Food Illustration - Everything you need to know to paint food & drinks

1. Welcome to the Class: Did you always want to paint food illustrations and didn't know where and how to start with? Don't worry, I have got you covered. Illustrating foods is one of the most sought out topics for painting due to the vast variety available. Do you love seeing those food illustrations and wanted to try them for yourself? Then this class is for you. Hello everyone. I'm Geethu I'm an artist and illustrator based out of the United Kingdom. I'm originally from India and I have loved and been painting ever since, I can't remember. You can find my world of art in Instagram as colorfulmystique. Food illustration is one of my most favorite subject to paint with watercolors. Who doesn't love eating? After I finish a food illustration, I stare at it so much that I dye hungry and crave for whatever I have painted. We will learn through each lesson of this class, how to get started with food illustrations. Don't worry if you don't have any prior knowledge of watercolors and illustrations, if you follow through my step-by-step lessons, it will be easier for you to learn every aspect of painting a food illustration. We will begin the class by learning the principles of light and shadow and how light is seen on board drinks and food after which, we will progress to sketching different types of glasses from real. We will also cover sketching food from real and every tiny detail that you need to take care of while doing food illustrations. After that, we will move on to painting each of the drinks and the food followed by the class projects. The full class projects will teach you how to paint food illustrations from different pictures. There are two pictures, each for a drink and food included in this class. Don't be worried, seeing the length of this class. This class is perfectly structured such that you can stop after each lesson and come back to it later on. Each of the four class projects are one of lessons and you can come back and try painting them anytime you want, so are you excited guys? What are we waiting for? Let's go into the next lessons of this class. 2. Art Supplies: Let me now tell you all the art supplies that you will need for this class. It is absolutely fine if you don't have the exact art supplies here. This class is unlike all other classes because you can use whatever paint and paper that suits you the most. Today for this class, I will be using a wide variety of papers to demonstrate different techniques for the class projects. I will be been these Arches 300 GSM Cold Pressed Paper in both these two different sizes. One is 15 by 30 centimeters, and the other is a squared 20 by 20 centimeter sheet. It is 100% cotton, and hence it is ideal for watercolor techniques. But when it comes to food illustration and the effects that I particularly want to achieve, I prefer sketchbooks with a bit of less texture and less GSM weight. The main reason for the fact is that for food illustration, we don't have to use multiple washes, and thus there is no fear that the paper will buckle, so I usually prefer sketchbooks from Honolulu or Arteza. In this class for the class projects, I will be using this Arteza square sketchbook. It is a cold pressed paper, 230 GSM or 110 LB weight, and it is ideal for watercolor and mixed media techniques. You can see how it is perfect for watercolor techniques and for illustrations. Next is watercolor paints. I will be using different paints here, all just to show you that we can use any brand which suits us. In this box are my Magellan mission tubes, which came in this packaging. I didn't want to store it in the package that it came in because I kept adding more and more individual tubes to my collection, and thus, I shifted all the tubes into this box where it is easy for me to store it, but that's a whole different story. For me, my most favorite and go-to palette of watercolors is this custom palette, which I made using full pans from St. Petersburg White Nights and the half pans from Art Philosophical. This is my absolutely favorite palette because I can carry it anywhere and use the cover of this metal tin as the palette for mixing. You can see how it is easy for me to carry around and whenever I'm outside, I just have to open it and this would serve as my palette. I can just take out paint from this, mix on this for me to use. From that comes the next thing, which is a palette to mix your paints and colors. Any palette is suitable for this class, I will use this small ceramic palette because I'm doing this indoors for now. As you can see, it's already got lots of paints on it. I reuse these paints the next time I paint because I feel bad when I'm washing it off, as I think that I'm wasting paints. Next, watercolor brushes. I will use my three main brushes, which I use all the time. It is these three brushes from Silver Brush limited. It is the size 12, size 8 and size 4 from the Silver Brush series. But if we're outside traveling or out in a cafe or restaurant ready to illustrate food, then we can use a traveling brush like this. This is the travel brush, Prado set from Escoda. It comes in this little case. The brush is this metal tin like this, and you can open it up to reveal the brush hairs. This way, the hairs of the brush stays protected and secure. You can see I've got a bigger size. This is a size 2, a size 6, and this one is a size 10. These are the three brushes that came in this set. Two jars of water. One for taking fresh paint and the other for washing off your brushes. After awhile, one of the jars will turn muddy. You can see here, which is why we use two jars so that one will have clear water for mixing new paints, otherwise, we will be mixing this muddy water with our sheets. Just imagine trying to pick up a lighter shade such as a yellow with your brush and dipping it into this water, the violet color and imagine how muddy your paint is going to be. But since it is very less water that we're going to use for these type of paintings, we can also get away without using it. For painting outside in a cafe or restaurant, we can use a small, easy to carry leak proof container to carry the water. Obviously we have to use one that is plastic because we don't want to have the risk of the glass falling off the table and breaking. I use the small bottle which I got from somewhere I don't remember now. But the amount of water that this plastic can cary has always been sufficient for me while traveling outside and you can see that it is leak proof. To depict the effect of light and to show the white areas in my illustration, I use these white acrylic marker pens from Posca. It's got a pointed tip and works on most surfaces because it is acrylic, but you can use white Gelly Roll pens as well for the highlights, such as this one from Uniball. Pencil and eraser to make the rough sketches. Some tissues to wipe off extra water from both your brushes and on the paper that you use. Lastly, maybe paperclip, if you want to clip the paper firmly onto the sketchbook so that it does not turn the pages. That is all about the art supplies, let us move on to the next lesson. 3. Principles of Light and Shadow: When light falls on an object from one direction, most of the shadow will be towards the other direction. I will show you with a sphere. It's just a spherical surface. Let us say the light is falling on this sphere from this direction, then the shadow of it would be in the exact opposite direction, that is here. This is where the shadow would be, and the darker parts of the sphere here, because there is nearly no light, and here would be lighter. As you reach the bottom, it would be darker. Also, the shadow would be the darkest here and as it goes outwards gets lighter. There are a lot of factors here, like the angle of the light, the intensity of the light, etc. When the light is intense and sharp, there will be darker shadows, and when the light is scattered or dispersed, the shadow will be very less. Now, let us say the light is falling from the top so the shadow would be somewhat like this underneath. The darker areas would be here, and the shadow darker areas here. The shadow will be peak when the light is falling at an angle, peak as in, it will be the longest when it is falling from an angle, rather than directly from the top. From exactly the top when the light source move towards the right, so let's say from here it moves towards here. It will become slightly longer, and then here it would become slightly more longer, and then it would reach a point where the shadow is the longest. This is the basic principle of shadow, but it is difficult to portray this on paper if the light source is really dispersed and we can't clearly see the shadow. But, we can get an idea of how we want to draw that on the paper and just show it. I will show you when we are painting the shadows. Before we start painting, we have to decide where the light is coming from. In the case of a glass, let's say there's a glass, the light can fall from different directions; it can be from the top, from the side, or at angles. The light source can be anywhere. We have to consider the light source because that would be where white spots would be. If the light is from the top, let's say, I'll show you that. Let's say we have a glass, if the light is from the top, then the top part is going to be white and it's going to be [NOISE] darker towards the bottom. If it's from the side, then this side is going to be darker, and if it's from this side, this side is going to be darker. That's why we have to consider where our light source is from. Even though our light is from here, because it's a glass, you might have white spaces here, and this is just marking where the dark side is going to be. That's why deciding on where the light is coming from is very important when we're doing a painting. 4. Light and Shadow in Drinks: Before we start painting or sketching, we have to observe and understand how light affects the object or the subject that we're going to paint. I'm going to show you some real life examples and how we can bring in the light and shadow effect into our paintings. When we portray light and shadow in our paintings, it gives the painting or the illustration a depth and makes it look real. Firstly, let us observe these glasses. These are some of the different types of glasses that I have in my home. If I take the wine glass and place it right here and my light source, the window is here. You can observe closely and see how the glass looks like when light is falling on it. See these white spots or the reflective surface. Then the light rays hits the surface of a glass material. Some of the light will be reflected by the glass and the rest will pass through it as glass is transparent. The reflected part is where the light rays are maximum and it is the sparkling white area that we see here. But they will be multiple layers like this on the glass where the light is being reflected. When the glass reflects light, it makes it look like as if the glass is sparkling at that point or the spot. I'm going to shift the camera to a different angle now so that you can see how the sparkling white spot changes as I move the direction where the light source is coming from. Observe how this light is moving. Actually, it is not the light that is moving. We have just changed a viewing angle of our subject and thus see the sparkling point at different places. You can see that the white sparkling spot is now in the center and we have additional lines and also this part here is now on the left side and we have multiple spots here. Another difficulty involved with illustrating dreams is that the glass surfaces thickness and because of its transparency, it is difficult to illustrate and draw this thickness on the paper. Now let us look at the different glass. This glass has a different unique shape and thus there are more places for the light to reflect and sparkle. You can see how these curves and designs can be quite tricky and hard to make it visible on the paper. I also want to focus your attention to something that is behind the glass, such as these leaves over here. Observe how you see them through the glass and then the next thing we need to focus on is the shadows. We have to remember the basic theory of light and shadows. I have ideal daylight conditions right now without any direct sunlight on my workspace. If we look at these glasses, we won't be able to see much of a shadow here because the light is being dispersed. Then how do we make these shadows on the paper? Don't worry about that, because in the next lessons, I will show you exactly how it can be done. Obviously, we don't want to paint empty glasses so let's observe the glasses with something in it. I have poured some wine into this wine glass and let's see how the light appears on it. See these white line here, the white spots on the stem and the foot of the glass, and also along the line of the wine on the inner side and finally, these lines on the top bowl part of the glass. Next, observe the champagne flute. See the white lines at the stem here, then the lines on the top, and along the line of the champagne, then at the rim of the glass. Finally, another important thing is the viewing angle. That is the angle where the eye level is with respect to the subject. As you can see when viewing from this side, we see the whole of the glass without the rim. But as our eye level move up, we start seeing an elliptical rim and then we reach the top view, the rim become circular. It is the same with the wine glass. We see longer stem and an elliptical rim at the side angle and as our eye level moves towards the top, we see the rim becoming a circle and the stem vanishing from view. Now, let us have a quick recap. When painted glasses and drinks live fix your viewing angle of this object, Find out where the light source is coming from. Observe how the light is reflected on the glass surface, observe the lightest areas or the white spots. If it is a transparent glass, observe how objects behind the glass is seen through it 5. Viewing Angle in Drinks: When we are sketching glasses, the top view of the glass would be a simple circle because you are looking at it from exactly the top. Like here. If you look from exactly the top, all you see is a circle. For glasses, the best way would be to draw it at an angle. I will show you. This is from exactly the top. Let's see, we try it at an angle so as you change the angle. This circular face, that is the circular mouth of the glass, would change into an ellipse. Just doing a rough sketch for now. Would change into an ellipse. We would see some some of the leg, but it would be shorter because we're not seeing it in full length. Again, if we move from the angle to a bit more downwards, we'll start seeing more of the leg. This would turn into a more longer ellipse. We will see the longer shape of the glass in full. You can see we see it more longer when we're looking at it from the set. But imagine we were looking at it from exactly the 90 degree angle side. That would be more of a flat at the top. You won't be able to see any of the mouth area. It would be like this. But it is more beautiful with the sketch and the painting. If we can see a bit of the mouth area, which is why this is the best angle when you're painting glasses. Now, the next thing we're going to be learning is glasses with handles. If the glasses had handles, it could be just doing a rough one here. Let's say it has a handle. But do you see when you put the handle on the side there, it looks as if it's like really flat and doesn't have the 3D effect. In order to bring in the 3D effect, what we can do is we have the handle at somewhere inside. If we say we had the handle there and we mark the glass, then that would give it a 3D effect and make the glass look real. Let us do that now. I'll show you using this live example, how we can sketch this glass which has got a handle. I painted this glass many years ago,. Please ignore it. Let us observe this glass first. We have a handle here on the right side. I'm going to quickly do a rough sketch of the glass with the handle on the right side. As I said earlier, you can see that this sketch looks a bit flat and two-dimensional because I'm doing the handle on the right side and it looks flat on the paper. Let's make the sketch more exciting. You could give this glass a three-dimensional shape, just like I showed you before. If you were to turn this a little and this handle is at an angle towards the top, somewhat like this where you can see a bit of the glass surface through the inside. I'm going to roughly sketch that right now. See how I've put this handle a bit inside rather than the further right. Through the inside part of the handle, the right surface of the glass can be seen. That's it. But you can see how the sketch has a three-dimensional look, whereas the top sketch looks a bit flat, where we have made the handle on the side. 6. Sketching Glasses/Drinks: Now we will see how we can sketch these different types of glasses. We will start with a wine glass. I will show you how we can sketch a wine glass. If we look closely at the shape of the wine glass, we can see that it is symmetrical about center line and no matter how you hold it, it will be symmetrical on both sides of this imaginary line. For the rim of the glass, I'm going to draw a straight symmetry line. Let us use a ruler for the vertical symmetry line. We will first draw the rim the glass about this horizontal symmetrical line. As I have explained, the rim will look like an ellipse from the inside and thus let's make an ellipse. For the pole part, if you observe the shape of the wine glass, you can see that it comes down like this and get slightly bigger at the bottom. Let us sketch that part now. We will mark the length we need for the bowl, and then around the symmetry line, we will draw the shape equal on both sides, slightly larger at the bottom and then the stem doesn't start straight, but the bowl part continues to form the stem. It will make the stem part symmetrical about the vertical line and write curved and then straight like this. Observe the base, and you'll see that it's not flat, but rather the stem continues and curves to form the foot and also the foot has some thickness. We will draw it continuously from the stem and make the curved base like this, and we'll also add some thickness to it. Now we have sketched our first wine glass. Next, we will try to sketch this champagne flute. For that, let us observe how the shape of the champagne flute is. It's got the circular rim at the top and the body is again symmetrical in any direction. This is going to be exactly the same as we did with the wine glass. Let us mark the center lines of symmetry. Then we will draw the elliptical rim first and then mark the length of the bowl and draw the ball symmetrical on both sides. Using the curved continuous line, draw the stem and then the foot in the exact same way that we did with the wine glass. Then we will add some thickness to the foot. Now, we will do a basic typical glass, going to keep it here. As the shape is again symmetrical, we will draw a horizontal and vertical line for the axis and then draw the rim of the glass. We can see that the edges are straight or parallel. I'm marking the length of the glass and then to draw the edges that we see, I'm using my ruler to make straight lines. We can see the thick base here. I will add this at the bottom. Now for this glass, we can look closely and see that the inner wall of the glass curves towards the bottom, and that is not a straight bend. I will add that now. We will draw another line inside for the inner wall or the thickness of the glass and make it curve towards the bottom and that's it. Next, we will try to make this small juice glass. You can see that this glass has got a bulge towards the outside in the center and the inner wall curves and forms the base. Most of the glasses are symmetrical. Hence we will start with the lines of symmetry and the elliptical rim. Mark the required length of the glass and draw the shape of the glass with the bulge on both the sides. Remember to add the curved inner walls towards the base of the glass. Now we will try to make this glass. It's called a rocks glass. It's got quite a differentiate from the ones we did because you can see that it's got these edges and shapes at the bottom, making it quite unique. On the top, it has a circular rim and the glasses again symmetrical about the center line. After drawing the symmetry lines, I will draw the elliptical rim for the glass. Then mark the length and start from the top. You can see that as it reaches here from the top, the glass slightly bends inwards, so there is this inwards bend here. I'm making it curve inwards to get the shape right. Now for the shapes on the glass. In order to do that, make an arc and then draw a vertical line. Repeat this to get the shapes. But remember that it has to be symmetrical on both the sides of the vertical line. Now, lastly, we will try to make this square glass. It will be really easy to make this as a square glass because it will be symmetrical on both the sides. But this view will make it really flat on the paper. But imagine if I were to slightly turn the glass, you can see that we get a different shape and the sketch will look three-dimensional on the paper. I'm going to hold the glass like this at an angle for our sketch. I have already made the symmetrical line for the rim of the glass. We will draw a diamond shape for the square rim as seen with this viewing angle of the glass. See that none of my corners have sharp edges because it is a glass and curves at each corner. Then draw a straight line for the edge on both sides and join them together using a curved line like this. For the corner that we see here, add the extra thickness. Then add this curve in the interval. Double each of the lines for depicting the thickness of the glass, and that's it. From the sketch you can see how we made it to 3-dimensional and attractive. Whereas if we sketch it like this, it would have been flat. This is why deciding and fixing the viewing angle is important before sketching 7. Exercise 1 - Painting drinks - Part I: We will first paint this wine glass from real, so inside around mid way, we will mark the line of the wine in the glass and then first, we will wet the area where the wine inside the glass is. Then take any dark pink shade and add it to the wet area. But also remembering to leave white spaces randomly. Here, I'm leaving the white spaces on the left side mostly. Then we will add darker shades to give the darker contrast. I'm using a mix of indigo and black to create a dark gray color. I will apply it to the left side at and along the borders and some towards the bottom. There is no specific rule for the darker areas, but we give it a darker contrast so that we feel it has some depth in it. Then we will take some Venetian red and add towards the left side to give more red color to the wine. Observe that I have left some white spaces on the top area. Then we can add more gray towards the bottom for the contrast. Then, using the same gray, we will draw the stem and the base. We will add highlights to one side and make the other side a bit darker so let's have the right side a bit darker. Observe how I'm making these trade lines for the base and I have made the right side darker than the left side. Then for the base make small lines and give a darker area towards the right side. These are the areas that we're darkening to give the glass some contrast and have a visual effect on the paper. These darker areas are mostly due to the fact that there is some surface that this wine glass is sitting on. Imagine if it were to sit on some dark surface, then we would see this darker side or darker color through the wine glass, which is what we're painting. Keep adding more contrast and darker areas to the already painted areas because they might become lighter after a while so add more darker contrast. Once we add highlights to our paintings, along with the highlights, these darker areas will look more interesting and make our wine glass look real. Then we will paint along the borders of the glass and add more darker effects to the top. These darker lines are, again, because of some surface behind the glass through which we're seeing the darker surface. We could leave it white, but we paint the darker colors so that it looks more exciting. We'll add more darker spots on the top areas to give it a good effect. Even though we're painting the wine glass from real, this would exactly be the steps if we're painting from memory, as in, we would be giving these random darker contrast areas or darker spots here and there, and also adding the highlights, which we will do later on. Observe how I've added darker spots onto my paper on the wine glass. For the lighter areas, I will be using a white acrylic marker this one is from POSCA. Or you can use this white gel pen from Uni-Ball or Sakura. Alternatively, you can use white watercolor or gouache paint for this if you do not have any acrylic white marker. This is the point where we add the white lines that we see when looking at the glass under a source of light. All those white reflecting surfaces that I showed you on the glass are the highlights so add them. That is specific white spots here and there as you observe when you're looking at the glass in real. Remember that we should not overwork on these highlights just add as many reflecting surfaces as you see on the glass or as you may seem appropriate if you're painting from memory. Now for the champagne flute, add the line of the champagne, and then after wetting the area where the champagne is, add yellow onto it, leaving sufficient white spaces in between. Then we will add a darker shade of yellow, such as permanent yellow dark for the darker contrast or we can use Indian gold or yellow ocher for this. Even though the champagne is only seen as yellow with the naked eye giving darker contrast will make the painting have depth. We will add a bit of brown, or burnt sienna, and also an even darker shade of brown such as sepia or Van **** brown to some areas of the champagne. You can use different shades of brown and give it a darker contrast on top of the yellow so that we have the darker areas that I was talking about. Then using the gray mix, make the borders just like we did for the wine glass, we will start adding darker spots and zone darker lines on to the champagne flute. You can use any type of gray for this and a lighter tone or a darker tone this would be depending upon your choice and where you think your wine glass or your champagne flute is. I have mixed indigo and black to get the gray that I want but I think you can also use Payne's gray for this. For the champagne flute, this time, we will add the darker contrast to the left side on the base to depict the light source falling on the glass from the right side whereas for the wine glass, I had made the darker spots on the right side because I was assuming the light source to be coming from the left side. But as you can see here, the darker spots are on the left side, which means my imagination the light source is from the right side. We have to remember that all these are just assumptions that we make but we always have to choose a side for the darker shadows. Keep on adding darker lines and darker spots for the areas that you need to give darker contrast. Then finally, we will add the white reflection areas or the highlights with the white marker. I will also add few dots here and there because champagne is basically sparkling wine. In order to show those bubbles or sparkles in the wine, I'm adding those dots and that's it. 8. Exercise 1 - Painting drinks - Part II: Now let us do our third class. For this class, I will not add any drink inside, but rather we will try to paint it as it is, which means that we will have more Payne's gray on the painting. Taking Payne's gray, we will start to add random shapes onto the glass. These will be the darker contrast areas. As you can see, I'm taking a very lighter tone of Payne's gray and adding onto my glass and trying to spread it out with water. Using my brush after applying the paint, I try to spread it out by taking water on my brush. Then we will start to paint more and more and add details onto the glass. Be very careful when we are sketching along the line of the glass. First, use a lighter tone of Payne's gray for this. I wanted to show how it would be if there is no drinks in the glass, which is why we are doing this empty glass right now. Then we will start to add more darker contrast areas. This time we will use a very darker tone of Payne's gray and start applying onto the glass. There is no specific rule as to how we should apply these darker contrast areas. If you have a glass with you, keep it in front of you and observe where are the lightest areas and where are the darkest areas. These are just totally random and make the shapes wherever you want them to be. But remember that you have to choose a direction for your strokes. Mostly it should be in the downward direction because the light is reflected such as straight lines from the top to the bottom, which is why my strokes are in the vertical direction. Use that direction for your strokes. Keep adding more and more gray to your glass. Use any kind of gray that you have, it doesn't have to be Payne's gray itself. Once this is done, now we will move on to the highlights. I'm taking my acrylic white marker again and adding few lines, as you can see in the vertical direction. This is directly from my observation of the glass wherever white spots I'm seeing or the reflection areas. Observe the glass carefully and you can also see these white spots and just add them wherever you feel it is right to. Now, we will move on to the fourth glass. For this, I'm going to be showing it in a different way. That is, I'm not going to use Payne's gray for the glass, but rather I'm going to use the same color of the juice inside the glass. I'm going to add a bit of orange juice inside this glass, which is why I'm first painting with a very lighter shade of orange, after which I will give the darkest colors for the contrast. You can see that I have not left any white spaces in this juice, but rather I have painted the whole thing and then I'm adding the darker contrast areas. For that I have used a darker shade of orange and then using a darker shade of brown. If you blend it together, you can see that my left side is a bit darker than the right side. I am assuming that my light is coming from the right side onto the glass. I am showing you this in a different way because I wanted to show you all the different techniques or methods that we can paint glasses. It doesn't all have to be the same. You can use different techniques. You can totally avoid the gray just like I'm using with this glass. For the borders of this glass, I'm going to be using orange. That is the same shade that I have used for the juice. Then onto the base part of the glass, I'm going to add a bit of orange again. This actually represents the juice reflected on the base. You can actually see this if you take a glass, put it on a white surface, and observe it from the side. You will see that at the bottom part, that is the base part, you will be able to see some color of the juice or whatever is there in your glass being reflected onto the base. As I have explained before, the whole point of showing depth and realism in your paintings is when you bring contrast with light and shadow. Add lighter colors and darker colors to get the lighter and darker contrast. Now, for the fifth glass, as you can see, it is a bit tricky, so I'm going forward again with the gray method. We will first paint the rim of the glass. Then I'm going to use Indian gold for the juice or beer inside the glass. As you can see, because of the shape of the glass, this is going to be quite tricky. The top part, we will paint with Indian gold and then, leaving that design shape, we will apply the color again. Leave a slight gap for where you can see the design so that it stays white. As you can see I'm repeating the process because it is basically the same on the right side as well. But then the whole of the glass is not reflected the same way which is why on the right side I'm painting the whole of it and not leaving any white space. Now we have finished with the first layer but obviously now we have to give the darker shades. You might have understood already that the right side is going to be the darker shade area because I did not leave any highlight there. But then we have to add highlights right next to the areas where it is white so that the white highlight area is clearly visible which is why I have added highlights onto the left side as well. Use a darker brown shade for the darker contrast areas because the first layer that we applied is Indian gold and the darker shade corresponding to that would be a darker shade of brown. For this you can use either burned umber or even a lighter tone of sepia or Van **** brown for this. After that add the Payne's Gray for the reflected and the darker contrast areas of the glass. The Indian gold and the brown, we're actually representing the beer inside the glass. Now we have to show the Payne's Gray, that is the glass portion itself. Then on to the highlights. Mark the highlight areas onto the glass just like we have learned. Now for the last glass again we will add some beer into it but also some ice cubes in the end. For that we will start painting with our Indian gold again. Then adding the darker areas using a bit darker shade that is burnt umber. I'm blending together Indian gold and burnt umber. Burnt umber from the top and Indian gold from the bottom. If you work fast and your paint is wet enough then you will be able to blend seamlessly before it forms any darker edges. If you remember we have tilted this glass while we were sketching it. That is why the beer will be visible from the top as well, that is, through the inside. Then adding a bit of Indian golden brown at the bottom this is again going to act as the reflected area onto the base, that is, the beer is being reflected onto the base part. Once you have done that you can use a darker shade of brown like sepia or Van **** brown to add the ice cubes onto it but add darker areas to the Ice cube just like I have done on the left side. We will then paint along the lines and then start giving shape to the ice cubes. The ice cubes will be clearly visible through the glass, that is through the inside of the glass. We have to give it a bit of darker shade so that it stands out. By now you must have understood that there is no clear formula or clear method that we have to approach when we are painting drawings. This is just basically doing it your way and observing the glass and finding out the lightest tone and the darkest tone. Here again, I'm painting along the lines of the glass and marking the glass areas. For that I'm using Payne's Gray again. This is basically the same method I had used but I also added a bit of reflection of the beer on to the base part which is why there is brown at the base. Obviously once we finish adding the colors the next procedure is to add the highlights. Use your white watercolors or white gouache or even the acrylic white marker that I'm using here for that. Add lines and you see that corner there which is facing us, that would be reflecting most of the light so we need to show lines over there and also some parts of the ice cube. That's how we paint drinks. 9. Painting Shadows in Glasses: The next thing is about how to paint the shadows. For that, I'm just going to use a random color here, which is violet. The main technique or method that I use to paint shadows is that I applied the brush stroke on the paper and then I use some water to spread it out. That is on the area or the outside edge of my stroke, I apply water so that my paint would flow down and spread and as it would not have a darker edge. Then I apply a bit more of the paint on the top part so it would just keep spreading down towards the bottom. This is the main method that I used to paint in my shadows. I will show it to you again, just apply the stroke on the paper. I'm just showing you randomly here. Then take the water and spread it out at the bottom part. You can see that the paint spread into the area where I applied the water. Then taking more paint applied onto the top part so that it just spreads down. I just showed you a random shape right now, but now I'll show you how the shadow would be for a sphere. Let me just draw a sphere. Then what I would do is, I would spread out the bottom part so that my paint would spread. It would feel as if there is some guy enough shadow towards the bottom. Because the bottom part needs to be darker, which is where the shadow part will be darker, I apply more paint and spread it out. Now, let us paint the shadows for our painting of the glasses and the drinks. All of these glasses will have shadows, but I'll show some of them. I'm going to use my size eight silver black velvet brush. Although the color of the shadow is going to be a different one, it should be ideally Payne's gray, the colors that we used for the darker contrast, but I'm going to just show it with violet here. Making the shadow with a different color also makes it more attractive. First, I applied the violet paint at the bottom, forming an arc at the bottom of the base of the glass. Then using the water, I just spread it out. You can see I've spread it out and the violet just spread onto the area where the water is. Then at the base spot, we have to add more violet because that's where the darkest part of the shadow would be. Now, we will add the shadow for the next class. For this class, I'm going to assume that the light source is coming from the left side so then the shadow would be towards the right side. As you can see, I'm applying my violet paint slanting towards the right so that my shadow would be facing that side. As you can see here, I've spread it out using water because I do not want my shadows to have any dark edges, which is why I have spread it out with water so that the paint will not form any dark edges. Then towards the base, I'm obviously adding more colors so that it's dark is there. This is the method that I mostly used for painting shadows. For this class, I'm going to assume that my light source is on the right side so then the shadow would be on the left side at an angle. I'm going to use Payne's gray for the shadow of this glass. I'm going to be painting it towards the left side because as I said, assuming the light source is coming from towards the top-right side. Add the paint on the glass at an angle towards the left and then using water, spread the paint out so that it does not form any hard edges, then add more paint towards the bottom. This is just simple as it is and this is how I paint the shadows for all my glasses. Lastly, I will show you one more glass that is this wine glass. I'm going to assume that my light source is going to be from the top, that is exactly from the top of the glass, which would mean that we will only see few parts of the shadows right underneath the base. You can see here, I'm going to use a green color for the shadows just to give it a bit more visual effects. Right under the base, it would be darker. As I applied the paint, I spread it out so that it does not form any dark edges. This is how easy it is to paint the shadows for any depths of glasses by looking at where the light source is coming from. 10. Light and Shadow in Food: When we were painting drinks, because of the reflection properties of the glass, we could easily see where the white spots are. But with regards to when you're doing food illustrations, [NOISE] you cannot see where the white spaces or where the light is being reflected by most. But if we observe closely by looking at the shape of the object, we can see that the light is too bright, and where the shadows are. Also because I have kept the food on a plate, you can see the shadows here. Additionally, there's also the shadow of the plate onto my surface here. Just like with the case of the drinks, as you change the direction of the source of the light, the direction of the shadows will also change. First, the shadows were on the left side, but as we change the viewing angle, the shadow is now on the right side. The most important part is observe the subject closely and determine the highlights, and the darkest areas. Now, let us have a quick recap. When painting food live. Fix your viewing angle of the subject, Find out where the light source is coming from. You will not see reflected area similar to glass, so observe closely as to where the lighter and darker areas will be with respect to the light source. Lastly, observe the subject loosely and note the shape and dimensions of the subject. 11. Viewing Angle in Food: Just like with the glasses, for the plates and bowls, when you look from the top, all you see is a circle. Hence, this is the top view. As you move your viewing angle towards the side, you would see the shape of the plate turn into an ellipse. This is how the sketch of the plate would be when you look at it from an angle or the side. For the bowl, as your eye level moves towards the side, you will start seeing the bottom part of the bowl. As your viewing angle goes more towards the side, you'll start to see the ellipse get longer and will see the bottom part of the plate. For the bowl, you'll see less mouth area and more of the body of the bowl. With regards to food illustration, we have to decide what is the view that we want to paint. This would be decided based on what is inside the plate or the bowl. I'm going to add a cake slice on this view of the plate. This would be the best viewing angle to depict the cake on a plate rather than the top view because if you are looking at the cake from the top, all you would see is a triangle on the plate, which is the top surface of the cake slice. Hence, this would be the best angle. Next, let's say there's something in the bowl. Let's add few ice cream scoops in the bowl. Because it's protruding outside of the bowl, this would be the best view. But if you were to paint something that is like a sauce or gravy inside the bowl, then showing more of the top of the bowl would be better because then you would be able to see the gravy or the sauce inside the ball and hence, this would be the better angle. Thus, depending on what food is inside the plate or the bowl, we have to decide the viewing angle because the viewing angle is what makes our sketch interesting to see and make it look real. 12. Sketching Food from Real: Let us see how we can sketch the food from real. This is the viewing angle I'm going to be looking at for sketching this cupcake and marshmallow chocolate cake slice which is kept on this plate. You can see the shadow of the plate on this side and the shadow of these desserts on the plate on the right side. As you can see, the elliptical plate as seen from the side is a bit twisted. We make the central line of the ellipse at an angle then using that central line as a reference we draw an ellipse for the plate. It is an ellipse because of this viewing angle as you can see above. Next, we will make an outer ellipse for the outer circle. Follow the line of the inner ellipse with a slight gap to create the outer ellipse. Now, we will add the cake and the cupcake. Perspectively, when we see the rectangular cake slice the side closer to us will need to be bigger and the side further away will be smaller in size. Hence using the perspective method, draw the cuboid structure of the cake, make sure to not have any sharp edges but rather make each edge slightly curved. Observe how I'm sketching this [inaudible] with the part closer to us bigger and the part behind smaller. Then behind the cake we'll draw the cupcake, make the lines of the cupcake behind. Draw an arc for the [inaudible] of the cupcake. For the top frosting mark the shape or outline like cone, then make the lines on it like the folds of a clothe. Make it bend towards the left side. We only need to get the shape roughly. Observe closely how I'm making this texture for the frosting. Make each line of the frosting slightly bigger than the previous one on the cone, that is bigger as you go towards the bottom and that is how we make this shape. Then make these small triangular borders on the wrapper and make vertical lines towards the bottom. Now, we will add marshmallows on top of the cake. Make these small cylinders one overlapping each other. The circular top will only be seen at the right end and for the rest we will only see parts of it, so have these cylindrical shapes staggered together. Don't worry about the chocolate [inaudible], we will add it with paint later on. 13. Exercise 2 - Painting Food from Real - Part I: Let us start painting our food. First I'm going to use Indian gold for the cake slice and I'm going to start from the left side. This will be where the lighter area is. I'm assuming that my light source is coming from the left side, which would mean that on the right side it would have darker areas and darker contrast. I'm going to add the darker contrast areas using burnt umber. As you can see, I've added the burnt umber on the whole of the right side because that is where the darker areas would be. Keep adding more darker contrast towards the right side. For that, I have taken sepia. This is the portion where it is fully blocked from the light. Because if the light source is from the right side, that phase of the cake that we see is where it does not have any light, which is why it would be darker. Then using Payne's gray add the shadow part for the cake slice. Here, we are going to blend the shadow towards the right side because the light source is from the left. Also I've added the shadow along with the sepia and the Payne's gray to blend together because I want it to have a continuous form so that there is no separation between our cake and the shadow. Add more sepia towards that side and the Payne's gray for the shadows so that it appears continuous. Then we will draw the line of the cake with burnt umber. Remember to leave tiny whitespaces on the left side towards where the light is falling on the cake. Observe how I've spread out the shadows using water so that there is no hard edges on the shadows. Now for the marshmallows on the top, it's going to have an alternate pink and white color. Using a very light tone of quinacridone rose, we will apply the color on top of the marshmallows. But remember that towards the left side, it is going to be really light and having whitespaces in-between. Towards the right side, it'll going to be a bit more darker. But again, this darker tone would still be in the lighter area towards the color value. As you can see, I've applied the queen rose in alternate cylinders, that is the alternate marshmallows. Now, for the white marshmallows on top, we will add a very light tone of Payne's gray. This is because even though it is white, for it to be visually seen on the paper for the somewhat darker areas on the white, we usually use Payne's gray. That is a gray color to depict that. Now, for the cupcake, I will start with the wrapper. I'm going to use scarlet for that. Using scarlet and a mix of Venetian red, we can paint the cupcake. Since again, the light source is coming from the left side, we will leave more highlights or whitespaces on the left side. Remember that we have to form the shapes of the wrapper, that is those triangular edges at the top. Be careful when you paint that. Now, obviously, we can't leave it like this. We have to keep the contrast. For that, I'm going to use burnt sienna to draw the lines on the wrapper. As you can see, I'm adding more color towards the base. This is because this part of the base is where the light is blocked out by the cake slice in front of it. Add 10 lines using your brush for the lines or the folds in the wrapper. Now we will add the shadow at the bottom. Again, the shadow is going to be towards the right side. Using water, we'll spread it out to avoid any dark edges. Keep spreading out. But now we need to add a bit more towards the exact base to make it darker. Add more darker contrast towards the bottom right part of the cake. This is because that is the part where the light is blocked by the cake slice in front of it. The bottom-right part of the cupcake will have darker contrast areas. Give more shape to the cake slice by adding some darker lines using burnt umber or burnt sienna. Then for the marshmallows, we have to now give the darker shades. We will use queen rose to paint the darker contrast. As you can see, the circular phase of the cylinders facing this side, that is the side where the light does not fall on it. Will have to be seen as pink. That is the areas where we're adding the darker contrast. That is the most important part that we have to focus on, that is the light source. In the whole of this painting, I've said that the light source is coming from the left. All the places where the light is not falling on or the phases which is turning away from the light will have to be painted with darker shades and now for the frosting on the cupcake, I'm going to be using Indian yellow for that. Remember that you have to leave whitespaces towards the left and some along the lines that you made. You can see that I have left a whitespace there. Using Indian yellow, add the color for the frosting. But now we need to give it a darker contrast towards the right. For that, I'm going to be using Indian gold. I'm just going to make these lines, but also painting on the right side so that it has darker contrast towards the right side. That is a darker shade towards the right side. But I want to give it more depth. I will use an even darker shade that is my burnt umber on top of it and draw these lines and add the darkest shade towards the right side. This is the part which is blocked from the light source, which is on the left side. I will keep adding those browns towards the right side. Now, for the tiny part of the original cupcake, which is seen inside the wrapper and beneath the frosting. I'm adding that with burnt umber. Once the first layer of the paint that we applied on the rapper has dried, we will add one more layer on top of it. That is, add few lines to show the folds on the wrapper. I'm going to be using a mix of venetian red, and a bit of burnt umber to get a mix of brown and red color. Using that, I'm drawing these lines and also along the edges of the wrapper. Now, we will add those chocolate linings on top of the cake slice. Using your smallest size brush or the tip of your brush, draw these lines on the paper. But remember that it has to follow along the cylindrical shape. That is, when it is at the side, it would be hanging down on the side of the cake, but on the top, it would follow the cylindrical shape. You can see that I'm making these small arcs on top of the cylindrical shape. It is because the icing is on top of that. Make these small lines for the chocolate on the cake slice. You can make the right side of the cake slice a bit more darker if you feel that your color has faded after it has dried. I'm adding a bit more color onto it and also towards the shadows because I feel that it has faded onto the paper. But obviously I have added water again to make it spread out and to prevent the dark edges. I have made the cupcake part a bit more darker using burnt umber and sepia. Now, we will add small dots for the cupcake sprinkles. That is for the toppings. Using queen rose, I will add these small tiny dots on top of the frosting to depict the sprinkles on the cupcakes. You can also use splattering method if you want. I usually prefer to use both the methods. Some using the tip of my brush and then using the splattering method. 14. Exercise 2 - Painting Food from Real - Part II: Now let us add the final details and draw the plate on our painting. We need to sketch along the lines of the inner ellipse. Then, as we can see from the image, there is that tape inside the plate which is visible. We will add that with Payne's gray. Then sketching along the lines of the plate and adding that dip inside the plate on the left side. You can see that that dip towards the inside of the plate is visible only on the left side and slightly on the right side. That is what we will make. Then the outer line. We have to be very careful when we are painting this. Use the tip of the brush and carefully draw along the line of the ellipse that we have made. Then we will paint inside that line that we have made for the dip towards the inside of the plate. This is because we want that area to be darker so that we make it visible that it is a dip towards the inside of the plate. I'm just going to add some final details on to that marshmallow. After that, I will start adding more color onto the plate. Because for me, when I'm doing food illustrations, I love to add a bit more different types of color onto my painting so that it looks more attractive. I will not be going through the exact design that is on the plate, but rather I will add colors of my own. I have added a bit of Indian gold or raw sienna onto it. You can use either of these colors, Indian gold or raw sienna. Then for the outer lips of the plate, I have added a very lighter tone of Payne's gray. You have to be careful that it is a very lighter tone of Payne's gray that we are adding onto the plate. We do not want it to be darker because anyway the plate is somewhat white. But we will have darker shadows towards the right, which is why I'm adding a bit darker tone towards the right side, but be careful that it shouldn't be really dark. Now, let us add the shadows for the plate. When I'm doing food illustration and painting the shadow, I love to use a color which gives it a very nice contrast or makes it visually appealing. Which is why I have used a zero blue from White [inaudible] over here. This is the most exciting part when I'm doing the food illustrations the shadows. You can use any color that you want for the shadows. Whichever color that you think is going to make it visually appealing for your eyes. You can use green, pink, or red, or whatever color you want for the shadows. I have used a zero blue. That's it for painting the shadows for this plate, I have just added the blue color along the lines of my ellipse towards the right side. Because as I said earlier, in my assumptions, the light source is coming from the left side and we have made everything on the left side lighter and towards the right side darker. Obviously the shadow will be darker towards the right side, which is why I have painted with the blue on the right side. Then as I have explained earlier, right beneath the plate where the shadow will be the most darkest, we have to give a darker tone, which is what I'm adding right now. You can keep giving more color to your painting if you feel that it has faded away after a while. I'm adding a bit of Payne's gray to my plate and just making it more elliptical and correcting any mistakes that I have made. Now finally the highlights. For the highlights, everything towards the left side will be lighter. For the chocolate drippings towards the left side, we will add it with the white line so that it makes it visually appealing. All over the chocolate drippings towards the left side, that is the left side of the brown that we have used. We will add white. This white highlights is what will give our painting a depth and make it look real. Observe that I'm adding all the highlights towards the left side where the light source is from and where it will be brightest. But for the spots on the cupcake, you can add some tiny spots at random leases so that it makes it attractive. As I have said before, there is no specific rule as to how you should apply the highlights except for by looking at the light source. Also, this is the time where we can correct any mistakes that we have made while painting. For example if while you were drawing the outline of the plate, it went upside or made some bends. You can correct that with the white pen like I'm doing right now. That's it. Our painting is done 15. Project 1 - Painting from Pic - Chocolate Shake: Let us do our first painting from the picture. This is the picture that I'm going to be using for my first glass project. As you can see, we can see the light defects on this picture. See where the highlights are, the white spots. For this picture, it is going to be easy to add the highlights as we can clearly see where the white spots are, all of these. As you can see, the right side is darker because the light source is from the left side. Now, let us start sketching. First I have drawn the symmetry line and as usual, I will add the elliptical rim. But since there is the ice cream on the top, we cannot clearly see the other side. Then drawing the shape of the glass that is symmetrical on both the sides, just like we learned. Then adding the stem to the glass. As we can see, I'm always concentrating on making it symmetrical on both the sides. That is, the left side should be the mirror image of the right side. I'm adding the base. Now, we will sketch the top part, that is the area where there is the ice cream and the Oreo biscuit. I guess it's Oreo biscuit. Doesn't it look like that? We will sketch the shape exactly as we see it. It's also all right if you want to change some parts of it. If it is difficult for you to draw it exactly as you see it, you can draw grid lines on the paper and follow through the grid lines to see what is in each of the grids. Now, we will start painting the picture. Let us take the color chocolate from art philosophical. The color really resembles the color of chocolate, which is why I think they have named it so. Using that color, we will draw on the area, as you can see, which is dripping out of the glass. I am certainly leaving white spaces, but if you want, you can continuously draw it and add the white spaces later with your highlighter or white acrylic pen. As you can see towards the right side of the drippings, I have made it a bit darker because that's where the darker areas is and it is evidently seen in the picture. You can see that for the second dripping, I forgot to add the white lines or leave the white spaces. I will add them later on with the acrylic white marker. You can do exactly the same way. We'll just follow through and draw the drippings, that is, what is dripping out of the glass. I think when we are painting from a reference picture, it is really easy because we are trying to follow whatever we see on the picture, and most of the things can be clearly seen. Now I am adding darker lines on to the right side. Because as you can see from the picture, the darker side is darker. Obviously, the light source is from the left, which is why the right side is darker and left side has all the highlights. Now for the top part where there is the ice cream, we will leave it white and add some shades later on. But we will add the chocolate syrup on top of that using the chocolate color and raw sienna. Or you can also use Indian gold. But as you can see, there is some tiny green color, which is why I have added a very little tart of green onto that. I keep on adding darker shades if I feel that it's becoming lighter after a while because your paper absorbs the paint. Now let us paint the biscuit. I'm using a darker tone of sepia. Or you can also use any dark brown. Van **** brown can be suitable for this. Paint the whole of the biscuit with this color and the texture on it. We will add it later on when the first layer on this biscuit has dried. Now for the darker brown sheets on the top of the ice cream. This is basically the sprinkles on top of the ice cream. They look like chocolate sprinkles. We will add that with a different shade of brown. You can use burnt umber. Then using a lighter tone of burnt umber, we will draw inside the glass. As you can see, that is a bit lighter. Use a lighter tone for that. As you can see, there is a darker chocolate inside the glass. We will leave some tiny space for that. Also, I have left some white spaces for the highlights. This is just basically drawing exactly as you see in the picture. Add the brown shades wherever you see them and make the shapes exactly as you see them, but obviously because this is a drink and it can inform any different shape, you can change it. It doesn't have to be exactly as you see in the picture. If you don't want it to be, it's all what you want. Let us add a darker tone. I'm using sepia here to add the darker tone in that corner. I'm blending it on to the burnt umber. Now, let us use sepia and add the darker chocolate at the bottom of the glass. As you can see, there are some changes that I have made because it doesn't look exactly the same, but more or less, you only have to follow whatever you see. Slight changes that you make to the reference picture doesn't matter eventually. Now, again, using lighter tone of burnt umber, I'm painting the bottom part of the glass. I think this is the chocolate shake at the bottom part. Remember that we have to follow through the lines of the glass and make sure that it doesn't go out. But don't worry that even if it does and you accidentally slip out of the shape of the glass, we can brighten it later using our acrylic white paint or your white gouache, whichever you are using. As you can see, I'm adding a darker shade towards the right side as we see in the picture. Towards the right side I'm going to use a mix of Indian gold and brown. This is for giving the darker side towards the right side. Later on, I will add Payne's gray on top of it to give it the darker tone that we see exactly as in the picture. Now you can see I'm adding the lighter tone of Payne's gray. For that, first, I had wet the paper, and then added the Payne's gray on top of it so that my Payne's gray would blend seamlessly, and would seem as if it is darkening towards the right side. If you had applied the paint directly on the paper without wetting it, then it would form dark edges. To avoid that, that is why I had wet the paper first. See those tiny dots there, you can also add that using Payne's gray. Now for the darker tones on the ice cream, use Payne's gray again. You can see that the ice cream has got some texture on it and few lines. Those, we will add with Payne's gray. All the highlights will be on the left side and towards the right side, it is a bit darker. I know I keep saying this, but that is the most important part in a painting, deciding where the highlights will be. In this case, it is evident from the picture that the light source is on the left, and the darker tone's on the right so we have to be very careful about that. Now for painting the stem, I know that the stem is seen as brown there, this is because of the surface that is behind the glass, which is, I think, a wooden table or wooden board where the glass is kept. This is the color that we see through it. But I'm going to add green onto this because for the painting to get a good contrast, I'm going to be adding a green background, which means that we're going to keep our drink, that is the milkshake, onto a green background. Which is why all those browns that you see there, I have added them with green because if I have a green background, the stem will be reflecting the green color. This is what I said about changing the reference picture. I have changed the reference picture according to my will because I did not want to paint the whole of it. If I had put the glass onto the wooden board, I felt that my whole painting would look brown, and I wanted to add more color to it, which is why I decided to add a green background. For the green background to be visible, now we have to add the highlights or the darker tones using the green. All those browns you see there you can add it with the green instead of the brown. But I have chosen green, but that doesn't mean that you can choose green. You can go with any of your favorite colors for the background be it pink, yellow, violet, or blue, or whatever color you want. I'm adding more Payne's gray to make the glass look like a glass. I think that leaving it exactly white doesn't seem fit because I can see a very lighter tone of Payne's gray in the picture, which is why I'm adding the Payne's gray, and then spreading it so that it looks exactly like it is in the picture. Now, I will add the background, as I was saying, with the green. But we don't need to paint the whole of the background or the whole of the page with green. I'm just going to make a random shape. I'm taking the green. This is sap green from White Nights, and I'm adding it onto the paper directly. But you can also use wet on wet technique if you want. This is just a random shape straight out of my mind. There is no specific rule. You can also change the shape if you want, and as you can see, I'm adding a darker tone towards the right because that's the side where our darker highlights are. Right beneath the glass, it would have darker tone and the shadow exactly as I showed you. The darker tone right below the foot of the glass. Now finally, the highlights that we will always do in our paintings. You can use your white pen or white gouache and start adding the highlights. All the dots and the white spots that you see in the picture. Wherever you see that there are lines or white spots in the picture, add them onto the painting. Observe closely whenever you're painting and look at where the white spots are and add them. On the left side, you can see that there is a very lighter tone, and I have added that. Also on the stem areas, all the white spots. Now, as I said earlier, we will add the texture on to the Oreo biscuit. Taking very darker tone of sepia, we will add the texture onto the biscuit. Just make some random shapes and draw a few lines here and there on the biscuit, and that's how it will be. The first tone that we applied on the biscuit had dried, and that is the second layer that we add on top of it. If we use a very darker tone of sepia, we would get it. Also is the case for the other darker highlights and the chocolate areas. All of them, we will do it with sepia. Keep adding the final details onto your painting, and this is how your painting will come alive. But remember that we should not overwork on our picture. I tend to do that sometimes. Another thing I love to do are splatters. Whenever I'm doing food illustrations, I love to add some splatters to some corner so that my painting looks attractive. Here onto the sap green area, I'm going to add some splatters. I don't know why, but somehow in my mind, I feel that it makes it look more attractive. You can totally skip this step if you don't feel exactly the same way about the splatters. But personally, I just love them. See how our painting has turned out. 16. Project 2 - Painting from Pic - Juice: Welcome to the second last project. This is what we will be painting for this class. Observing closely, we can see the white reflected surfaces, the lines on the glass, and also on the fruits, on the kiwi and the strawberry on the right side, and on the right right of the glass, and the rim, also on the base. First we will start sketching by drawing the symmetrical line, that is the vertical and horizontal line. Remember to leave some space at the top for the fruits. First, sketching the rim. Drawing an ellipse using the central line, that is the horizontal line as reference. Then mark the point where you want the length of the glass to be. Along the vertical line make mirror images of the left side onto the right side, that is, it is symmetrical. Make the shape of the glass with your pencil onto your sketchbook or paper. Then following the same rule, we will draw the stem of the glass. Again, it has to be symmetrical on the left and the right side. Very carefully, we will draw the stem. As you can see, the base is continuous from the stem. Draw it very carefully by making continuous lines. Mark the levels of the drink inside the glass and then we will start to add the fruits on the straw. Very carefully, starting on the left side, we will add the apple slice first. As you can see, a thin portion of the skin is visible on the left side. Then on top of that, we will draw the kiwi but remember that this only has to be a rough sketch. Just try to roughly make the shape that we see in the picture. On top of the kiwi is the strawberry. We will draw that very carefully. Roughly append triangular shape and then finally on the top, we will add the string or the bend dash to the stick. We will start painting our picture for that. First I have applied water onto the strawberries, and then using scarlet, I'm going to apply the paint on it. Using wet on wet for this has some advantage because the paint spreads and give us the required amount of lightness that we need on the strawberries. Also, as you can see, I'm leaving a slight white space on the right side. This is because, as you can see in the picture, in the right side, there is a light area where the light is being reflected back. Towards the left side, there are some darker areas and also towards the center right next to the white highlighted part. For that, I'm adding darker shade. I have mixed a bit of Payne's gray with scarlet to get the darker shade. Then after that for maintaining the kiwi, we can use olive green for this. Using olive green, we will paint on the left side of the kiwi, as on the right side, the light is reflected and it is seen as bright and white. If you do not have olive green, you can use a mix of yellow and green to create the shade. For the darker contrast areas of the kiwi, I'm adding burnt umber. You can see that at certain places on the left side, we can see a darker shade, which is what I have added with burnt umber. Then now on to the apple slice. For that I'm using Indian yellow and towards the bottom to give a darker contrast, I'm adding Indian gold on top of the Indian yellow so that they blend together nicely and form a single color at the blending area. Then for the skin, I'm using Venetian red from White Nights. Paint the skin of the apple slides with Venetian red or you can also use any different red that you have. Now let us paint the first layer. For that, I'm using raw umber. Apply raw umber all over the area for the first layer and then give a darker shade towards the right side. Once we have added the darker contrast areas, we can move on to the next color. For that, I'm going to use scarlet. You can also use any other version of red for this. Using red or scarlet, paint the second layer in the juice or the cocktail. As you can see, I have left a slight white space there because it's got a reflected area that we can see in the picture, just very lightly. Then I just blend together with my brush, so that the red color would blend on to that area and we would get a lighter portion over there. Then for the darker areas towards the right, I added Venetian red on top of the scarlet. Now, for the third layer, we will go with Indian yellow. We will apply Indian yellow on the third layer and remember to leave white spaces if you see any, or you can also add them at the end with your white marker or white paints. Now, let us paint the last layer of the cocktail. For that, I'm using orange, the real color is orange lake from White Nights. You can apply the orange. One One to observe here is that there is no specific distinct straight line between the different layers. As you can see, they are staggered and not in a straight line. Don't worry about making straight lines because it is not. Then for adding the darker contrast areas, I have mixed a bit of scarlet into the orange so that I get a bit more darker orange, and with that I have applied the darker areas. Now, if you look closely at the stem and the base, you can see that there is a tiny bit of orange visible there, which is what I have applied now. Only few lines, then after that, the rest of the areas reflected on the stem and the base we will do with ultramarine blue. You can see that there are some blue areas visible on that. This is basically because of the background, which is blue. So the blue color seen here is actually the blue reflected, all passing through the glass from behind the glass, that is the blue behind the glass. I'm now going to use Payne's gray for the areas of the glass that is for showing the thickness of the glass. I'm going to shift to a detailer rigger brush. This is a rigger brush size 2. I'm using this because it has got a pointed tip and will aid me in drawing the lines along the borders of my sketch so that I do not make any mistakes. You can use a detailer brush, such as size 0 or size 1 brush for this or you can use the tip of a normal brush and use it very carefully. As you can see, I'm marking the shapes on the stem of the glass using Payne's gray and drawing the darker lines. We have to do this carefully. Then moving on to the top, we can add the darker spots on the glass at the top areas. You can see that a bit of gray color is visible on the top side. That is what we will add now using Payne's gray. Draw along the rim of the glass and the white space that we see in between, leave it white. Carefully try to draw the line on the rim of the glass and be careful that we do not go outside our sketch. This has to be done very carefully and along the line of the glass as well. Now, as you can see, through the glass on the top side there is a bit of brown shade visible. That is what we will apply now. You can add that on top of the Payne's gray using a raw umber or a bit of burnt umber. As you can see, I have applied the brown color on top of the Payne's gray. Now, we will draw the stick inside the glass. As you can see, if you observe closely, the stick merges into the apple. That is, there is no clear distinction between the apple and the stick which is why we have to add some of that brown color onto the skin of the apple so that it looks blended together. As you can see, I'm blending it onto the apple. Now, we will add the detailing part on to the kiwi. There are some small dots and tiny details on the kiwi which we will add with Payne's gray or sepia or you can use a mix of both. Now, we will draw the top portion of the stick. It is bend to form a loop or a ribbon kind. For that, I have used brown. You can use any shade of brown for this. There is no particular shade that we have to use. I have added darker brown towards the right side of the loop as well as seen in the picture. Now, let us add some controlled splatters into the first layer of our cocktail. For that, I'm going to take some brown paint on my brush. I'm going to splatter. As you can see, I have exposed only the area that I want the splatters to be and covered the rest of it in tissue. When I remove the tissue, you can see that I have got splatters in only the areas that I want. Once that is done you can go ahead and use your white pen or white paint to add the highlights. Add all the highlights visible on the glass with your pen. Also certain lines on the stem of the glass and along the rim. On the strawberry towards the right side, we have already left white but towards the left side, there is few spots here and there which is what we are adding right now. The center of the kiwi is the lightest part. Make it lighter than the rest of the parts of the kiwi. Now, for the background you can see that it is blue in color and since I had painted the stem part with the blue reflected areas, we will give blue color itself. But I will not be painting the whole of the background that is my whole of the sketchbook with blue but rather I'm going to make a random shape. The shape is totally random. Don't be worried about the shape, just make any shape you want. You can clearly see that there is no order or any particular shape that I'm making. This is just straight out of my mind. When you're painting next to the glass, we have to be very careful along the lines of the glass because just imagine if the blue accidentally touches the yellow color, it might turn into green. We have to be very careful along the borders. Then I will also add darker areas to my background color. I will take more of ultramarine blue in a darker tone and add it. You can also see this in the reference picture where at the bottom you can see that it has got a darker shade which it looks like indigo so we will add indigo as well. I have now added the shadow for the glass. As you can see at the bottom, I'm adding indigo. I'm blending it with the ultramarine blue. You can also use wet on wet technique for this if you prefer that and finally some splatters. When I'm doing food illustrations, I prefer to add some splatters at the bottom or towards the side. Because I feel that it gives a mood to my painting which is why I love to add splatters, so adding splatters at the end and that's it. 17. Project 3 - Painting from Pic - Waffle Part I: Welcome back everyone. This is the third class project where we will be painting this waffle with some fruit toppings which is on a ceramic plate. Let us first sketch the plate. I'm using this large round plate for sketching that. This is because the normal circle list that came wasn't enough. As you can see for the inner circle of the ceramic plate, I'm using the normal circular ruler. Make two concentric circles for the plate. Using the inner circle as reference, we will draw the waffle. It is basically a rectangular shape. The only thing we have to be careful about is that we don't want sharp corners. When you're making the rectangle at the corners make bends rather than sharp corners. You can use a ruler for this, don't worry. Then make another rectangular shape inside the rectangle so that we get the shape of the waffle right, as you can see there's a rectangular inside. Once that is done, we will start adding rows and columns into our waffle. We will first add the rows and columns because these rows and columns are what will guide us to draw the fruit toppings on that. You don't have to make the rows and columns in the exact number as it is on the picture but eventually it will help if you actually do. Double each of the lines, that is we have to make small squares which is why we're doing this. Once we have doubled up each of the squares, we can use them as reference to draw the fruit toppings on our waffle. Roughly, we can see that it is on the second row so that is where we will add the fruits. This is why I said that the rows and columns need to be added first. Then using those guidelines, we can add each of the fruits, that is the blueberries and the strawberry on top of the waffle. Once you have finished adding all the fruits, we can wrap off the lines of the rows and columns visible through the fruits or the berries. That's our sketch done. Now we will start painting. We will start with the strawberries. For that, I have wet my strawberries first and I'm going to take scarlet paint. This is Scarlet and apply it all over the strawberry. Wet on wet gives the right texture that you need because it will not leave any dark edges and the paint will spread to form a lighter version of the color that you picked up and give it the nice contrast and lighter areas that we're looking for. Basically, we will repeat the same procedure for painting all the strawberries, that is applying water first and then scarlet. Then picking some more paint and applying it onto the areas where you feel that it needs to be darker contrast. As you can see, I'm adding a bit towards the left and the bottom. Repeat the same procedure for all the strawberries. Once the strawberries are done, we'll start with the blueberries. For that it is basically the same procedure, applying water first and then now the color to be used is blueberry from art philosophical. But don't worry, if you don't have blueberry, you can use a mix of indigo and ultramarine blue, so it should be around 70 percent indigo and 30 percent ultramarine blue and you will get this color. Also, it depends on the shades of indigo that you have. Mostly, you should be able to achieve the right color with that. The process is exactly the same; applying water first and then applying the blueberry color on top of that and then adding the darkest areas. The darkest areas can be obtained by looking at the reference picture. Let us observe the reference picture and you can see that there are some spaces or spots which are visible as bright on the blueberries. These are the highlight areas. The other areas are darker so this is what I'm talking about, the lighter and the darker areas which we will portray in our painting. Paint all the blueberries in a similar manner. I am going to speed up the video a bit over here because the process is fairly the same and you can just do it yourselves, I'm sure of that. But if you really want it to be real time, you can slow down this video by going down to the settings option right below this video and turn the speed 2.5. Painting the blueberries and strawberries is really easy one understand the process. I repeat again, it's just basically applying water onto the strawberry or the blueberry inside our sketch and then taking the paint and applying onto it. Wherever you want it to be light, lift off paint or the darkest areas apply more darker tone of the color and you will see that you get an even blend of the darker and lighter areas. Now, we will paint the waffle. For the waffle, I'm using Indian gold. For the base coat, let's apply the whole of the waffle with Indian gold paint. It is clearly evident from the reference picture that the waffle has a golden shade to it which is why we're using Indian gold. But don't worry if you don't have Indian gold, alternatively, you can use yellow ocher. Now for those gaps between the berries, it's going to be a darker color and I'm using burnt umber for this. It is darker because of the shadows of the berries. The berries are on top of the waffle and they cast a shadow onto the waffle beneath. We won't be able to see yellow, but rather we see a darker tone of the yellow which is the brown. You can use a darker brown for this, brown sepia, burnt umber, or any darker brown shade that you have for this and start applying onto the areas between the berries where the darker shadows will be visible. I have split out painting of this waffle into two separate lessons. This is the first lesson which focused on painting the background or the first layer. The second lesson, that is the next lesson, we will focus on painting the final details. Let's move on to the next lesson, which we'll focus on adding the details onto the berries and the waffle. 18. Project 4 - Painting from Pic - Waffle Part II: Welcome back guys. Now let us add the final details on to our baffle painting. For that, I'm going to use a darker tone of Indian gold, the darker tone of the color that we used for our waffle. So first we will start with the depressions on the raffle that these squares that are visible. For that, I'll tell you how to do it. We have to make a square and then on the right side we will add a bit of color. Then with your brush, taking some water blended towards the left side. So as you can see what I'm doing, draw the square, apply paint towards the right side, then blend it towards the right side. Isn't that easy guys? The step is simple. We will draw the square using the tip of our brush and then apply some paint towards the right side and then blend in towards the left. So this is basically it, how we're going to paint all the squares inside the baffle. One thing we have to remember is that some of the squares are masked out by the berries on the top so they might not be visible as a whole. But remember that we have these sketching lines underneath and we can just do on top of that. So as you can see for the second row, the whole of the squares are not visible, but rather only parts of it so that's what we will make. The process is fairly simple. We will repeat the same procedure for the whole of the baffle for painting all the depressions, all the squares on the waffle. So that the waffle will get the shape. Now, if we look closely at the reference picture, we can see that some of the squares of the baffle has chocolate syrup on it. So that is what we will paint right now using burnt umber or you can use a darker shade of brown for this, such as Van **** brown or brown from Art Philosophical. Observe carefully which are the squares that are having this brown color and paint on that. This is why I said that this painting is fairly easy. This is because the baffle can be separated into rows and columns and we can always use that rows and columns to see exactly where it is that we need to paint each and everything, using those rows and columns as a reference. Now, we will add the chocolate syrup on the plate. For that, I'm going to use burnt umber and I'm going to make the chocolate syrup onto the plate exactly as it is seen on the reference picture. So using the tip of your brush, sketch the shape of the chocolate syrup on the plate and try to make it exactly like that. But don't worry, if it does not exactly like that, this is just basically the chocolate syrup which has spread to the plate. So it doesn't actually matter if you don't do it exactly as it is in the picture. But just try to do it as if it has spread from the left side to the right side. That's it. Then apply on top of the corner of the baffle as well. So add that extra layer of the baffle, that is the bottom part, using Indian gold and a mix of burnt sienna or brown. So that part should be very lighter, as you can see from the reference picture and draw the darker shades at the bottom part of the baffle. Wherever you see there are darker golden paths. Then continue on adding the chocolate syrup on the plate, on the left portion that is on the left side of the plate. Then let us add the details on to the blueberries. So if you look closely at the blueberries, you can see the dark spot where the stem was, so using a very dark torn of blueberry or indigo. Maybe we'll draw those shapes on top of the blueberries. It is just some few round shapes on the blueberries. They may not be exactly at the same position in all the blueberries. Some might be done sideways and some might be underneath, so we won't be able to see them. Keep adding all the details to the blueberries. Then once that is done, we will start adding the details to the strawberries. For that, we will use a darker tone of scarlet or red. What I'm going to do is basically, I'm going to draw some small circles, or small random shapes on top of the strawberries that we painted earlier with the base layer. As you can see, I'm making the smaller circles on the strawberry, and once that is done, I'm going to take some water on my brush and blend it evenly on the top so that it doesn't form very much darker edges or darker shapes. I just want it to be visible very lightly, which is why I'm doing that. Paint the texture on the strawberries and then just spread it out with the paint. That's what we will be doing. Repeat this procedure for all of the strawberries. Adding details onto a painting is the most time-consuming part. We have to power through it. But then it is those details that would give life to our paintings because otherwise it looks really flat and doesn't have any texture or information on the painting. Always we have to focus on the details and put a lot of effort and time into it. Then we will start adding a bit of shadow to the left side because there is a bit of shadow on the left side, as you can see in the reference picture and the light is coming from the right side, which is why the right side of the waffle was bright. Using Payne's gray in-between the brown shades of chocolate syrup, add the gray, forming a random shape. Then taking water, we'll blend out the outside, that is, we'll spread the paint just like we learned in the techniques lesson for the shadows. As you can see, I have blended out the shadows evenly and it doesn't have any dark edges now. Then we have to draw the border of the plate. Looking at the picture, we can see that there is a gray or silver lining for the plate, which is what we're doing right now. We have to be very careful with this spot and take your time in doing this because if we make a mistake and it doesn't follow the circle of the sketch that we have made, then it is going to lose the shape, that is, it is going to lose the circular shape. Which is why we have to be really careful. But if we do make mistakes, we can correct them with white gouache or white watercolors later on. Now, I want to add more highlights onto my blueberries. As you can see, when we look at the reference picture, there are areas that are really white. For those areas, I'm going to use white watercolors. These are not gouache or acrylic marker, I'm just using white watercolors and drawing on top of the existing paint. All those areas that you see have white spots on them we will paint using white watercolors on top of the blueberries and the waffle. Keep adding the white highlights and also the white spots on the strawberries. Lastly, we can add a tiny bit of shadow onto the top part of the ruffle. For that, use a very lighter tone of Payne's gray and just spread it onto the plate. Now, look at that waffle. I'm hungry already and it looks so tasty, doesn't it? 19. Thank You for Watching: Thank you so much for watching my class. I hope that you enjoyed learning about food illustrations with me and had a great learning session. If you're trying out any of these illustrations yourself, don't forget the golden rules. That is, highlights for the lightest areas and darkest values for the shadow areas. Take your time to observe the subject and note all the lightest and darkest areas. Don't be afraid to start out with any of the paintings. Believe in yourself and go forward and you'll see that you can create one. I'm sure that after you finished painting, you'll be hungry and craving for whatever you have painted. If you fail, don't worry, you can try it again and it will always be better than your first attempt. Practicing will always help you to improve yourself. Even myself, my food illustration from a few months back is so different from my illustrations today. It is just dedication and practice that has improved my paintings and I'm sure that you will do it as well. Just follow the ray of hope in your heart. Also, as a bonus, I have uploaded few more reference pictures that you can try painting yourself. All the images are copyright-free images from unsplash.com. You are free to use those pictures in your paintings in any way. If you do try any of them or any of the class projects, please do upload them in the class project section. If you're on Instagram, do tag me on colorful mystique. I would love to see your beautiful illustrations. If you enjoyed this class, leave a review for me in the review section, which would motivate me to come up with more such paintings and classes. Also so that more students like you can find this class on Skillshare. Once again. Thank you so much and see you all in my next class.