Food Sketching #4: How to draw and watercolor a Taco

1. Intro taco: Hi there. My name is Francesca and I mean it saddens surface and textile designer with a great passion for sketching and watercolors. Rowing in the last period. I've been a lot into sketching food and food related subjects, so I thought it will be nice to share what I've learned about it with you. Everyone has a least once took a picture of a nice meal cooked by yourself or other fancy plates in a restaurant to put on social media or just remember it. I love food, anything. That it has a huge role in our lives and drawing. It is a nice way to celebrate its, but also to include ourselves in that memory. Our experiences and emotions related to that food and sketching can be a funny way to do it . This is the fourth class of a six classes, serious all about food sketching and is releasing over six weeks. If you haven't followed the previous ones, I suggest you do it because they are jam packed with useful information. And then we made this class so much easier to follow. In this class, we show you how to create a nice sketch of a beef taco. We will analyze the features that can make your sketch a realistic but expressive representation of it, and I'll tell you all my tips and tricks to apply them to your drawing. We will also go deeper into blazing technique so you can learn how to make your taco a mouthwatering one in the customs to follow. We will move to other complex subject to sketch, and we will see my process to create them, using the knowledge we're building in these serious step by step as a state, I choose watercolor to print my drumming so I will give you some tips and advises on how to use them to get the moralistic result from your drawings. As the last part of the series of classes, I will teach you how to digitalize your drawings and turn them into a nice cover for your receipts notebook or with the same skills you can print your layout and framing to hang in your kitchen. So grab your brushes and be ready to get mouthwatering from watercolors. 2. Materials taco: supplies for this class. For this class, I'm going to use some water color. So yellow cadmium, yellow ocher, rosiana, Bernsen, burns, amber, Scarlett, cadmium red deep, you Purple Lake, submarine darks, Cougars, greens and the water card that I use are the most of them are from Winsor and Newton. Cotman line their student great line, but also some my Mary color. So if you experience some variation in color, comparing your sketches mind probably just depends from the brand, because different brands has different color shades, even if the name is the same. So just try them out and see which one is your favorite shade and go with it. A pencil and a raise in a respond and h pencil and any razor. Ah, fine liner is 0.5 Black fine liner is your point to black fine liner and S sites. Dark CPF online in minds from fabricas. Tell Pete Artis span rushes mean sites. Water brush is more sites, water brush and inside ST Synthetic rush other supplies, and we're going to use our watercolor paper palate, a k a. Dish water container. Hickey a. A messenger. Any paper sour 3. Features taco: If you have followed the previous classes of this serious, you will be probably familiar with the concept. Off key features. My method for food sketching is based on the analyses off four key features. Shape, color, texture and etait. These features are the characteristic elements that makes our subject recognizable for what it's supposed to be. So let's start sui the shape first 30 year. The shape is pretty simple here, so we have to off circles based off almost an inch, one from each other and reach an organic look. Don't make the edges to straight. Keep them slightly uneven. An irregular feeling. It depends from what you want to picture in your taco. You can have streams, chicken, vegetables, anything you want. The greens off mine are beef, onions, sour cream, coriander, tomato and kale. The beef in my sketch is diced, but it could be means if you prefer, the shape will be some kind off cube, but with irregular and roundish edges. The onion is er, singler with some extra alliance to mimic the audience layer on tomato, have a square shape. The sour cream is made by some irregular drops. The kale is an irregular kind of strings and coriander is sketching as leaf with irregular margins. So basically, each off these elements has some kind off characteristics. Shape their right to include in my sketches color to get realistic. Look to our to tear. The color should mimic the cooked effect. I apply for layers off different color combination unevenly. You can also add some extra Bernadotte here and there if you like to. In the next lesson, I'm gonna show you how I do these kind off, a technique that it's called blazing technique, and we are going to discuss it throughly. But the feeling I choose simple ingredients to feel my taco that are really easy to be to be identified by their colors. Read for tomatoes, green for coriander, dark brown for beef apart for for onions and kale and white for sour cream texture. To give the texture. Efecto our 30 elect to use the glazing techniques, I will go deeper into it in the following lesson as it was mentioned before, and in order to mimic the cooked effect and irregular surface, some extra Bernadotte, as I was saying earlier, could help as well feeling texture, the ingredients inside the taco, ours more and ice. So the only texture features I apply here is to give to the beef Mork. Look in some areas, but nothing more in sketching. You don't need to overdo or overcomplicate things. If color is enough to identify something like in this case, you can just rely on it. Details taught some interest to our taco. I placed a gingham napkin underneath it so it will look moralistic and in the context than just leaving it floating on the page. In another tackle sketch I made, I added a sour cream deep on one side and placed everything inside a basket. This could be another idea for you to show some extra details. You can also place everything in a plate if you prefer Alec media off him or take away look for Taco rather than having it in a regular dish. Since it's the typical street food right, But the just my personal preference, it doesn't mean his tribe yours as well. So now that we have covered the basic features, let's start to analyze what's the glazing technique is, and then we can start. So what your color 4. Glazing taco: blazing technique step by step. What is the glazing technique? Blazing is one of the most interesting watercolors technique. It consists in adding one or more years of a caller above a previously painted and dry, really dry color slayer. This technique is the key one to give depth, and I mentioned to a watercolor painting, and we are going to use it to make our taco looking really sick. Annual me so for my 30 a blazing colors, I use different shades off color. So for the middle, a year I use basically just rosiana for the first layer of glazing. I use a mix off cadmium, yellow rosiana and bercy in for the second layer of glazing. I use rosiana burnt sienna plus bird number, and for the third layer, I used Burnt Sienna, Plattsburgh, Amber. This is my personal preference as color ca munition for baking stuff and anything that it's has to resemble some kind off pastry or cooking, though this kind of stuff off course you can make it lighter or even darker just depends upto which kind of shades of color you want to convey to your object. My advice is to mind that each layer you are going to add as to be some kind darker than the previous one, so you can use the same color communication as the previous one plus adding a darker color like, for example, I used for the first layer of blazing cadmium yellow plus rosiana plus Bernsen. So for the second layer blazing, I use Russian as well. Bernie Sanders Well, but I used burnt umber, and I don't use cadmium yellow. So this way you are always achieving a more intense shadow on a doctor you. So let's start with the basically year applying the first layer of water called or starting with lighter colors. Very watery. Try to start from the areas that are supposed to be in shadow, leading someone space in the enlightened Harry US. Apply the color on leaving unevenly to give depth and volume and leave it to dry completely . You can use an end dryer to speed up the process or a heat gun. It's sensibly, so use the color combo. Cadmium, yellow plus rosie and uppers, plus birth for the first glazing layer didn't cover the entire first layer. Just some parts start with the areas that should be in the show and use the clean. But what brush to soften the edge to the new layer. Remember that watercolors on transparent so you will see the color intensified by adding layers living layer to a 30 year. It's not always accessory, but I use its offense about the darkest colors, especially in the shadow arias, to give more depth and volume here and using the color combo Rosiana plus Burnt Sienna Plattsburgh Amber. Don't overdo with this layer, or you will end up flatten your entire drawing. Losing layer three. The last blazing layer I'm adding, is just slightly touches to convey sheets and that I use the color combo burns number part plus burnt sienna. This layer should be even smaller than the late, the second layer to avoid to flat in the sketch. Here. I'm gonna show you how I think about my color coverage with the glazing process. So the basically year could be from 95 to 1 other percent coverage, then the first of the year. It's around from 50 to 70% and 13 a year from 15 to 30% and then the third bill a year just from the 5 to 10%. So I mean, it's just something roughly. I didn't do it like with some kind of mathematical counter anything like this. But it's just for giving the idea off how much you're going to cover with each layer. So bear in mind that the less you cover for when you move to higher level the batteries. If you want to go deeper into blazing techniques on what on what techniques, especially about drawing, press, tree and this kind of stuff. I really recommend a class here and ski share bar Maria Papadopoulos. I hope you appreciate right that it's fun and easy watercolor drawing cookies and pastry that it's a great class. That up I taken for myself and I've loved it. So she really gives great techniques and information about blazing on history, painting on this kind of stuff and last part off our blazing studies. It's about color combination for our ingredients, so even other in Greece can will have some kind off glazing techniques or just some color combination that I want to talk about so we have. The diced beef is going to have burnt amber yellow ocher blast burns number blast burnt sienna. The onion is going to be mainly painted with purple lake. The tomato are going to be paint with cadmium red. Keep you and Scarlett the coriander with submarines and submarine plus dark hookers. The kale is going to be Purple Lake. And for the sour cream, I'm gonna gonna use any color, just the paper White. So I want just to mention even this kind of color combination. If you want to prepare them in advance on be more close to mine is my proclamation. 5. How to draw and watercolor a taco: Now we are ready to start by sketching our taco. So let's start by sketching our knocking first. It's a simple rectangular shape, but I drove with with uneven irregular edges. Also, I drove a corner folded upwards for an extra dictate. The next step is to draw the taco that starts with a semi circle place at the center of the napkin in order to be able to show the feeling off the taco were drawing it in perspective . So the two semi circles that are composing our to TIA have to be placed about one inch apart. Perspective wise, our vanishing point, the point where two parter lines appears as converging he's on the bottom right corner of the taco. In this point, the two semi circle will be almost overlap while going from right to left. This basis between them will achieve the one inch piece, the bottom line off the front some circles has to be a roundish, so it will look more organic and really sick. Before drawing the feeling, I traced the outlines with the dark sepia fine liner. Since there is a chance that we will have to do some adjustment to our feeling sketch. I prefer to trace the front tortillas outline, so I want restore. Is it? While working on the feeling to trace, I don't press the liner too hard, so they had just will have an uneven, unnatural look to convey the feeling off the 30 year for the feeling. I'm going to draw Dyson beef, tomato, onions, kale, coriander and sour cream. I alternate them without following a reference just by heart. So I tried to mix the different ingredients randomly, but with some kind off proportions. I add more beef than two meters, but also more tomatoes than alien and so on. Knowing that the ingredients will be presented as Dyson, their most recognizable feature will be shape and color. So for the aesthetic purpose, I alternate elements with different colors. For example, the two coriander leaves are pretty decent, the only in our from far away from the kale etcetera. There is no rocket science here. The ingredients can be placed however you please, but I think it look nicer if they are disposed by a shape color principle. The next step is to outline the backside off the 30 year I traced only the area where the feeling is not overlap to the edge. Still, keep your hand and line lose and sketchy. The same kind of line will be used to trace the beef drug outline off. The rest of the ingredients I use is your 0.5 black fine liner to add a little off contrast in terms, off line, weight and structure. Also for the other ingredients I liked, like tomatoes and onions, I draw more straight and clean lines since our food that has sharpened hedge rather than meets enter Teest. I pay attention to trace all the ingredients, minding the overlapping elements and adding a few details like the audience. Light years I use is your point to black fine liner to trace also the napkin. The lines should be solid, but not too much, even or regular. I have some irregular marks here and there to convey more realism to the napkin. The final step before moving to tolerate is to areas or the pencil lines. Let's start the watercolor, our taco. It's time to practice the glazing technique we were talking about in the dedicated the lesson. So as we learn, the first step is the basically year. I use rosiana, and I prefer to go dry and wet to maximize the color control, but it's perfectly fine also to go wet on wet. The important thing is to wait for the basically year to be completely dry before start pleasing. The color should be applied unevenly is likely insisting. On the bottom edge of the 30 year, I apply the color also on the back tortilla being attention to stay inside the lines and away from the feeling ingredients. I keep adding washes of Rosie and not intensified the base layer again, focusing on the bottom edge and the outer margins. Since the backside of 30 you will be in Shero. ICI's particularly here with some extra washes. While the busy year dries, I starts to color the beef. I apply a light wash off burnt umber pretty evenly on all the diocese, being carefully to say inside the outlines. To speed up the drying process, I use a heat gun, but if you don't have one you can use in your dryer. Just be attention toe the paper distance and the temperature. Don't make my mistake as much in the color with your finger, but If you are impatient like me and it happens to you as well, you can just clean ah with a wet brush and paper tower to lift up the color. When it's completely dry, we can move to the first blazing layer. The color combo use is made with cadmium yellow plus rosiana plus burnt sienna. I apply the color with irregular and random brushstrokes, focusing on the bottom edge and the outer margins. This kind of brush strokes helped to convey a feeling off a cookie dough, and I use thes style every time I have to watercolor any kind off making food. Bread cakes, etcetera. Try to don't cover the entire business year with his new one to avoid flatten the look. Why the wash dry? I moved to blaze even the beef. I use a mix off yellow ocher plus burnt umber plus burnt sienna. I apply the color unevenly and more concentrated on the bottom side, where the tortilla and the beef connect. I dry the wash completely before moving on. - It's time for our secondly, Europe blazing. For this layer, I use a mix of Rosiana last Bernstein, an A plus burned number. I started by applying the color from the left bottom corner with the same style of brushstrokes as for the previous layers and keep moving towards the bottom edge to the right corner. I keep adding random and uneven brushstrokes over their 30 year trying not to overdo because you risk the flat in the sketch. I put some small amounts off color over the top edge off the back 30 years and in the left in your corner. Let's right completely. I add a last layer off blazing the darkest one made with a mix of burnt sienna and birds. Amber. This layer should be just a hint here and there to make the darkest area off our 30 a pop. I'm using a clean with brush to blend the color a bit, moving from the bottom towards the top. I keep adding very light washes off color and blending them to give a more natural look where the brushstrokes won't look too much as rush looks. One. I'm pleased with the result. I drive a 30 year and moved to the feeling for two meters. I start with the wash off scarlet, while see what I add. More color, especially on the bottom that will be more in the shadow while it dries. Let's move to the audience. I use purple a color and apply elect wash of color all over the area. I apply the same color on the killer's well to intensify the outer layer off the onion. I had the more intense wash off purple. I dry completely before proceeding. I'm going over the onions, Stop player and the kale with the less watery wash off purple. - Using the cadmium red deep, you I started to intensify Data meter scholar. The final ingredients I call her is coriander. First I apply a wash of submarine, almost Emily with a size three brush. Then I make some hookers dark green with sub green, and I, at this color randomly over the coriander leaves leaves. Finally, let's move to the napkin. Want some interest and contracts? I decided to make a conglomerate pattern on it. I started by making a wide stripe of cadmium red deep you from left to right. I left an equal white space. Andrew in other red wide stripes, try to be even with the stripes with, so it will look more realistic. Now it's time to draw the practical stripes. I keep the same sides of stripes as for the result all ones in the kingdom pattern the square that comes from the overlapping off Vertical and horizontal stripes are darkening taller than the others by their nature. So I try to insist on the squares with more color toe. Emphasize this effect. I keep adding stripes to build the pattern on the our taco is done, and it looks really yummy, right? 6. Outro: our fourth would sketching classes over. I hope that you enjoyed it, and I'd love to see your sketches in the project section of this class next week. I really is the fifth class of these Siri's how to sketch in watercolor pizza. The difficulty level and the time required are ready to beat more than the ones you needed for this class. But our promise that broke down every single step. So sketching your pizza will be fun and not stressful at all. If you have any comments, feedback or questions, please feel free to ask me in the discussion section of the class and I'll answer as soon as possible. Thank you so much for watching and see you next week. Bye.