection, is coming here. I'm going to add a little bit of green just to try to create some harmony with the colors. I'm just going to start building this up. When you're making these pancakes or whatever recipe that you're making, take as many pictures as you want. That way, you can go back and use your primary references or you could even put aside a little bit of batter if you really want to study the color and the texture. This is completely about what you have on hand and making it work for you. My batter, since it has eggs in it, It's got a little bit of a yellow tint to it, oops, that's a little dark so I'm just going to add some water right away, work this up. Since it's falling into the pan, I want to make sure that we understand how it's warping onto the surface itself. Now, I'm going to build up my pancakes. You can use a little bit of brown to start and I also have this nice [inaudible] yellow. Make some little dots with my brush. I'm also going to add some yellow, a little contrast and also to make them more lifelike. Add a little bit more of this brown on the edges to recreate that [inaudible] bit. Pancakes have a little bit of [inaudible] , I'm creating a white line between the bottom and the top just to give us an idea of the volume. This is called stippling, which means you're using the point of either a pen or a brush to create little dots that create little bit of texture. George Seurat uses that in his famous In the Park with George painting. This is just a good little technique to add little bit of texture and color without committing to covering the whole surface area. Don't want it to look like nuts so I'm just going to add a little bit more yellow just to create less of a uniform surface. I'm just going to let this dry and then I'm going to keep building up as you go. Before I commit to writing everything out by hand, I'm just going to do a couple of samples of different handwriting options. If you have jittery nerves, this might be a good option just to figure out the direction that you want to take it and also seeing what might be a little bit too bold for this specific drawing in particular. Just looking at these three options, I'm going to do a super light touch and I think that this will be the best option moving forward. Here is our beautiful finished illustrated recipe. I added the ingredients and a couple of small notes just so this can be usable by someone. This would be a great kitchen poster and I'm really happy with the movement and the gesture. Give this one a try and have a little bit of fun. 9. Day 6: Think Drink: When I was getting started as a food illustrator, I noticed that there was a niche to be discovered, which was drink illustration. Of course you can take all the photos of beer and wine and juices and all that, but food does becomes super redundant. Illustration can create a little bit more of a story and also mix things up a little bit. If you are interested in pursuing food illustration, then it's great to have a drink portfolio as well. I'm going to share a little bit about developing and engaging drink illustration and also challenge you to push your work a little bit further thinking about movement and incorporating food utensils and equipment. This is a cookbook that I illustrated a couple of years ago, and there are over 70 juice and some of the recipes. One of the reasons I believe I was called for this project was because can you imagine styling and photographing 70 juice recipes after awhile. It shouldn't just get really redundant always seeing something in a glass. This is actually my first cookbook commission, but I really just found as many ways as I could to tell the same story over and over again. This included adding the appliance like this nut milk recipe here, and also playing with glasses and all of the elements within the juices themselves. This was a challenge, but it was a fun one. In this exercise, I really want to challenge you to think about the process of making this drink. Think about movement, some equipment as well, and how you incorporate that in your final composition. Here, I'm just going to blow through a couple of ideas. Here is just an orange juice that's being pressed. This is a good idea. I've done this quite a few times before, but sometimes you just have got to get out the basic ideas first before you can move on to the others. But I want to push myself. Another thing to think about is including the equipment or some of the process of creating this drink. This is a smoothie. I'm going to add a blender and perhaps a movement of all of the fruits being added to the blender to be blended up into this smoothie. Here's a banana, for example, but I'm not just going to add a whole banana, I'm going to peel it lightly and add the unpeeled banana and then some strawberries. But I'm not just going to add the whole strawberries, maybe a strawberry cut in half. This is just a way to speak a little bit of the process of making this drink as well. Also, a mint sprig, and this is another option. Just think about what you need to make this drink. Of course, it could be coffee, it could be beer, it could be wine, it could be any drink that you want. But let's keep it breakfast-oriented. With that said, I wanted to merge the idea of breakfast and create almost a pressed juice but in a bottom coffee pot. Here I'm just going to sketch this out. I'm going to add the fruits and vegetables inside the bottom like it's being pressed. We're just going to imagine that the juices coming down the bottom, and I'm just going to assemble my little still life just to have my primary references. This is what I'm going to draw. This is a pretty good option and I'm going to pursue this. I'm going to add the equipment and also the gesture of pressing down the bottom to create this juice. Here we have my watercolor paper. I'm just going to start mapping this out. I'm just going to add a quick pencil line and I'm also going to think about my format. Always think about your format before you begin because you don't want to backtrack and feel like you aren't able to express what you initially wanted to just because you didn't think about the format. Since this is a longer image, I'm going to use a vertical format and I'm just going to start mapping everything out. I did a light pencil line. I'm just going to start filling everything in little by little. That's what I'm looking at my bottom top and the light is coming from the window. I will sure to leave that spot blank on the still life itself. I'm just going to add the details little by little and start filling this in. Once again, since you have your primary references, use those and feel free to add as much [inaudible] as you want to and you don't have to say everything either. That's the beauty of watercolor. When watercolor is done really well, it might just be the suggestion of a silhouette with a line. You don't have to say everything yourself. This comes with time and taste in this and that too. I added all of my fruits and vegetables here. But as I'm squinting my eyes, they all blend together. I'm going to take this occasion to add some details and some shadows as well. I'm going to add some black shadow to the left side of the ginger since my light source is coming from the right and also add a little bit more details to the skin of the ginger. This will just help me get pop and so that we understand that this is indeed a juice in that bottom and not just a crazy coffee in a bottom itself. If you feel like you don't know exactly what you're saying and it's not necessarily clear, you can always ask someone else for their opinion and just ask someone straight out what is this before telling them anything else. That way you can [inaudible] by someone else to make sure that you are going in the right direction and it's a good representation. Okay. I'm just going to add a little bit more yellow to the fruits and vegetables. I'm sorry, to the ginger itself, and also make this celery here pop a little bit more. I'm just going to keep building this out. Just to recap, I'm not adding all of the details to the bottom. I could actually add a little bit more detail, but I think this is just the silhouette itself, says what it is, so I don't need to go too crazy on the detail. What's more important is the elements inside of it that will be juiced. Okay? That's another good thing to think about is intention and the more important thing to prioritize is the concept of the juice itself and not the detail in the bottom. Here's how it's looking. It still doesn't really like juice-like to me just because the colors aren't as vibrant as I want it to be. With that said, I'm going to take this occasion to create a very vibrant background using my liquid watercolors, which I talked about at the beginning in the seven-minute watercolor intro. These are super saturated and vibrant and I think it'll give me a really good juicy effect. If you're working with a new material or you're still not really sure what color background you want to do, then why not experiment on a little sketch. This is just a reused watercolor paper and I sketched out a bottom coffee pot. I'm just going to give this a little bit of a try before I commit to doing any indefinite damage to my watercolor. I'm just going to mix an orange. This isn't bad for a first try, but I'm going to need a little bit more yellow. As you'll see, I probably added maybe four drops of yellow to one drop of red, so the red is much more concentrated, but you'll learn this in your own color exploration. This looks like a good enough color, but I'm just gonna add a little bit more yellow just to make it a little bit juicier, and also to make it look more like the carrot itself. I'm just going to mix this up and just start laying it out on the sketch just to see how it looks overall and to just practice whatever it is that I want to do to the background before I do it in the actual painting itself. Okay. This is looking good, very carrot-like. I really love these colors because they are really bright and juicy within themselves. I think this is actually a really good option for reinforcing the juicy aspect and also really making whatever is in the bottom itself pop. With that said, I'm just going to add a little bit more yellow and it can also do an ombre effect. See how I'm just adding it to the wet page itself and this will just on its own, just work its way up the page. I feel pretty good about this and I think it'll look really nice on the illustration. As you can see, I just filled it in the background in that orange color that I mixed up for my sketch and I still feel like it's missing something and I want to add a little bit of a horizon line as well and an ombre effect. I'm adding a little bit more red to the color that I blended before. I'm just going to start working this up on the page itself. This is almost Mark Rothko effect where I'm adding a more saturated pigment on the bottom and then I'll use my water and also the wetness of the page just to work its way up. This is how it looks. I'm really happy that I thought of this because it looks a lot better than it did just the object standing alone. These were an editorial illustration. An art director might suggest a colored background just to make it pop a little bit more and to make it look a little bit more engaging on a page of text. If you're hesitating about your backgrounds, then be sure to try out a sketch on a separate piece of watercolor paper and try out your technique ahead of time, and don't be afraid to go bold. Here it is, our bottom juice. Have fun with this exercise, thinking about the equipment and the movement, and incorporating color as much as you can. Now hopefully, you are inspired to pursue your drink illustration. Feel free to upload any sketches and your final project below, and I'll be sure to give you feedback. Tomorrow we will wrap up our seven-day practice with a new prompt inspired by the whole week's body of work. 10. Day 7: Watercolor for Breakfast: In this final lesson, I'm going to challenge you to think about all of the lessons that you learned this week and put together a prompt inspired by watercolor for breakfast, whatever that means. In this final exercise, this really is to recap everything that we learned this week. In this final assignment, I want you to draw your breakfast and add a concept. This could be an emotion, it could be including yourself in some way in trying to find the concept through there. Also, you want to include all the little tips that you've learned this week, including things you've learned about composition, storytelling. Are you going to incorporate movement and also all the styling tips, and also all the watercolor tips that you've learned along the way. As I do, I'm just going to sketch out a couple of options. When I think of watercolor for breakfast, I think of a bowl of cereal, but instead of cereal there the little watercolor pops. This is a good first idea, I like it, but I feel like I wanted to push myself further and include myself since I haven't done that in any of this week's exercises. As always, if you're unsure about what you've been doing, then work on a second sketch. This is really time to explore and to have a little bit of fun. This morning I had a very banal bowl of cereal for breakfast, and I snapped a couple of pictures. Of course, there's bird's eye view, but I thought, hey, wouldn't it be funny if there was a serial eye's view? I thought this would be a really great opportunity to explore proportions and exaggerating the shape of all of these elements. So I took a couple of pictures as inspiration and also a very attractive selfie of myself to include that I thought, "Hey, wouldn't it be funny if it's just me peeking over all of these elements in a total morning inflicted daze?" This is my first sketch. It looks good, but the concept is there, but I still need to work out some fine details. So feel free to do as many revisions as you need to until you feel confident executing this in your watercolor. So with that said, I exaggerated the proportions a little bit and I'm including myself. But sketching really is the backbone. So it really use this time to think strategically about how you want to recreate this. I think I'm going to rotate the milk bottle with the bowl, but otherwise, I'm happy with this. With that said, I'm just going to sketch this out using just gray watercolor. So you've probably seen me do this already now, but I feel confident in my composition that I'm just going to wing it with the watercolor itself, just so you get a more gestural quality. If you feel like your work is a little bit too stiff, then you can just try sketching with the watercolor itself. Also, if this were a commission piece if it wasn't a project that was so strict in the layout. For example, if there was text and things to add on top, then I would probably just send the sketches back and forth with an art director and then just wing it in this way. This is specific to my work and it gives my work a certain energy. Feel free to adapt this technique if you like it and if it works for you. But of course, this came with time as well and confidence. I'm just going to keep filling this in little by little and a couple of things to keep in mind moving forward. I'm just going to recap some of the things that we learned this week. I'm going to put it in my face now. I don't really go into this in this course in particular. But I'm sure there's some great watercolor courses on how to draw faces. But like all things, this is my own personal theory. But if you really look at what you're studying, then you have all of the primary references there, hence my still life as well. So there's no one way to draw a face. You can't just draw a large circle with smaller circles as eyes. It doesn't work that way, especially in this angle. If you want to get better at faces, you just have to draw them. I've seen a lot of students draw bodies with no faces, but there's a time and place where you really just have to suck it up and commit to getting better. This could be hands as well. The hands and feet are really complicated. With that said, I think some of the best water colorists know how to play with restraint. It might just be a line that's suggesting a silhouette. You don't have to say everything in watercolor. That's when watercolor itself is very poetic and very successful. Just another tip here is you can see there's a bowl and a red capped bottle of milk. They're just doing black and white. I'm going to add a little bit of blue to the milk bottle just to give it a little bit of a separation between the two. Sometimes if you're using just black and white and gray can be a little tone on tone and you can't really understand the connection between two objects or how they're separate. Feel free to add a little bit of color if you need to, and just to distinguish what you're doing and always look at your still life. This is my primary references, it's everything I need and I'm just going to keep looking back at that as much as I need to. Especially if you're new to drawing and illustration in particular. Of course, once you have mastered how to draw things like still lives, then you can really start moving on to creating more conceptual work. If this week's practice was a little bit difficult for you, hopefully, you're at least able to brush up on your water clutter color and drawing skills just through looking at your own breakfast/still life. Just don't feel discouraged if you feel like you're not at the conceptual stage yet this happened to me as well. I really had to learn how to draw what was in front of me before I was able to really start taking my work and feeling confident to come up with my own ideas. If you still want to know a little bit more about editorial illustration and including yourself, then I encourage you to check out my first course, Stuck at Home Self-Portrait: Conceptualizing a Moment in Time in Watercolor. I go a little bit deeper into my watercolor practice as well. If you are willing to go beyond food illustration, this would be a great course to take, just to learn a little bit more about developing ideas. Now I'm going to draw my hair and I'm going to sound like a broken record again for the last time, I promise, or until the next course. But a lot of young artists think, "Okay, I'm going to draw every single hair in the head of hair that'll give me realistic results." But like everything here really is just about how the light is reflected on the hair, and that's the easiest way to really understand it. So with that said, I made a little mistake on the forehead, but I can always add bangs, and thank goodness for that. All right. This is how we're looking. I'm going to let this dry and then add some final details. But as you can see, I added giant Cheerios on the bottom too, just to understand the exaggerated proportions and to give us a little bit more context. I'm just going to add a blue background too, just because I want all the objects to pop. As you can see, I'm going really dark under the objects to give them weight. Then I'm going to add more water to work down the color towards the bottom of the page. Just to go back to saying less with more or more with less, I should say. Of course, they didn't recreate. I didn't count all the materials and the bag of Cheerios I just drew what I saw. Some are darker than others. I'm just going to add a confident black line under all the objects just to give them weight and so that we understand that they're not floating, and a couple of details on the face and I think we are just about there. I'm just going to squint my eyes and see if I understand all of the elements. I still feel like I could add a little bit more shadow on the still life below, so I'm going to do that. Otherwise, this doesn't look entirely like me, but that's okay because it's more about the emotion than the actual representation itself. Once again, if you're hesitating about when to stop, I'm just going to take a close look and see if I understand all the elements if there's good weight if I understand a little bit of the context. I understand that all these things are on a table, and I understand that gesture. I believe I'm going to stop here just a little bit more shadow. Remember you can always add more but you can't take away. But otherwise, this is just a fun interpretation. It captures a moment in time. Waking up feeling, a little bit tired and counting on your dear bowl of Cheerios take you through the day. Have fun with this one. I hope that you feel challenged on this in particular and moving forward. I really look forward to see all the work that you upload down below. I'll be sure to give you feedback. There you have it. Enjoy this one, and I look forward to seeing what you put together. Now you should be inspired to pursue your final drawing, inspired by watercolor for breakfast. Whatever that means to you, look around you, build a composition, think about all the styling tricks that I taught you and all of the other little micro nuggets to really push your work further. 11. Conclusion: Congratulations and thank you so much for joining me on the seven day journey. Thank you so much for your time and energy, and beautiful work, and I look forward to seeing everything, so please upload down below. I hope you're inspired moving forward. Feel free to adapt this practice to lunch or dinner or whatever meals you eat in the day. Review, share with a friend and I really look forward to sharing my next course with you soon. I'm Jessie Kanelos Weiner, lots of love from Paris. Bye bye.