Drawing and Painting Beverages

1. Trailer and What to Expect: In this Skillshare class, you will learn to see and accurately draw the many different shapes of beverages. Then use watercolor to paint effects for a realistic and yet painterly result. We discussed the perspective of ellipses required to draw the angles and shapes and all beverages. These are applicable to cylinders and other subjects like vases. You will also see how I layer and build up painted effects in watercolor, we experiment with using salt and discuss other materials that can be used to embellish the final paintings. After this class, you will feel more capable of drawing your day and the many drinks that includes. You can follow along with the lesson to paint the exact beverages I do. Or you can use what you learn and paint the drinks that are sitting right at your tape. I use my skills in drawing and painting drinks so that I can enhance my travel sketchbook and daily art journals as I sit with friends or solo at cafes, breweries, and at my own kitchen table. Here are some examples of how you can use the skills you learn in this class to paint all sorts of different things in your journals and sketchbooks. This class uses basic materials like watercolor, paper, brushes, and any set of watercolor you own. It suitable for beginner to intermediate artists who have some ease with observational drawing. Some experience controlling watercolor since the subjects do have detailed work. However, beginners will gain valuable drawing tips and get to see every step of each painting in real time. So I encourage beginners to participate as well. I hope you will join me as we learn still-life drawing and watercolor techniques for your very own daily painting and travel journaling. See you soon. 2. Introduction: Hi, and welcome to my class on beautiful beverages. Today we will be drawing and painting many different shapes. There's a bottle, they're glass and fancy shaped glass as well as margarita and wine. So today we're gonna be painting a bunch of different shapes in watercolor. After we draw them. This is a drawing class and a painting class. So you'll learn a bit about watercolor and some techniques. But you'll also learn about the just accomplishing, accomplishing these drawing shapes on your own. So it doesn't have a template to go with this class that you can print out. If that's something you really desire, let me know and I can make one up. But my intention with this class is to teach you to draw those shapes comfortably yourself. And this is because we gathered, humans, gather everywhere together to be social and to rest and to sit down. And that's my, that's my leisure, leisure leisure leisure letter. So we gathered in coffee shops, we gather in breweries and pubs and things like that. And these shapes you'll be able to apply to a whole lot of other drawing. So if you learn elements of color and reflection through glass, you can apply that to vases of flowers and all sorts of things, buildings. And I think that there's a lot to gain from this class that you can apply to other drawing and painting as you go. The other reason that I am teaching a class on beverages is because man, I paint a lot of beverages. So here's some white wine and kombucha. Right below happened to be some tea cups. And let's take a look at what we have in this little travel one. So it's a way to sit down and document. This is me in San Antonio sitting at Huff Bauhaus with my mom and I painted the beer there. So what you're creating a memory right here, it's even more detailed. This is like a little art journal element. So you see I labeled each of the beers in the flight that I was sampling. Separate book here. Look at those tabs. There's an awful lot of hemorrhages. So just a glass of water in a Denny's. Nice to look glass from our local brewery. Some orange juice and a coffee cup while visiting family for Thanksgiving. And someone had a T, a bottle of t. Distorted but still very cool. Fancy wine glass for a friend's birthday. And again another, this is a beer garden and new bronchioles, Texas. And so again, more glasses, different perspectives That's looking more down at the table. There's still more. You can just fast forward to materials if you don't want to see all these. One of the drawings we're doing today is a bottle shape. And while it's a corona bottle, the skill is still the same. So you would be able to apply what you learned today to draw all sorts of different types. This is a mini champagne. And that was to commemorate are my engagement. So everyone has a little meaning. And this is what I mean about once you learn glassware and shapes, you can apply it to anything so you don't have to draw alcoholic beverages. You can draw Ice, coffee's, you can draw vases, you can draw mason jars and water bottles and all sorts of stuff. You will never again lack for subject matter because there are beverages and cylinders and these shapes everywhere you go, you will always be able to apply what you learned today into your future drawings, sketch book, journaling, etc, etc. Let's go find out what materials you're going to need for this class. 3. Materials: The materials for this class, you'll need a pencil and eraser. I'm just using a mechanical pencil. It really doesn't matter what pencil you use. I like these because they're so sharp all the time. When your pencil gets dull, you've got a much broader point and it's going to make a mess of your drawing, the pencils, and they'll show up more when you add watercolor. We aren't making this project to be a drawing with where we'd use really nice drawing pencils. The final element of this really is watercolor painting. Any light, fine pencil will be perfect. I just use this eraser, but you can also grab any eraser of your choice that you need. I have some simple watercolor brushes in size 246. They're pretty detailed. I don't normally use such small brushes. I normally have much bigger brushes for painting. But we're working with very interesting subject matter that I think requires some finesse. The watercolor set I'm using is only about $20, I think on Amazon it's premium marketing tropical oils and has all the colors you need. To achieve this. If you can just use any watercolor you have, as you well know, you will need paper towel or some sort of towel to be able to control your water on your brush. You, you cannot paint watercolor without something to sort of absorb moisture. This is how we control the paint and the water that we're working with. Then you'll need some watercolor paper. You're welcome to try doing this on mixed media paper. But I wouldn't really recommend doing it on any sort of lighter paper that's going to warp and wrinkle and affect your beautiful effort. So this is Strathmore. It's a really great book. It only has 15 pages. Um, so that's the downside to it, but the pages are super thick and they have a thin sheet of paper between each drawing. And I think that's really helpful too. If you work fast and you're kind of moving through, it will absorb excess water. It will keep your work from smudging the pencil. And you can also use acrylic and mixed media on here. And you won't have acrylic pressed against more acrylic and that can get stuck and tear and such. So those are all the things we'll need, plus obviously water. And now we can begin our first lesson. A couple of optional materials. One is salt of varying coarseness, fine and much coarser grain. This is kind of in-between the two that I use in the class. And that is for experimental sort of textural techniques. So you can see what the fine grained salt does and what the thicker green, the coarser grains salt does. Then I also discuss the potential to use white ink, white acrylic paint, or as I do in the class, white gel pen, just as like a little cheat at the end to add details. My favorite white gel pen is uni-ball signal. I get the broad ones. It just rolls better and it's the right size for sketches. And then jelly rolls a good backup. White gel pens dry out all the time. So that's a bit frustrating, but we use that in this class to achieve a couple of different little highlights after the fact, it is not necessary, but it is what I use in the class to achieve a couple of those little last minute details. Alright, see you in the class. 4. Beer Bottle and Symmetry: All right, first things first, I'm going to walk you through some different beverage illustrations. And we're going to learn how to draw V, some tricks and tips to getting these very different glass shapes down. And then we're going to add watercolor to them. They happen to be alcoholic beverages, but you could make yours virgin Dockery or you could take what you learn in terms of making ellipses and perspective from this lesson. And you could pick any number of beverages or still-life objects. Alright, let's begin by drawing some of the various shapes that the drinks that you might want to include. So for starters, it's going to be a lot simpler to just draw the beverage as if you're looking straight out at it. And so that's going to be we're going to start with the beer. So you're not dealing with the ellipse, ellipses, the ovals and such. Right away. We're just going to start with, there's a slight curve to the top. But that's a lot simpler than if you're looking down at the beverage, for example. One of my tricks for drawing me zoom in here. One of my tricks for drawing bottles is to start with a line and do this very faintly. If you can. You start with a line down the center. You could go all out and use a ruler, but that's not really what we're here to do. We're not here to be super specific. But what this will help you do is it will help you keep your bottle in proportion, sort of looking the same on both sides. So I've put a very light line through the center. For the sake of teaching, I'm going to make it a little darker so that you can see it for sure. And I've got a slight curve at the top, a little frown going on. And I've made two bumps to sort of show the top of the bottle. And it can do another curve just barely, just to match the, the top of the shape there. Then this bottle comes out a bit. Bottles are tricky, they really are because they're all different. But this way, you can measure sort of how far out. And I'm just buy measure. I mean, just visually. How far out this side is going. And try to keep it symmetrical with a line down the center. It's going to be a lot easier to notice lopsidedness. And it is totally okay for us to make some lop-sided drawings that's not going to add character, it's not going to take away from the memory of it. Then the bottle blooms out here. So I think I'm just going to make a mark and advance equidistance from the center there. And then that will help me sort of do the, the curve going out. And it might not be out quite far enough. So let's make it a little farther out. Here. We go. From there, we just go straight down on both sides. It's okay if it looks a bit too geometric at first, you can always round it out as you go. Now, our reference picture has this beer just sitting in the sand. So that's a nice, easy sort of quote unquote cheat, where you won't have to deal with drawing the bottom of the bottle. So you could just put it in some sand by making some suggestive flowy marks around here. We've got one in front. And you could make a little flowy sand in the background too. If you're not into that. If you don't want your corona planted in the sand, then to do the bottom of the bottle that you're just going to add a bit of a curve. We're looking straight at the bottle. We're not looking down on it too much, so we'll just do a slight curve, just the smallest smile here, and curve outer edges there. And let's add, we don't really need the center line now because we've got a bottle shape looking fairly symmetrical. So you can erase that. Remember that I'm drawing dark so that you can see, but you're going to want your drawings very faint. Just suggestions. I think it's fine to see pencil marks through your watercolor. You might not like that. So remember to keep your touch very light, not like what I'm doing. I'm just doing this for an example. So the corona label, I think this might be a little short. Let's make it a bit longer. Then. We're going to slap on a label here. So the coronal label starts at the widest part of the bottle and it goes pretty much straight across. If we were looking down at it, there'll be more of a curve. It comes out just slightly on an angle like a little arrow triangle shape, and then make the bottom of the label just as curvy as the bottom edge of the bottle. And that will help give you that round appearance right from that center, that's where the label has changes color. So we're going to make a slight swoopy line there. And let's add the shape here. The kind of looks like a sun setting only flipped and we're not going to add text right now. You can totally add that if you want. I'm going to keep mine super-simple and suggestive and just put the crown on and the little random shapes here, just to suggest. And then the beer goes to about here. And it's a little curved just slightly to match the top here. I'm going to add some color change in here. Then let's add a line that's a nice touch. Let's start with from right here to about here. That's gonna be our nice curve, the edge of the lime. And then this edge is rough. It gets squashed in here, so we're not going to see really much of it there and then kinda comes down here. Add a bit of the can't really see through the lip of the bottle there. So I'm just going to kind of blur that out and then it becomes more in focus again up here. That's nice green edge. You can add in a couple of sections of the lime as well if you'd like. That's up to you. How detailed you want to get. You could just suggest the lime in there. You don't really need to get that crazy about it. Alright, so I've redrawn the beverages Fairly faintly onto this watercolor paper so that we can add some colors. So I'm going to use, I'm going to keep the brush large here. I'm going to use an eight just to hold more water and get more of the fun. Loose watercolor effects. And I'm going to start by mixing the light. Lemony yellow. Now my tropical is palate doesn't really have a lemon yellow, so I'm going to use lots of water to make it paler. I'm going to add a bit of green to it. In fact, my asthma green has a really light lemony look to it. So that's what I'm going to do. My my first layer in the corona. Now we're not doing these two look high realistic, that's a whole, another way of painting. We're doing these as if we were actually there on the beach and just trying to capture a memory or moment. As it comes down the side here, I'm going to add more green that's sort of shading it a bit darker. The edge of my glass, the edge of the bottle has more of that green in it. So while it's wet, I can drop some more green into it. I'm going to grab a bit of this nice turquoise green. I'm watering it down so it's not too strong. And I'm going to add that up here because this is the ocean water or the sky showing through a bit of our beverage. So I'm just going to plop it down in there. Don't have to be too precious with it. Let's keep going with the yellow down our side here. I'm going to make mine a bit more golden as it gets towards the sand. So I'm going to add some of this yellow ocher to deepen it, to deepen that yellow rather than the green. And I'm even going to add a tiny bit of orange to this, actually activate this. My pans are all dry. I could have sprayed some water on them before I got going but didn't. So here's a little bit of orange to drop in. Whenever I add watercolor or actually any medium of paint. Whenever I'm working in paint and color, I tried to add as many different colors to it to cause variety within the color. And you can go overboard with that. It's true, but colors are never, they might look like they're a solid. Green are solid yellow, but when you add varying hues, it really does, I think, help it look more realistic or come to life or be less stagnant. I'm adding a tiny bit of the brown to this side. It's kinda my method of shading right now. Just dropping in some color. It's kinda dried up a little more yellow, so I'm wetting it to help blend it in. And I think I'm going to move on to the lime. Got some greens out anyway. So it's got a really vibrant green going. This one, this is like a dark green. You don't need that. Right now. We want lime green. I'm going to leave the area between the rind and the fruit of the line. I'm going to leave that white for now and maybe add a tiny bit of color in a minute. But let that be lighter. Dropping some deeper green along the way where it's closer to the edge. And I want it to be more yellowy, closer to the center of the line. That's enough variety for me. It's pretty simple but effective. And if you need to switch to a smaller brush for some of the details, go ahead and do that. I'll drop to a four just to paint the rind, I'm going to get a nice, Whoa, that's dark. I'm going to get a nice medium green going. A bit stronger than what we used for the lime, bit darker than for what we used for the fruit part of the line. When it goes into the bottle, I'm going to make it a bit paler because we're looking at it through the glass. Alrighty, That's all I'm gonna do for now on that, I'm going to let parts of these dry. I'm going to paint the bottom of the corona label. And I don't have a black in this set and you don't need it. I'm just mixing some of my darker colors like blue and brown and purple to get a deep gray. If you want to color swatch, I think color swatching looks nice on the sides. You might not, you might want to keep your sketch book pristine, but I quite enjoy testing out the colors I've mixed on the side or along the edge or on another page. I don't mind it on the same painting, I think it looks kinda neat. So if you're going to touch this color next to the yellow, if you're going to actually touch that, it might bleed into it unless you've given it time to dry. But I'm leaving a little gap here. Or you might really love that look of just different colors bleeding and together. It's a really nice effect. I find it beautiful. So just up to you whether you want that happening here or in another part of your painting. One color that I love using instead of black, I'm, I don't have black here as I already said, but I like using a Payne's gray can get quite a dark value to it. And it just seems a bit more lively, bit more complex than a like Mars Black. It's more blue. Okay, I'm touching this color next up right up to the yellow and it's not bleeding, so it's dry enough. And there's a whole bunch of colors going on right there. I kinda like that. I think it's more interesting than a solid going to make it more blue. And then going to, it's a silly detail maybe, but I'm going to just do this carefully. This is something that you could do with a pen later. Part of the design. Not, not terribly effective. It doesn't really look like the label, but Again, it's not really what I'm going for here. The little details up here are golden. So it's going to drop them in their very loose just to look like blobs. But it does the trick for me. In capturing the general design of corona bottle. There's one more detail we can add, and that is the sky through the, um, the bottle here. It's a blue. I'm not sure that this set has quite a bright enough blue. I prefer to use cerulean for my sky. I'm going to steal it out of this set. It's just one that I like. I just made this panned by pouring the paint from the tube in there. So I didn't really buy this color in a set. But it's, it's hard to achieve a sky blue. Sometimes you just need to buy the right blue. It's not something you can just mix. If you don't have a brightness blue, you don't have a brightness blue. Sometimes there aren't tricks around color. I'm leaving some areas white. I don't want to go right through it, but just a bit here and there. I'm going to add darker blue in here. And this gray I've created, going to make it much paler. And use it to add some, sorry about the clearing of my throat. Add some definition to this white-label, so it's not just pure white. I've come back and done this in. It's dry right now. So that's why it's not bleeding in with the yellow. And because it's dry here, I can add the lovely golden to this part. Makes sure it's dry or that's going to become a muddy mess. Think there's not really a white. It's a light yellow that goes right here. Again, I don't really have a lemon in this set. Maybe we can steal a lemon from here. This is my shrink set. So that yellow actually came in it. It's 12 colors. And they're really, really vibrant and effective. I love them. So that's very lemony and I'm going to add that up here. And I'm going to add some lemon elsewhere for a little zing. I think we're done for that sketch for now. I always say I'm done and then I catch a couple more things I could do. You can add a tiny bit brown to the top here. I kind of see that little brown rim in the resource photo. Alright, let's move on to our Dockery. 5. Daiquiri and Salt: We're going to do the DAC reshape. And to do this, we're also going to take a very, a pretty straight on view. We're not looking down at it. So let's put it on the same level here. We're going to start at the bottom. And we're gonna do a nice curved base. And it's going to be maybe about the same as the beer bottle could be a bit bigger. And same thing because this bottle has a very curvy shape. At bottle, this glass has a curvy shape. I'm going to Draw a line, make yours very faint. I'm gonna do mine a little darker so that you can see it. And this will help me get the stem centered properly. Here's my stem, and it starts sloping out right about there. You can see how easy it is to make your beverages lopsided. So don't be too hard on yourself. This is, it's kind of fuzzy work making it perfectly symmetrical. You might skip that entirely and not bother with it. So we are stem goes up to about here. We have a nice wide bowl and then it comes in. Can you see these marks I'm making? I hope so. Yeah. And then it's going to go back out but not quite as far as as the base there. So maybe to about here, somewhere in-between. So this is the widest part. Narrowest, comes in a bit and goes back out. So let's slow bar beverage, glass up like this. I'm not going to worry about how perfect it is. This slope right here is a little way to make this slightly less drastic. So this is more gradual than this. This angle is nice and gradual and then comes back out. And we're going to do a very slight curve on the top, a little bit of a frown and erase my little marks. And I think I made mine a little narrow. These glasses come in all shapes, so it's up to you how much of a perfectionist do you want to be with this? But it is not too tricky at this point, especially if you drew lightly to just make it a bit fatter. That's going to make mine a bit wider. That way we get more Dockery in it. There we go. Our drink, it comes right up to the top, so that's not too much to draw. And let's add the straw. I'm running out of paint page up here, so I'm gonna make my straw that's shorter. You can make yours longer. We can't really see it too, too much in the glass, but it comes up here. Slight curve at the top helps it look cylindrical. And there you have it. You've got your basic shape for this drink. There's a couple more details we can add. You can wait till the painting portion of this or you can add them now, part of that, where were these sort of smile shapes here? And then there's also, if you look at our reference photo, an arch here, kind of where the drink meets the stem. You've got these shapes here and that just helps make it look realistic like it's glass. So when we add the watercolor in here, this is the darkest part right here. And then we're going to have all sorts of frothy goodness in this area right here. Back up to my eight brush. And I'm, this is an opera rose. I think. I didn't write it down just from a tube of mine. And it, you'll see it as a nice hot pink. I want to mix that a little bit with a red, not the color we're going for here. This is the tropical sat. And so we have some very interesting rents. We've got this pink and this pink. It looks very red and we don't really have that orangey red. So I'm reaching over here off of the Out of camera here to get that cadmium red, that bright orangey red. And I'm going to mix it with a pink. And this is going to get us closer to the color of the drink that I'm trying to get here. That makes me happy for now. So I'm going to start in here. Now, one really neat way to get the IC look of the string would be to add salt. It's a technique of water in watercolor, I'm sure you've heard about. So we'll paint in the bottom here and then we're going to play around with some textures for the top, I think there'll be lots of fun. And it's not necessarily something that you would have with you on the road when you're actually travel paintings. So we might as well take advantage of getting stuck at home. We have salt, least I hope you have salt. So I'm even adding this little weird arch shape in the bottom. And now I'm going to take a little break to go run and grab some salting, going to soften this edge right away right now because I don't want it to form a hard line. And I'll be right back with some more materials. So what I have here is regular table salt. That's pretty fine grain. And I also have course. And they'll work differently. When thrown onto watercolor. Really huge grains of salt. It's just going to work a lot, a lot differently than the fine grain. So I'm going to just set it right here and play. I don't use this technique a lot, I just thought of it now. So if it fails, it fails, but we're gonna give it a shot. We're gonna get a lot of pain, a lot of pigment, because if it's too pale, you're really not going to the salt when it sucks up the, the moisture, it's not going to show this nice crinkly texture unless we've got lots of pigment and lots of moisture on there for it to draw into the crystals. So lay it on. Don't be shy. I'm going to make it more orange at the top. Just because variation is nice. And as it gets farther down into the wide part of the drink, I'm going to let it get sort of pink ear. Very vibrant though. It's not muted like this, it's in your face. So let's experiment. Let's put a couple of big grains right in the middle here. If you add too much, it'll suck up a lot and you won't really get the texture looking for. We're going to add the fine-grain. Look at the difference here. You know, Salt. Don't need to tell you about salt. We're going to put that at the top here. And for fun, maybe a little bit down here. So I have put it fine grain and then big grain in the center just to see the difference together. Why not? As that dries, let's add to other parts of the painting. I think you'll probably want to go down and brush size. I'm going to jump back to my four. You could use a six depends on how big your sketch book is really how much, how big you've drawn these. And I'm gonna get some of that sky blue. And I'm going to let that show up through the glass. It's a beautiful I'm gonna put that at the very top. I don't really want it to contaminate the orange, so I'm trying to keep it separate with some white in-between. And I can make it a little darker, a little more zing. At the very top. You see how little I just added a tiny little touch and it spreads out. Don't need a ton. Back to the pale blue. Diluted even more and I'm going to add some into my straw. You might wish to paint your background. Blue sky or something like that, in which case you'd probably let your straw, like retained some white. But since ours is a white background, I'm just going to lay in some pale blue and a bit more down here. Now, remember those blue rings we saw that we sketched out. Those can be a bit darker there, reflecting water and sky. Because our resource photo is of a glass sitting on a beach. Because that's where I want to be right now. It's okay. It looks a bit stripy. It looks a bit like the glasses, blue and white striped, but that's okay. Add a bit more blue here and a sandy color. So I'm going to use this ocher and I'm going to try to tone it down with a bit of the purply gray. Maybe even add a tiny bit of pink. See if I can get sandy color. You want it to be a bit brighter than that, a little less sad and dirty. So let me add more water. Clean up this area a bit so it's not quite so filled with purple. That's not bad. If you add a lot of water, it will be nice and pale. I think I might want a bit more yellow in it. Then we're good to go. We've got some nice sand color with what we've got here to work with. So and add that to the center. I'm aware that this part is wet and I'm just letting things bleed together because create some interest and kinda makes the painting look a little less stiff. This reference, you will notice has a beautiful long shadow that you could add, and it's just a big ellipse itself. It's just like a big oval. So if you have space on your final drawing to add a shadow that would greatly enhance this little painting of this drink. And I think that we need some shading in the beverage itself. So I'm going to use a bit of purple and a bit of that deep pink and add some shading in here. Just to kinda give it the roundness, give it some volume. Painting over salt is not a technique that I'd recommend. It's not going to work. It might actually mess up some of the texture you've already made there, but I'm not being too precious with this. It's kind of just an experiment. I'm just warning you, Casey, you're following what I'm doing. I think we have a lot of variation here. I'm a little concerned that the salt didn't pull up enough of the paint to create that white sort of crackly. So I might go back into this with a bit of ink or pen afterwards. But one way you might be able to lift some color if you want it to be a bit paler and you kinda laid down a bit too much color. Is too wet your brush, clean, wet brush. Drag it over that itself. You can see we'll pick up some of the color, but you can also dab it with a paper towel and wow, it comes right up. So if you think that you didn't leave enough variety of value going in through here. That is one way to re-establish some lights. It's not ideal. If you have to have good paper to do this play a lot so that if you have really cheap paper, it can tear the paper a little bit and create an anoxic desired effect. But I am going to add a tiny bit more of a shadow on the left here. And then I'm going to call this done. All right. Just before we move on to the margarita, I wanted to take note of the fact that we left the salt on there and moved on to another painting. And we didn't we made sure not to brush this off until it is dry. It is still slightly damp, so I'm still not going to brush it off. That could leave streaks of paint elsewhere and it could mess with the texture happening here. So wait until this part of the painting is completely dry before you brush the salt gently out of the way to see the texture. But already we can see the very interesting texture it's creating with these little sort of coral shapes happening, these little mini blooms. So There's some neat texture happening there. Maybe not quite the variety in light to dark, but I was hoping for, but still quite an interesting texture that you can play around with for beverages. 6. Mojito: This is the Mohit though I chose it because I love this beverage. It is so refreshing. And also, it was one of Hemingway's favorites. And I'm reading a book about Key West right now, which is where one of his houses were. So I've actually been to that house and it was really exciting for me to go and look at this lush house with all the cats around there. He's a bunch of six toed cats and huge palm fronds and a catwalk going from the house to the little place where he would write. Alrighty, So this one is going to be a cylinder shape, very basic. It's a shorter glass. So again, remember to do your drawings lighter than what I'm doing here. A wide glass. We're not going to do a Tumblr sort of whiskey glass. We're gonna do the sort of small juice glass. I've got a slight curve. You can make it even less curvy at the bottom there. And then we're going to kind of show the edge of the glass. And then where the beverage comes down is right here. We've got our main lines in there. Again, adding slight curve to it. Going up is going to help make it look like it's round. And we've got at the top, Let's make it mostly straight across. If if anything, it's going to be a bit of a frown, bit of a curved line going down. And there's really not much more to this shape. We've got a highlight here that, so you might lightly draw that in with pencil so that you remember to keep that part white and it tastes. You don't have a white gel pen or ink like this that you could paint over watercolor with. It's important to remember to leave your white, your whites there. So you might draw that highlighted and there's another little one here. And then let's draw some mint. The best part of omega is this mint leaf shape. We're going to put two in here, kind of spiky edges. And this leaf is butting up against the edge of the line. So I'm going to jump to the line drawing right now, going to go out like this. Come down a little bit and this is the back of the line, the rind. And then this is kind of the edge, the uneven part. And you can add in the sections again if you want. This looks like it's a wedge, like this. So the sections are a bit different. We're looking at it but differently, but there are still sort of veins coming in like that. Then let's finish at the top of this leaf. You can add the third leaf in there if you want. I'm going to just say it's good at two. We have tons of flux of ground, like blended mint throughout the drink, and we're not going to worry about adding that now that'll be a fun touch to add. When we get to the painting of this drink. Starting with, let's get a really nice yellowy, lime green for a nice first wash down here. I'm going to leave it much paler in the center. Add more pigment around the edges. See that little white area I'm leaving. That's the highlight on the glass. There was another highlight I just painted over. Grab your paper towel and lift it off. I'm going to leave that highlight there to adding more water to the center. Kind of leave it lighter. Now as we get down towards the bottom, let's add more paint. There's a beautiful sort of murkiness to our resource photo. I'm adding a tiny bit of brown to the green for the shadow down here. And then I, there's a couple of ways to go about that wonderful sort of ground-up mint texture. You could mix a medium green with your brush and just make little dabs and flexing flakes. We could also lay papers around this so that we don't splatter the whole page. And we could. Flick our brush and get a nice splattered effect going. There's a couple of different ways we can approach it. Going to paint a little bit of the glass green down here because it's reflecting the beverage. I'm going to add a bit of darkness to the lip here. I really like the way that that was semi dry and so it bled a little bit. We're going to have little pockets of so that's already dry or so we're going to get different textures. So where it's wet, it's going to bloom into these little areas which I think is really lovely for this drink. And where it's more dry, you're going to get little sharp, more sharper marks. And that is also going to add a nice variety to the string and its textures. If you're having fun and you don't care about the surrounding area so much, then you could just lay a splatter on. That's a really nice effect for, you know, any watercolor paintings. I'm going to test it off to the side here first. You need a bit more paint on my brush. But yeah, you can. Splattering watercolors like a thing that lots of people do. It's a stylistic choice. That was me flicking the brush like this. But you could also get your paint on your brush and drop it. So smack it against your, your finger there and it will drop much larger pieces of paint onto your page. So this is, I'm, I'm enjoying all of it. Like this bladder. It gives it a sort of a party feeling. And I like the fine splatter and the fixed bladder like the combination of the both. So that's good. Let's get some yellow into our green and work on this line. Has a bit of a yellow edge to it. I'm blending that into a darker green, which is the the rind, leaving a little gap just so they don't all bleed together. I'm going to paint in the fruit part. It's in shadow. The light isn't hitting it directly, the light's hitting the top. So it's going to be I'm going to leave it a little darker than the glass next to it. And I want to do the mint leaves. They are a different kind of green altogether, super bright. Better, this is the best one for us. Dab of green there. Be careful where this color meets the lime. If you don't want it to bleed, you gotta leave a gap or wait for it to dry. Watercolor takes a lot of patients sometimes. Now in the center of this leaf, I'm going to drop more green and it'll bleed out. It takes a lot of time to control your bleeds, to control the amount of water on your brush. So don't be frustrated. If you add dark green to the center and it, you've added so much that it just filled the whole leaf with dark green. Just embrace the result. And if you want a different result, then just keep practicing it until you've figured out just how much moisture needs to be on your brush for that area. I'm going in here and I'm darkening some of the drink. Whoops, I almost painted that highlight. Again. You do that a lot. Don't maintain my lights. So I'm going to clean my brush. I'm padding it dry and I'm picking up some of this color so that it's not quite so invasive to the rest of the glass. And I'm going to use a nice purply neutral gray for the shading of the glass down here, rather than the blue of the other two. And I'm going to let it be a bit darker on the edges. Dropping some color in there and letting it bleed into the rest. I'm going to mix a bit more of my quote, unquote black, ish, color, some brown, blue, purple. Just getting a nice dark value doesn't really matter what the hue is here. And then going to just enhance this bottom edge of the glass. There's a white highlight on this side, so I'm not touching it. There's a really nice yellow glow right here, but I did not preserve the lightness there. So I'm just going to take a bit of wet brush and lift some of the color out of this corner so I can get a nice yellow glow going right there. I actually touched this and it's wet and so it's bleeding in there. So if you're wondering what's happening, that was an accident. So we've got a bit of a glow go in down here and going to drop reaching over offscreen here for that lemon from my other set. And I'm going to just drop some lemon in there and see if that won't lighten it up a little bit in that corner. This is still looking a bit abrupt between the dark edges and the center here. So it's going to try to, Is it a bit? There's some nice blooming happening in here. It looks like crazy, but I'm not going for perfection. I'm going for some character here. So I think I'm happy with the current amount of stuff going on in this class right here. Let's make a dark green that we can place into our mint leaf as a shadow here. So that's a shadow on the second leaf. And because this is fairly dry, I can go in here and add a bit of texture. You might even switch to a smaller brush. For example, this is a two. And I can get some little veins going on here. A lot easier than with the four. Again, I'm not really honing in on the details. I'm just suggesting. Now we did leave the white on this line here and I think now's a good time to just it's for sure dry. We can make a pale yellow and just take a bit of that harsh white out of that and part of the line. And we can do the same rate over here. So it's still has a light value, but it's not completely white unpainted. That brings us to pretty good place with our Mockito. I'm feeling the need to let me just put down the two that is too small to be of use right now, I'm finding the need to create a tiny, tiny bit more shading. This seems to have pretty much the same value. This is a little darker here. It's creating some interest. And I think I just need to create a bit more depth, a bit more darks in here. And I might as well, while I'm at it, use those darks to create shape. Enhance the shape of the glass here. I'm adding a bit more of an olive green in there. I'm going to mix a dark green and add a line right here. All these little things we'll kind of work together to create some interest. Grabbing a pale gray here and getting the top of this glass. There's some bars. I mean, now we're getting a bit nit-picky, but there are some neat reflections going on in the corners here that you can add if you so desire. There are a million ways to make glass more detailed. All right. Good job on the Mockito, everyone. Time to move on to our margarita. 7. Margarita and Perspective: We're going to do the margarita. Margarita is a very interesting shape glass. And we're also going to look down. We're going to try looking down a bit at this one. So this is an angle you could take with all of the beverages we've done so far. And instead of doing a slight curve like this to show the top of the drink, you can do that if you want to look at it straight on like the others, you can do that. But this one, our reference photo, has the, is looking down at it. So we have the nice opening. This. It takes some practice to get it looking like the right shape. I think it's a little more squished than this, a little more narrow than what I've drawn it. So take your time. It's not as not as circular as you think it is. A little trick about ellipses is that when the closer they are to the horizon, the thinner they are, the narrower they are. So if we're looking straight out, Let's say this is the horizon. We're looking straight out at something. Then the ellipse will look like what we've done so far. These little it'll look like these just barely an arch. Okay, So that's what it looks like when it's near the horizon, right? It's very narrow. It could be like this a bit or it could be curved in a frown shape as it gets farther up. A way for looking, let's say we're, we're looking up at a beverage from below. It's going to get wider. So this measurement right here, suddenly wider and the farther away from the horizon it gets, the bigger that ellipse will get the wide or the oval. Same thing looking down. So if we have a beverage, the top is going to be thinner and say this is our glass or whatever. The bottom ellipse, the base of the wine glass or whatever is going to be much taller than this area here. So if there was a another, let's say the, the, let's say this is a straight drink here. This bottom is bigger than here in the middle. It's gonna be somewhere in the middle. So this is, let's say you've got half a drink lift glass is half-full, glass is half empty. This measurement is going to be in-between this one and this one. Okay? So that is a trick to help you get the shapes looking right? Otherwise, you're going to draw this big open top of a drink. And you get down here. And let's say you do a narrow one. And it's going to get the perspective off. It's going to look wonky. So let's keep that in mind as we go into this margarita drawing. So if we have this narrow opening, I mean, that's not, not too bad, but here's the top of the drink. Too big. We've got a lime in here. That arch is going to bug me. It almost comes straight down for just a minute here and then curves in. So this is a margarita glasses are cool. Bowls right here. It's flat, it's not too deep. And then it has another part coming down here. So think of that as two different components to different sections of the glass. So we'll erase this in a second. We're just getting the shape right. So here's your lifetime. To do the little sections in it. While I'm doing this very roughly. Take more time on yours. Curving it in, making it look a little less sharp. And if you need to do that trick of the line through the center to get it looking less wonky. Mine's already uncentered here. I'm going to bring this site out a bit to match the side on the left. We get down to the stem. The drink ends here. And We see a bit of the glass there, and then it comes down to the stem. And in our reference photo, this part is missing. It's covered with flowers, but we're going to use our trick from this little moment and repeat it down here. So we want the base of the drink to be a bit more round than this. Right now, that looks almost the same. We could just do a little measurement here. So if I do this, it's almost exactly that. And to do that up here, this is my really easy way to measure. Without a ruler around. You can just mark, okay, it goes to there and that's about the same. So we want it to be a bit a bit thicker. Maybe want that oval to be a bit wider at the bottom here. Apologize for all these lines. Just goes to show you. You've got to feel it out a little bit. I think that because of my page, I'm making this drink a little too short, but this glass a little too short, but that's okay. Make yours a little bit longer. The stem doesn't join up right here because we're not looking straight. Looking straight out at it like this, where the stem joins the base. We're looking down on it. So the stem is going to come down into the middle of this section instead of up here. Then we tried to center this, I'll do this drawing again and better when we are getting to the painting section of these drinks. But here you have the basics of how to make these four unique drink shape. These glasses for different cocktails. We have a salt rim on this, so maybe mark that out with your pencil so that you don't paint on that section. Keep it white. Preserve your whites so salt or sugar rim depending on what you like. And this section right here, where the bowl meets the the base, Let's suggested a little bit but not have that harsh line that was drawn there a second ago to get the shape, the initial shapes down. Take a look at our reference for this. There's some shadowing in here. And that would be enough to suggest that there's some highlights in here as well. I see the mostly on the right here. And that does it for the basic shapes. Let's move on to painting them. I'm going to do the same thing I did with the last drawings and take this gummy eraser and just lighten lighten that graphite so that there's just less pencil showing through. I don't mind seeing pencil through my watercolors. I think it's quite nice, actually, a nice effect, but I'm a little too much can take away from it. I'm just going to draw your attention to the base of this because I wasn't super-duper pleased with the base of the last margarita glass that I drew. And I just wanted to show you how the stem comes down into the center. And there's this sort of like area where it connects to the base. And the base is this ellipse that you can see from here to here. The from top to bottom here, how wide that oval is, is wider than the oval at the top from here to here. From the lip to the lip. So that's just a reminder of the perspective of these ellipses. And you can kind of lightly See that I had used the same trick of the line down the center to get a fairly symmetrical drawing. Now let's splash on some color. And that will bring us to the end of our little vacation beverage portion of this class. So let's begin. By mixing a fairly light Smokey, green color because this is a frozen drink. First, I'm going to clean up these wells a little bit just because it's nice to have some premixed colors in there. But sometimes I don't have a huge, huge set, a huge area, surface area to mix on. So sometimes it just gets a little hard to keep your colors clean. And I've got my eight round brush. And I'm going to start with testing these colors because these two or so similar, they look so similar in the pans here that I have a hard time telling them apart. So this one's more of a Hooker's green and this one is the more sort of ocean blue. We're going to add some cerulean to it. Could use ultramarine if you want to. And we're getting this kind of smoky blue. It's probably leaning a bit on the blue side. So I'm going to add a bit of this very yellow as all green. And that is, we only needed a little tiny dab of that because it takes over. And I'm going to test on the side here, I think that's still pretty vibrant, so I'm going to try to tone it down a bit. This cerulean is somewhat opaque. It's a kind of odd watercolor. This is going to be perfect once I add a bit more water to it to sort of de intensify, de intensify. What's the word? Grab some. Mix. A Smokey green. You could mix a regular green with a tiny bit of black. You can mix in a tiny bit of purple to make it the sort of dirty, Smokey green. And then we're going to lay it in and paying attention to the areas where we want to leave. White of the page to look like we have a salt rim going on. So I'm laying this in. It's pretty subtle. This color. I'm pleased with it. And I'm going to leave room for the salt rim. And the highlights as well. We have highlights in here. When it's near the edge here, I'm going to add a bit of lemon yellow. Just on the edges here. Just have a little bit more. Haven't glowing a little bit more on the edge. Letting a little bit more light in the center. I'm going to keep Smokey green going and I'm going to actually have it get a little more gray in this bottom of the part of the glass. So as I said before, a little bit of purple. Now my purple is super vibrant. If you have this set of tropical oils, the purple is just intense. You're going to want to picture. You've led in a bunch of diluted it a lot, letting a bunch of water to kind of calm it down. Unless, of course you are looking to make just a super bright watercolor that pops. I'm trying to be a bit subtle here, slightly more realistic, but you could just go wild and make these super bright and fun. There's no real need for high realism. I just painted into this highlight a tiny bit, so I'm gonna take it out. I wanted to outline it, not completely paint over it. It's okay. And in the top of the glass, I'm going to add a bit more of the yellow, green. Make sure it's not too crazy. I kinda like that. I'm going to just use a clean brush and sweep it into the rest of the glass. I'm working with this all quite wet so that I can achieve some smooth textures without too much too many lines and too much hard work with the blending. I'm just kinda letting the colors blend themselves. Now, I've done the center and our reference is quite dark. But I think that we get go in. We get kind of like a black or gray dark color. We can get some of this. This room painted in the part of the rim that isn't covered in salt. Going to add a bit of the room back here, make it a lot paler. And adding some shading here, some shadow side of the glass. There's no real wrong way here. We're just adding some definition here and there without overdoing it because there's a heck of a lot of white up here. Now, I've added the lime to, on the opposite side of the glass. Just for room on the page. I drew it a little bit too close to the left. So add in the bowl here. Tiny bit of shadowing. Then the center of the stem. Keeping these curves kind of defined. And just just suggesting the rest. I'm not really going to go crazy with it. Mixing blues and grays to keep it varied. Making sure I've got a nice pale color here. For the side. The more see-through parts of the glass, I'm going to leave these little white bits here. I think it is effectively looking like some highlights on the glass, so that's good. Adding a tiny bit of darker value. And before we go any further, we should probably dive into that lime. So if you've got sort of a hookers green, I'm mixing neutrally. Not to BCCI, not too green, sort of like grass green. For the back of this lime. I'm going to transition into a bit more of a yellowy green as I come down there. And then I'm going to, there's a bit of a highlight on the back of the line. So if you want, you can add that later. Or take a clean damp brush and lift some color out to create a bit of a highlight even on the skin of the line. And then I'm going to do the center sections leaving some white just as we did in the other beverages. It's not realistic, It's nothing fancy. It's just laying it in so that it looks like what we wanted to look like. It immediately jogs our memory to that amazing imaginary trip we took. Maybe this is a real memory that you're finally getting the chance to bring to life in your journal or sketchbook from an actual trip you took and you didn't get time to paint, you just had time to take pictures. And now you finally get to recreate it with a bit more of a personal way. Now it's going to be hard to. Define the salt rim when we don't have a dark background to pain. You may choose to add in a blue background, sky blue, the beach scene that we did with the others through the glass. Or you could just try to get a bit more detailed in your texture textural edge. So right up where the salt would be, you could get into a bit more of a dabbled sort of edge here. And that will sort of give it the texture you want. I'm using the very tip of my brush to get some, some fine texture. And this is creating a bit of a dark edge, but we can blend that out in just a second. I'm cleaning my brush. It's clean but damp. And I'm just swiping it along too, create a more natural edge. And in the back, I think, rather than do green up here, which will just look like the glass is very full. I think what I'm gonna do is use cerulean. And having that issue I talked about not having enough room to mix a clean color. We don't want this, this blue to look like the drink. We want this blue to kinda look like the BCCI sky in the distance. So get out your, your light blue and paint in this area here of the glass, but not the white salt rim. You can add this blue in touches elsewhere so that it's not just in one spot. It's good to disperse the various colors you use in a painting all around. It's just in little bits. It helps create balance and move your eye through the piece. I'm pretty happy with that. I think it could use a little bit more sculpting, a little bit more depth down here. So I'm going to add a purply gray that's purple and a bit of brown mixed into it. And I'm just reinforcing some of these shadows I already laid in. Now there's some more value contrast and I think just makes for a more interesting final piece. Pulling that gray up into the center of this little bowl again. Ready? Last but not least, the little area between the rind and the lime wedges with lime little sections can be colored in a little bit so that it doesn't just glare white like we forgot it. And that is the end of our fancy drink. 8. Wine Glass: Alright, so drawing a wine glass is going to rely on the same basics of the other beverages that we've gone over. So it's all about the ellipse and symmetry to make a good drinking glass or bottle or something like that. And then it's really just about getting these curves right. Now. There are so many different shapes of wine glasses. You can do no wrong here really, unless you make it super wacky. At the joins where the bowl of the glass meets the stem. Try to make that a nice transition with sloped lines instead of having your bowl come down like this. And then just a straight join here, it's a little, it's a little more abrupt. So pull down your stem pretty straight, straight as you can go. And then we're going to create a little base here. And just remember that the height of this ellipse. So from here to here, you would like to be wider than the height of this ellipse, which in this case we have it, It's subtle but it's there. Then the wine inside is going to be somewhere in-between the ellipse there. So this looks pretty close to this right now, maybe even smaller, so we don't want that. We want to open it up a bit, widen it out. It's okay if it looks very similar, if it's, if it's very close to this one, it's going to be similar. I'm gonna do, I'm gonna make this a little more narrow. You can see it takes me a couple of times going over it because it's very easy to make weird ovals that aren't sort of similarly shaped, nice. And even so, there you've got the basis. If you're doing white wine, you're going to have a lot more reflections to paint in here. And that's beautiful and fun and I would highly recommend it. If you choose a red wine, perhaps you will. This will be a lot darker and it might be simpler to go that route, but it's up to you what color of mine you go for. So there's our little wine glass. So you might say, that's all well and good, but I don't want to drink a light bodied white wine, in which case, let us sketch out a little bit of a bigger glass for the light bodied red wine or the full-bodied red wine. So the biggest difference here is you're going to have a wider glass. And you know the rest. For what goes on down here. You're going to have a lot fewer reflections in here as the glass will be. The wind will be much darker. So you have a couple of highlights, but a lot less, a lot less like different reflections coming in. And if you want to do a more full bodied red wine and just make this glass taller, but it's still very wide glass compared to has a bigger opening at the top and it's just larger in general to compare it to the one we just did a second ago, which is more like. So. You can get creative with this. You can pull up, if you just search which wines go in which glass, you can pull up a lot of little images on the Internet of the different types of glasses that the wind can go in. That's a really good reference to have. Let's move on to painting it. Alright, we have our wine glass drawn-out and we are ready to add some watercolor. I'm still going to use my tropical set from Prima Marketing. I'm going to pull out a small or smaller relative. Number four and number eight round. And this one's going to be just for a couple of line details. Let's begin by mixing the bright red. I'm going to put some orange in it to make it lean towards a cadmium red. A yellowy red. Feel free to swatch on the side of the page. And that's what I'm going to lay in on the very top edge where the light is coming through this beverage. I've chosen obviously to do some red wine is what I drink the most when I was in France and I sort of associated with Paris. It's more, I don't know, Frechet. So I'm going to mix some more of the rose color, maybe a bit of purple to get a deep color. And I don't want these sharp lines. I kinda want things to blend together. So while it's still wet, I'm going to add in all this. While these other hues. Now you may want to preserve your whites for highlights. And I see some right here and here. But I'm not too worried about it. I have the secret weapon of a Jelly Roll pen so I can go in later and work on that. So I need to mix almost what looks like a black and I putting purple and brown together and going to add a little bit of blue to that. We get a really deep color for this side. If you have a block on hand, this may be the time to pull it out. I'm not touching the surface there too much because I really want to keep the value is different. I want the top of the wine to be lighter than this side and here, and it will just help make it look more three-dimensional. I'm having trouble getting a dark enough color. I'm just going to keep combining all the dark colors naturally. Land in different areas on the spectrum of light to dark. I'm trying to use all the ones that naturally are dark. And we're getting there doesn't have to be perfect. I'm enjoying the wet on wet effect, letting it kind of bloom a little bit. Dried some of the paint off my brush just now. So I have a bit of a dry brush and that will pick up some of the paint. I've left a little red, a brighter red on the side here. And I think it's time to just switch to my thinner brush to add a few details to the stem and the glass. Adding water to the dark mix to just sort of make it lighter. I think this is a little dark. So what I'm doing is I'm wetting my brush, dabbing it on the paper towel. Lightning, this value. The stem or the glass rather is not meant to look purple, so we just want to neutralize it a little bit. I'm going to add some blue. And hopefully that will lean it more towards the gray. Different shapes appear in different glasses. I'm going to add a subtle as I can, sort of shading to the stem here. I've left some highlight action happening there. I think there are certain areas that could go a little darker, maybe right in the center. And then the side of the glass. I'm adding blue to my purple mix because that purple, it's kinda taken over. And going to get the side here. Leave a nice big highlight on the glass. And grab my pale gray. You can drag this right over the red you made as long as this part is dry. This will help it look like glass. And you'll notice, I'm not going straight down with this shading. I am following the shape of the glass. So it's kind of like a very thick contour line. Contour, meaning just following the shape of the object. And let's get a nice thin line. You might drop down to a size two if you have trouble controlling water, where you're slightly newer to watercolor, I think it's maybe easier to have to jump around and sizes of your brush, but I'm not too picky about how this looks. So I'm going to use the very tip of my for clean brush just to ease the stark contrasts here and there. Bit more blue to this stroke I'm adding right here. You can add a bit of shading to the back part of the glass and retain some whites here. And they're adding a couple of sort of sharper detail lines down here. And I'm varying the thickness. So it was kinda fin back here and it got thicker as it came around the front. Clean, wet brush to sort of blend it in. I'm just going to leave that paler on that side. Lastly, you may add a touch of yellow because you're likely getting some sunlight or some interior lights. Interior lights more yellow than outdoor light, I'm sure you know. But you'll probably have some yellowish tinge here and there just reflected from your light source. I just dropped it in here and they're mixture that purple is dry before you drop a yellow into it, it's opposite on the color wheel, it will create brown. Now, I would like my part of the wine glass right here to just be darker and I'm having a hard time achieving that. I don't really love the purple tinge of it. So I'm going to go right in here and grab this, which is black, which is really dark. And I'm going to add that in. It's not cheating. It's just nice to show some times that you can mix the colors were close to the colors you can improvise. You don't need every color. But sometimes it sure is nice to just pick out the color you want it to be. I'm probably mentioned it 10 thousand times, but it is always good to mix your colors as much as possible. So don't just grab this exact color and pop it on your painting. It's a very quick way to make things look more immature. So you, you're going to want to mix your colors so they don't appear like they're just quote unquote out of the tube or out of the pan. Darkening this up and really getting a dark, dark value is what's going to make this wine glass really successful in or pop more? Even going to add some to the reflections here and there. And as well as the top surface of the wine here. I'm keeping a very thin line right there. You can add that later in pen if you have trouble keeping a thin line. And this red, the initial red is quite pale, so I'm going to mix some more and lay on another layer. So what I love about watercolor is we can keep adding to it. This is a kind of taking away from the these strips of glass color that we pulled down over top. But I don't mind that I think it's more important for this to have some color. Look nice and ruby red dropping in a tiny bit of dark here. Again, just for variation. Variation always makes things look more realistic. There you have it. We've got our wine glass. So another, yet another beverage you can add to your repertoire. 9. Final Touches: And that is the end of our fancy drink series of four. And I hope that you can pick one or two of these to recreate in your travel sketchbook. To bring a nice flare of color and a little bit of a close-up still-life elements to what might otherwise be a ton of landscapes and such, and maps and things. Gluten. Here's that texture, it's completely dry now, so I'm going to actually rub the rest of the salt off. And we'll take a better look here. That's pretty interesting. It kinda looks like frost on the edge of a glass. Maybe not quite the value contrast I was hoping for. But if you're crazy for that, there are inks that can nicely cover watercolors. So you could add, I'm grab a tiny brush, maybe a two or a four. This is my four that would be small enough when you're using the tip to just add some nice white highlights with ink afterwards, white gouache, acrylic paint, and also gel pens. Gel pens are very easy to use. Such a nice cheat. So this one, if they are working and not dried up. Let's try this one. So it's a really easy way to add some white back into whatever you were drawing. That might need more highlight. Even just down here, we can just kind of enhance the highlights a bit. Dropping things. I do this line. This little details like that can make your sketch book POP. Hope you enjoyed this part of the class. 10. Outro: I hope you enjoyed learning to draw and then paint several different beverages and glass shapes that you are able to incorporate them maybe into some travel journaling or other art projects. I do have another class on Skillshare that is called imaginary vacation. And in that one we paint a tropical journal spread and a Paris journal spread. This one is two pages. And you could easily incorporate your beverages into these journal spreads. As I showed you in the introduction, I had some beverages that were painted throughout my little mini travel watercolor journal. So head on over there. If you want to continue to develop your skills or maybe you've already done that class and now you can add any element of still life and closeups, which will bring some variety to your sketchbook. I also have a free class on Skillshare, landscape sketching in watercolor and ink. And that one is like a really loose style, but I do go through value, a little value lesson, as well as some pen and ink techniques like crosshatching, etc. So again, all of these classes can be interwoven and you can sample and take a little bits from here and there and pull them together. I'd love to see your projects, your drawings, even if you just did a sketch and didn't even get to the watercolor stage. That's okay, That's awesome. I want to see everything. So thank you so much for taking this class and I hope you'll join me in another one soon.