Food Sketching #5: How to draw and Watercolor a Pizza

1. Intro class pizza: Hi there. My name is Francesca and I'm in Italian surface and textile designer with the great passion for sketching and watercolors growing in the last period, I've seen a lot into sketching food and food related subjects, so I thought it would be nice to share what I've learned about it with you. Everyone has a least once took a picture off a nice meal cooked by yourself or the fancy plating a restaurant to put on social media or just to remember it. I love food, and I think that he has a huge role in our lives and drawing it. It's a nice way to celebrate it, but also to include ourselves in that memory. Our experiences and emotions related that food and sketching can be a funny way to do it. This is the fifth class of a six classes Siri's all about food sketching that is releasing over six weeks. If you haven't followed the previous ones, I suggest to do it, since they broke down my food sketching method into by excited classes to help you gain the confidence you need to make yummy food sketches without feeling overwhelmed. And I know for my own experience that sometimes watercolor can be perceived as intimidating in this class, and we show you how to create a nice sketch A with pizza with olives and pepperoni. 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. As I say, they choose watercolors to paint my drawing so I will give you some tips and advice is on how to use them to get the more realistic but sketchy results from your drawings. This is the last class of these foods sketching serious, and if you have followed the entire serious by now, you should have drawn seven yummy food in the next class. I will teach you how to digitalize your drawings and turn them into an ice cover for your receipts notebook or with the same skills you can print your layout and framing to and get in your kitchen. So grab your brushes and be ready to get mouth water from water colors 2. Materials class 5: supplies for these class. First of all, what are color? I'm gonna use yellow cadmium rosiana, burnt sienna, burnt umber Scarlett in your red light red say, Pia and Ivory Black. The most of them are from Winsor and Newton and Newton Cotman line their student great line , but also some dealer and Rooney and some my Mary watercolor. You can choose wherever brand you prefer is just your own personal choices. But if you see some kind of difference in shooting between my was her color and yards probably is just because of the brand cares, even if some color has the same name. When you change brands, they change. Also the color itself. Pencil and a razor. I will use and respond. And each pencil and in a razor. Fine Liar. I'm going to use a 0.5 black fine liner is 0.2 black Fine liner s dark sepia fine liner from Faber Castell, Pete's artist Open. I'm gonna also use some brushes, so a medium sites water brush is more sites, water, brush and insides. Three synthetic brush. Other surprise you're going to need are a watercolor paper. Let's take a dish water container, a k, a. M, a Sinjar and paper soured 3. Pizza features: before starts to draw and watercolor our pizza. Let's take a look. Two hits Key features. If you have follow my previous classes about food sketching, you know that my methods starts with the looking through the key features off each subject I want to sketch, so the key features I always identify are four kinds, so shape, color, texture and details. And let's start by analysing the pizza features from the shape. So pizza is basically a circle as simple as that. There is a good chance that if you draw a circle, live it a bit off space around the edge and color the center area in red and white people, we recognize your off sketch as a pizza, no matter what. That's how famous. Besides, a red and white circle is enough to make people think about it. Even if pizza is basically circle is n and made off circles, so the edges cannot be straight and neat. It would rather look better if we draw the circle friend trying to make it circular, but without using a compass. So olives are simple to draw basically, since they are just walls and once put it in a context, like on a pizza there, shapeless color will tell immediately what they are. You an observer pepperoni. Our wrongs license. Since they are cooked over pizza, they change shapes to beat by curling up at the edges and warping for the cheese and tomato underneath them. So we're going to picture them, as in regular around these shapes rather than perfect circles color. So the press color depends from the cooking. Pizza is traditionally cooked in a wood burning oven, and the crust has several shades of color, from the palace bready tone to the almost black Charon spots elected P picture it well cooked, what with multiple shades and any regular color coverage, one of the most common topping for a pizza, his tomato plus cheese. If the source and the cheese are cooked in the open, we'll have several shades of red and yellowish white, from the lightest to the darkest, almost burn Look. It's not very much likely that mozzarella cheese will look quite, he said. It will be cream yellow, even brown, depending from the cooking degree. But if you prefer to leave mozzarella as paper white, it's definitely something you can do. Just remember that we'll look much more flat. I like to have double cheese on my pizza, but for the sketching sick, I prefer to picture it with more tomato rather than cheese. See the picture on the left. This life's market, as one has much more interesting and it's reacher in shades and that then the slice market the way to where cheeses predominant over tomato it's all about convey emotion, represent the idea of a pizza. We want to be artists here, not photographers, about the It's a cross. I'm going to use the blazing technique. There are explain well in the tackle class, but here, just for giving you some kind off heads up about the color communication going to use. I have made another scheme for you, so we have a base layer with Rosiana. Then we're going to place with the first layer off cadmium yellow plus rosiana Last burnt sienna. A second blazingly year will be made with Rosiana plus burnt sienna plus Bert number and the last layer of amazing will be burnt Sienna Blast burns number in the process video. You're going to see exactly how I used these layers and how I combine them to create the most off the interesting about the crest that I can get. But if you want to start to think about your color combination, these schemes will help your so last thing about color is the pepperoni. Pepperoni are rusty as color and tend to be burned at the edges. Since the over color off pizza is already reddish to avoid to flatten everything, I'm going to use some color combo with the hints of brown. As Miss Layer, I used a light wash off union read plus write read, and to mark the burning parts, I used a more intense washingon red. When you want to play some topping, it is similar as color as the social layer. Try to use different shades and use off the original color so each ingredient will pop up in military without get lost in the background texture. I want to keep these pizza sketch pretty simple, so I want at any specific texture features, but I have some tips for you if you want to spice it up a bit, the crust is opaque and flower a nice way toe. I like this feature is to use a dry brush to Sprinkle some white acrylic color on the edges randomly to mimic the flower effect over the cross. As you can see on the picture on the left here, let's see the texture off all these to convey its really feeling to our olives. We are going to leave some untouched areas off paper to make mimic the light, reflect on the shiny surface of the olives. And now let's see some details. Pizza is a paradise to experiment with different toppings and garnishes. You can musically put anything on a pizza, broccoli, pineapple and rockets, Allah shaved Parmesan mushroom and so on. Just by changing the top the topping. You can obtain totally different pizzas and have a lot of fun drawing them, even if you want to draw the simplest pizza. What Italians called Margherita Tomato sauce Blood mozzarella cheese. You can still make it interesting and detailed by adding a few busy lives and some olive oil splashes here and there. You don't need toe overdue with your topping. Just a few details could be more than enough to have a mouthwatering result for the purpose of this class. I choose to draw my pizza hole but a super funny way to sketch it is Liszt. You can have this license separate one from another or simply slice said, bottling side by side. You can also have a mittens life like in the picture here, or a missing one or two. If you want to sketch a pizza party, probably his license pizza will be more evocative than a whole one. While if you are sketching the pizza you had at the restaurant during a trip to Italy, a world one is more functional to tell you a story to tell your story through food, Sketching could be nice to have some details around them English. In this case, for example, you can be super simple with toppings, but you can put around some garlic cloves or basil leaves or Parmesan with the greater or a pizza Weel. These elements will help to tell, for example, the story of you making the pizza or the idea off a party ready to start where every guest are these on topping. I mean, details are the best way to add context and tell a story. Even the smallest one can be super powerful in this sense, and I think it's the old point, often sketching. Try to put some about us and our relationship with that food in the sketch. So for whoever he's looking, the sketches, even yourself, uh, you know why the emotions that you're going to experiment and the sensation will be much more personal and interesting than just looking at photographic or photo realistic food illustration. 4. Pizza WIP: after looking at our pizzas key features, it's time to start drawing it as first thing. I start with drawing a Circle Freehand. Since we are using a sketchy style for our drawing, I'm not going to use any kind off compass or sickle shaped as a reference. I just tried to be as wrong dishes I possibly can. Also it, besides something that is hand shaped so it won't make it look moralistic to draw it is a perfect circle is quite the opposite. After the other circle, I started to draw the inner sequel, trying to keep it about one centimeter apart from the other one. I started to place our toppings. The oval shapes will become olives. The bigger, irregular shapes will become pepperoni. I try to space them, keeping a random look and feeling quite a bit of surface. I like to picture my pizzas well seasoned, but if you prefer, you can add less toppings on and work more on tomato sauce and mozzarella cheese. I want to have the pepperoni curled up at the edges and more burn, so I'm marking the areas where I will put the overcooked color effect, and I tried to be uneven, an irregular to have a more organic and really sick look. I'm also marking out where I want to leave the paper untouched to have white spots that will convey glossy and shiny effect to our lives. Since the olives will be dark in color, I don't mind to draw the lights outlines, since they will be covered anyway. Try to be consistent with the light direction over your olives. It's time to start thinking as usual. I use the dark C P a fine line here to trace the parts that I think we look better with dark brown outline rather than a black one. So my pizza outline is going to be dark CPM, and especially on the inner circle. I tried to trace it with loose hands and a sketchy, wobbly style to trace pepperoni outlines and olives. I used the black fine liner sites 0.5 Why tracing the pepperoni outlines? I try to be not rigid as well. What? I tried to use a more neat and clean lines for the olives. I raised the pencil lines, leading the marks for lights on the olives and for the curly parts of the pepperoni. It's time to start hollering. If you have followed my tackle class last week, you will notice that the process for coloring the cross is the same as for the 30 young in the your project section. Off this class, you will find the pdf file. I prepared for the doctor class about the glazing techniques in case you want to have an and reference for these technique in the future. The first layer I'm applying the basically year is made with irregular brush strokes off Rosiana. I covered the entire cross unevenly any regularly. I also put some more washes off the same color in random areas. After dry, I apply the first blazingly. You're using a communication off cadmium yellow, plus Rosie and not blast burnt sienna. I pay attention to Don't cover the entire Beasley Year to avoid flat in the sketch What it dries. I moved toe work on the tomato sauce. I start with a very light wash off Scarlett, and I alternated with the super light wash of Rosie and and it is going to help me identify the cheesy areas. I prefer to have the cheese based color almost all over, So I want to have to deal with the paper white, and it's going to be easier to blend when I will have to meet a so scholar. - I started to apply the scarlet red randomly, keeping in mind where I will leave the cheese collar areas. Sees watercolor are transparent is really important to work, adding the colors Louis in order to don't overdo. Otherwise, you won't have any cheesy area left if you exceed. With the tomato coverage, you can fix it using a white acrylic ink like the bleed proof white ink by Dr Ph Martin's After the basically yet is fully drive. You will notice the difference, though, since acrylic paint. It's not raw sprint like watercolor, but it's the easiest way to replace white areas if you have discovered them using an almost clean what brush I blend the color meat. I apply a second layer off color using a mix of light red plus a scarlet thread. I alternate these mix with the pure scarlet red toward more shades mimic the different cooking degrees off tomato sauce. Not that I try to keep my brush strokes irregular around them for a more natural look, - while these. Secondly, it dries. I starts work on the pepperoni. I use a very light wash off Indian red. I had the secondly year, while the 1st 1 is still wet, this time using light red and I blend them together that I go back to work on the cross. The game, with a second blazingly year missed, made with a color mix of rosiana plus burnt sienna, plus Bert Amber as I explain it in the glazing lesson. Pdf. I tried to reduce the amount off color coverage for each additional glazing layer. This way you will add certification and depth without flatten the sketch. I use a heat gun to speed up the drying process. If you don't have one, you can use in a dryer. Just pay attention to the distance from paper and the temperature. When it's completely dry, I start to color there curled up areas over the pepperoni with a mix of light red plus in your red. I keep the washes uneven as color saturation. Some will have a more intense color. You other will be lighter. Since I'm trying to mimic the overcooked after effect that won't be equal on every pepperoni piece. I also add a light wash of scarlet red in the centre parts of the pepperoni to enrich the cholera beat. And now let's move to the Ali's. I start supplying the ivory black being attention to avoid the areas we mark it in the sketching process CES. They will have to remain paper white. The first wash can be a little light, since we are going to apply in other early here in a minute, while the olives dry, I go back toe the crust for the 30 gazing layer, I use a mix off Bernstein, an A plus burnt umber. I place these color uneven and random over the crust. Again. Don't overdo just a few brushstrokes here, and there will be enough to obtain the cooking effect we want to achieve. Keeping in mind that our light source is in the top left corner, I use a mix of light red plus scarlet red to dark in the tomato on the bottom right side of the Ali's, where they will project their shows to finish our olives. I apply another layer off every black to convey a more to the effect I use a clean dry brush to lift up some color in the areas near the white spots. To give more depth to our cheese stopping, I apply a light wash of rosiana on the lightest areas of our pizza. I blend the beat off at the Junction Point with the red areas to make it look more realistic. I also add some light red plus scarlet red mix on the bottom bottom right side of the pepperoni for some shadowing effect to finish up our crust. I like to add some Charlie spots and amusing sepia to do it. It's a very intense and our color, so try to don't overdo it. I probably exaggerated with the CPM. It should have been better if I stop it earlier, but I like the results anyway, so I won't try to correct it. I keep adding some wash of light red plus scarlet red where I feel it should be some more shadows around the toppings and the cross edge. I warm up. Maybe the pepperoni with light washes off Scarlett and we are done. Our yummy olives and pepperoni pizza is ready to be then sorry. I meant to be shown 5. Outro pizza: our fifth food sketching class. It's 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 released the final class of this serious how to digitalize your sketches and turn them into a notebook's cover. We will cover the basics from scan the drawings, make digital color correction and creatively out. We will also see how you can print these layout as a cover for a notebook and how to create one from scratch with a very few home available materials and binding it. If you have any comments, feedback or questions, please feel free to ask me in the discussion section of the class, and I will answer as soon as possible. Thank you so much for watching in a see you next week.