Transcripts
1. Introduction: Hi everyone. My name is Na, and today I'm going
to be showing you my process of painting
this cup of hot chocolate. I haven't had the
chance to paint a full food illustration
for a while, so I thought that this would be the perfect subject matter
to paint for the season. Like my usual paintings, I will have the
traceable outline for you guys to download
in the projects and resources section
in case you want to just trace the outline and
get straight to painting. But for those of you who would like to learn the
drawing process, I will also be including
it in this class. I understand that this painting has a few features
that I've included, but I will go through
each section very slowly. So hopefully it's easy
enough for you guys to understand and follow
with This said though, there are certain areas
where it's required for you to have pretty
good brush load and control because there are
some small areas where it might puddle up if you have too much of a heavy
load on your brush. Like my usual classes, I would classify this for
intermediate students who has experience with
watercolors and have a pretty good basic
understanding of brush load and control, as well as color
mixing and so on. However, if you're a beginner and you would like
to give this a go, I will still welcome you
as I will be going through each step very slowly and hopefully it's still easy
enough for you to understand. After this
introduction, I will go through the supplies that
I used for this painting, as well as my reference images, along with my thought
process of why I gathered these certain images
to compose my painting. Then I will show you
my sketching process. But if you would like to
get straight to painting, you can also skip
this lesson and paint where I will be showing you
guys in smaller lessons so the information is much easier for you guys
to digest and you get to see each color mixes as well as every
layering process. As a disclaimer, I will be skipping through
parts of my painting if my hand is either
inactive or off the frame. This means that I will be painting slightly faster
than normal speed. If you've never taken
any of my classes, I would recommend for you
to watch the class or just skim through the classes or the lessons so you understand
the flow of things. When you are ready
to paint along for you guys to pause in
between each step, you can paint at your own
pace without feeling rushed, like something you guys
are interested in trying. Please join me in this
class and let's begin.
2. List of Supplies: Here are the supplies that
I'm going to be using. Firstly, let me go over
the paper I'm going to be using Strathmore 500.300 GSM. This is hot pressed which means the surface
is nice and smooth. For this particular painting, I've cut it down to 5 " by 7 ". This came from a larger
piece and you can use the extra paper to swatch your colors before
applying it on paper, especially at the tones are quite similar to others
that you've used before. Or if it's a matter of
consistency for the values. My piece here is still
quite large though, so I decided to use
a smaller piece from a different brand that I have scraps off to switch my colors. Instead, this is bicans and X L. And I previously made a
sketch book using this paper. I still have many scraps
that I'm going to use. I think preferably, it'll
be nice to use scraps of the same paper because paper color can vary
from brand to brand. But personally, I find
that both these colors of the paper is quite similar
and they're quite white, so I didn't feel like it made
too much of a difference. Next for the brushes, I actually only need one
brush for this painting. Here I'll be using the organ
round brush size four, it has synthetic bristles. However, you'll see me using this black one that
I'm also holding, which is a filbert
brush by the same brand that was because I've been using this brush a lot and it
was within my graphs, so I didn't realize that I was
using it at the beginning. It's not necessary just stick
to the round brush since I know a lot of you guys have access to the
round brush already. The only thing that I'd
like to mention though, since my brush comes
to a very fine tip, I'm fine with just using the same brush size
for smaller areas. However, if you find it
a little bit tricky to paint the smaller
parts with this brush, you can also switch
to a size zero brush or any small synthetic ones
which has a nice clean tip. And it will work fine. I'll go over these colors in
a bit more detail later on. But as for the palette, I'll be using my usual
cheap plastic palette from. So this palette is quite old. It was originally white, but after I've used
it for a long time, the color is tinted to this
yellow light, yellow tint. But I still like
using it because I've used it enough and worn it enough that the paint doesn't beat anymore
on the plastic. I'm just saying this because
a lot of people ask me about beating and why my
plastic palette doesn't beat. It's just because I've
worn it out enough that the plastic probably
has lots of micro scratches. So the surface holds more
of the paint basically. But yeah, you can use
any plastic surface for your palette or
porcelain palette. Just make sure that
the surface is light enough for you to see the colors that you're mixing. As for the drawing
or the tracing part, this is the pencil that
I'm going to be using. This is by Pentel Sharplets. This is by boxy, and it's
my favorite eraser since I don't have to put a lot of
pressure to erase cleanly. Another very important
tool is tissue. This is basically what's going to control the load
on your brush. After reloading your brush
with paint and water, always dab off the excess so the paint won't
bleed out too much. I personally cannot paint without tissue right next to me, so make sure that this is always by your
side at all times. You'll also need a
jar for your water. I personally just use one. When the water gets dirty,
I'll just change it. But some people like to use two. But you can also do if you're
going to be using two jars, one would be for
cleaning your brush, and the other one will be for reloading your
brush with clean water. Now this is completely optional, but I'm also going to be using a hair dryer just to make
the drying process quicker. This is completely
optional though. Of course, you can always
leave certain areas to dry. I'm just a little bit impatient. I always prefer to
use hair dryer. Lastly, let me just show
you the outline that you can find in
the downloadables. I have made two here, they're traceable from my
final finished painting. The first one is just
a clean outline, whereas the second one has indication of certain details
which might be useful for you as reference if you ever get stuck while
free hand painting certain textures this way you can see certain subtle curves, especially for the glossy areas. By the way, I've
accidentally lowered the scale when I
was printing these. They're a bit smaller, just
make sure that they're at 100% when you're printing these to get the actual
size if you want. You can also enlarge
them since they're in high resolution if you feel more comfortable
painting on a larger scale. Next, let me just go
over the colors as well as the brands that
I'm going to be using. This is graphite gray
by Daniel Smith, Burnt Umber by Holbein, CPA by Holbine titanium by Daniel Smith for million by
Holbine Gabo by Daniel Smith. Mineral violet by
Holbine Hookers. Green by Cotton. Crimson Lake by Holbine
Titanium gold ocher by Schik. I've also switched out the colors in case
you guys don't have the exact same ones that I'm going to be using
for this painting. You can adjust with the
palette that you have at home. I will be including
the switches of these colors as one of the
downloadables as well. So you can just
download and have it right next to you as
you're painting along.
3. References: For the season. I felt
like painting a cup of hot chocolate like usual, I'd like to look up some reference images
to get inspired. I'm dedicating this lesson to go over the reference
images that I've combined and what I
particularly like about them. This is an illustration
that I found. Firstly, I really
like the chocolate garnish instead of cookies. Since I've done
that in the past, I'm going to include
the chocolate squares for my painting. You can always
customize the painting if you want to turn
it into cookies. Instead though, I also like
the use of a simple cup here. This way I can focus more
on the glossy texture of the cup without the
composition being too busy. Lastly, I like the
small yellow sparkles or the warm brown splatters. I find that this gives an atmospheric touch
to the painting, almost like Christmas lights
further in the background. Next in this image,
I really like the addition of colors
from the garnish, like the green from the pine leaves and
red from the currents. I think that the
red and green will interact really nicely with
the browns off the chocolate. I think that this will also add a subtle touch of
festivity to the painting. On top of that, the
extra height from the cinnamon sticks I find will look good for
the composition. I'll be including the
cinnamon sticks as well. When I was sketching out
possible compositions, I felt like I want some form of interaction or movement
to the painting. I wanted to include chocolate syrup being
drizzled from a spoon. I want the drizzle to
be nice and glossy, and this is the reference
image that I used for the shapes of the highlight or the gloss from
the chocolate syrup. Initially, I wanted to paint really thick Spanish hot
chocolate, but at the same time, those thick hot chocolates seem to be quite dark and color, it won't really look good with the dark chocolate
syrup to get around it. I find that this color for a thick and foamy hot chocolate will bring a nicer contrast. Instead, the hot chocolate can
still look nice and thick, but the color is lighter. As you can see from
this reference image, there isn't too much contrast to the color of the hot
chocolate and the syrup. This is something that I was talking about before and
I'm trying to avoid. Instead, I think that
the combination of the lighter brown and
the dark brown and light warm neutral tones of the marshmallows will be a
better combination instead. That's basically it for
the reference images. I'll have these in the
downloadable section as well, so you can print
them out and have it right next to you to help with value placement as
well as reference to textures if you need
further inspiration.
4. Sketching: In this lesson,
I'm going to start to sketch out the outline. If you've decided
to trace yours out, you can go ahead and
skip this lesson and move on to painting
straight away. But for those of you who
are sketching along, I started by creating this curved U shape for
the bottom of the cup, since the cup will
be the main object. And I want to place this cup a little bit lower than
halfway down the page. There's space for
the tall garnish as well as the
chocolate drizzle. I'm drawing out the handle here, but I'm going to be
erasing it later since I needed to adjust the size.
Just leave it for now. And focus on the shape of the
cup as well as the height of the cup and also the
oval on top of the cup. Make sure that the
sides on the left and the right are rounded instead of the sides
coming to a point. Once I'm happy with the
opening of the cup, I'm also going to
add a rim which reaches slightly
over the curved line for the bottom of the cup. I also want to
eyeball very lightly, a wooden coaster that's
going to be under the cup. Make sure that as
you get towards the bottom of the composition, whatever ovals that you're
making is a little bit more rounded and circular
instead of it being flat, because we're looking
at this from the top, we're able to see the top of the surface of the
coaster a bit more. I'm still sketching this
out very lightly though, so I can easily erase it and move it around to fix
the placement later on. At this point, I'm
just trying to include the larger elements
of the composition. After drawing on
the coaster here, I'm going to move on to
the handle of the cup, which I've large, much more than the previous
one that I drew out. Because I've extended
the height of the cup downwards here. I also want to indicate the
placement of the chocolate. For this, I wanted it to be slanted or leaning
against the cup. The elements are interacting
with each other. For this, I just
simplified the shape into a flat three
dimensional square. You can still see
the dimension or the form from the sides
on the flat surface. I just simplified it by
dividing it by four. I also drew out a couple of marshmallows very lightly
on the left side. Then after looking
at this, again, I felt like the area for the
garnishes were too small. I decided to enlarge
the coaster. Or maybe it's more like a
plate underneath the cup. And I've rotated my paper
because I find that this position is much easier for my wrist to move and create
an even curved line. Now that I'm happy with
the main large elements, which are the cup, the chocolate, as well as
the plate or the coaster, I can start drawing on
the extra garnishes. I'm going to add on the
marshmallows around the cup, as well as for the
hot chocolate. For the placement of
the marshmallows, I just about cylindrical shapes that I pile on top of each
other in different angles. I make sure that the sides
are a bit rounded instead of straight to depict the soft and puffy texture of
the marshmallows. Sometimes I like to also distort the shape of
the marshmallows. For a bit of variation, I do this by distorting
the oval for the top of the cylinder or making extra curve lines for the sides so the edges
are not perfect. If it's a little
bit difficult to imagine the shape of
the marshmallows, you can also use the outline that I've provided as reference, or you can also use some of the reference images that you can download for inspiration. On the left, I'm going to add a couple of sediment sticks. As for the shape, just
like the marshmallows, they're cylindrical but not puffy this time and
they're much longer. Since I'm including two, I'm going to play with
the angle as well as the height to make the
placement more natural. As for the pine leaves, I'm just drawing it very lightly as an estimation
to the placement, it's quite easy to paint later. I'm not going to draw in much detail now for the chocolate drizzle before
drying out the spoon. I made sure to sketch where the chocolate is going to land. First, I'm making
the lines closer together as it's about
to hit the marshmallow, whereas the top is thicker
to make the texture of the chocolate syrup look
more thick and gooey. Once I reach the top, I'm going to add on the spoon. To simplify it, I just
drew out an oval that is tilted to the side with ker flying at the bottom
for the base of the spoon. After making a rough sketch and getting a better imagery
of the placement, I cleaned and
reposition the line slightly to make the
placement more accurate. I'm going to add the rest
of the chocolate drizzle on the marshmallows by
creating swirls, or double swirls for some of the marshmallows by following the curvature of
those cylinders. I'm also going to add
some chocolate syrup floating above the hot chocolate next to the marshmallows as
the syrup gather together. However, as I'm doing this, I try to not overdo it, because I still want the white of the
marshmallows to show through for the
drizzle on the rim. Again, I want the syrup to
look like it's thick and goey, so I make sure that the
lines are very rounded. Since there's also
going to be long drips. I want the drip to follow the curvature of the cross
contra line of the cup. This will help with
the form of the cup as the chocolate syrup
drip hugs the sides. I've got quite a lot here
already and the lines are still quite
sketchy and rough. So I'm just going
to clean them out. I also want to erase
some lines which I sketch over other parts, like the rim of the cup here. Once the position of the drizzle around the rim is correct, once the lines are
more or less clean, I want to start adding
some red currents. I'm destroying them out as small circles in slightly
different sizes. And I just like to
place them around naturally around
the composition. For the ones in
the hot chocolate, I drew them out as almost
half circles because I want parts of the red cart to be covered
by the hot chocolate. As I go, I'm going to very slowly clean the outline little by little by erasing any
scratchy areas that I can find. And going over them again more accurately and lightly with pencil for the plate here. Since I want this to be
made out of a cut off wood, I'm going to add some
imperfections around the side. I made some of the edges
a little bit jagged and follow it to the bottom
to create some ridges. Lastly, I seem to have forgotten about the chocolate squares, but this is actually not as
complicated as it may seem, since I've already divided the
surface into four squares. Now I'm going to
draw four squares on top by distancing it slightly to the top
right of each block. This means that
some areas will be overlapped by the
smaller squares. Now to make the smaller
squares look like blocks, as I connect them to the bottom
of the previous squares, instead of drawing
straight lines, I'm going to angle
them very slightly so they look more
like flat trapezoids. As I'm drawing the
small trapezoids, I try to extend the lines
very slightly around the four squares to
give it a bit of extra space for a thin frame. That's basically for all of the elements for
this composition, I'm just going to
look at the outline again and clean out
any scratchy lines, especially for the light
areas like the marshmallow, since we're only painting over
those areas very lightly.
5. Cup: 1st Layer: We are finally ready to paint. I'm going to start by painting per section of
the cup on the left here. I just wet the surface evenly to dampen it without
the area puddling wet. And I just want the water
to seep in very lightly. In terms of the color,
I'm using a mix of graphite gray
with mineral violet. And I'm looking for a gray with a little bit of purple tone in the gray instead of a muted purple
before I painted on, I'm just going to swatch it until I'm happy with the gray. For me, I find that it's
still little bit too purple. So I added even more graphite
gray into the ratio. And I'm going to use a light to medium consistency to
paint on the damp surface. I'm just going to line the edge and add a couple more
lines near the drip, then I'm going to close
the shape from the bottom. Then I cleaned and
dried my brush, then pick up whatever
wet paint was still around the edges and pull
it towards the white areas. This way those lines
stay darker and the white areas are
now slightly tinted. You may notice that I'm
using my Filbert brush here, but don't worry,
you can just stick to your normal round brush. Getting back to the painting, I dampen the surface of the
cup just like the left side. But this time I left out
a bit of an area dry above the chocolate with
the same color mixture. I'm going to start painting
on the edges on the right as well as the bottom for the
area behind the chocolate. Now using a lighter consistency, I'm going to bring the color from the
right to the center. As I get closer to the center, I want the color to
be even lighter. And I start to paint on some lines following the
curvature of the cup, as well as adding
some squiggles, and then filling it up with
an even lighter consistency. These lines and squiggles are just something
that I made up to imagine the surrounding area which reflects on the cup. This is to depict a reflective glossy
surface on the left eye. Feel like this part needs
to be a little bit darker. I'm just layering again, another thin consistency and
still following the curve. I'm going to just paint on top, so there's a play on the harder edge and the softer
edge from the first layer. Now let's move on to the handle. I'm starting with a consistency to paint the side and this will indicate the thickness of the material of the handle. For the bottom, I use a slightly thicker
consistency for darker value. I also want to make sure that the previous color
is completely dry. Those surfaces or the faces
of the handle stay separated. As for this part of the handle, I used a medium consistency
to paint the right side. Then I use the
clean, damp brush to pull the rest of the paint
and fill in the rest of the handle while leaving
the bottom so I can paint the leaf over it
to separate the rim, I use a light to medium consistency to just
paint the bottom of the rim. And using the same color, I'm going to paint the
inside of the cup as well, while leaving the
outer part of the rim.
6. Berries/ Currants: In this lesson, I'm going to be painting the berries
or the red currents. For this, I'm starting out
with a thick consistency of million and I'm
just going to paint all of the red
currents the same way. I'm going to cover the
whole area while leaving a little bit of white negative
space for the highlights. Preferably, I want
the shape to be round or at least following
the curvature of the circle. I finish with the vermilion. I'm going to follow this up
by using a thick consistency of a dark red from a mix
of vermilion and CPA. This time I'm going
to place it at the bottom of each
of those circles. Before applying the dark red, I also want to make sure that the previous layer
is completely dry. If not, the dark red will just travel and
cover the whole wet area. This is when I start
struggling and finding it difficult to paint on the
small area with my pulp brush. I switch to my round brush and I'll be using
my round brush. From here on, I'm just
going to basically paint the rest of the red currents the
same way as before. And I'm going a bit slower here because it's actually
much more pleasant to paint with my since I
have a bit more accuracy.
7. Pine Leaves: Next I'm going to be
painting the pine leaves. And for this I'm
starting out with a dark yellow green
by using a mix of new gamboge Hookers green and a little bit of CPA to
meet the color slightly. I'm starting with a thick to
medium consistency and I'm just using this color to paint some of the
leaves free hand. Just painting on
the curved leaves, mostly directing upwards. But I like to play with
the angles slightly, so not all of them are
facing the same way. And this way, the placement of those leaves look more natural. I'm also using the very tip
of my brush to make sure that those leaves can be nice and thin if it's
a bit difficult. You can also use a
smaller brush for this. Since I'm going
to be layering on a thicker consistency
and darker value, I want to make sure that
it's not too dense. At the moment, I'm
still leaving out a lot of white negative
space between those leaves. Since I applied this first
layer with a light brush load, the paint shouldn't
be too puddling, wet, and I'm not going to wait
for it to completely dry before adding on
the second layer, using a slightly darker value, which has less new
gamboge and the ratio, I'm going to leave it
to try and move on to the second pine leaves on
the right hand side here. This one is a little
bit smaller and is just peeking through
behind the chocolate. I'm just going to paint
this with the same method. I'm starting with a
lighter yellow green. After that, I'm going
to follow this up with a darker value with less
new gamboge and the ratio. And I'm painting it at the
bottom, close to the center.
8. Mini Marshmallows: Now let's move on to
the marshmallows. For this, I'm only going
to start with one color, which is the
titanium gold ochre. And I'm going to treat this as a one color painting where I try to paint the values and the
form by just using one color. The reason why I'm starting with this color is because
it's nice and light. Even if I'm using a
medium consistency, the value won't be too dark. And it also has a nice warm
tone as the base color. I'm imagining that most of the light is
coming from the top, so I want the top surface or the face of the marshmallows
to be the lightest. This means whenever I'm painting gradual
gradient at the bottom where the marshmallows
are touching other marshmallows
or other elements, the area would be
darker than the top. As I get towards the top, I just use a clean
damp brush to pull the rest of the color that
I've already applied at the bottom to make
sure that the top is very light and valued to use. The clean damp brush
means that I clean my brush with water
and then I take off the access water with my tissue before pulling the rest of the
paint upwards or sideways. This is basically
what I'm going to do for the rest of
the marshmallows. As the first layer for this particular marshmallow, I feel like it's interacting with a lot of the
other marshmallows and I think that you
can probably see a little bit of
what's going under. So I'm going to use a thick consistency for
the shadow underneath. And just like before,
I follow it up with a clean brush to create
a softer transition. Once I'm done with
the base color, I'm going to follow this up
by using the purple mixture, or the gray mixture from mineral violet and
graphite gray in a very thin consistency to paint the dark areas
of the marshmallows. This is mostly the bottom
of the marshmallows, especially if they're squished between other marshmallows. Because the nature of this
color is really dark already, I would recommend for you
to maybe swatch the paint beforehand to make sure that the consistency is light enough. Since I want the surface of the marshmallows to
be nice and smooth, just like the first
layer After I've painted the thin
consistency of the gray, I'm going to soften the transition with
a clean, damp brush. After I've added the gray, I find that the color
is a bit too cold now. So I'm going to bring back the warmth by introducing
a different hue. This time I use a mix of
titanium gold ocher with a little bit of vermilion to
make it more pinkish color. I'm going to apply it over the
grace to warm up the tone. I'm also going to apply it
to parts of the yellow. This serves as a mid tone to the marshmallows
and it will just add a bit more
definition and form to the shapes with the set. I still want some
of the really light yellow as well as the
white to show through. There's a variation of hues to neutralize the color of the marshmallows. It
still looks white. The reason why I'm
mixing the hues is because the white surface is not usually completely white, but it's just picking up color from the surrounding
area as well. Technically, you can just use a neutral grade to
define the form, but I find that it would
make the painting look a bit flat here. I'm going over the pinkish
areas with a bit more titanium gold ocher to bring back some more of
the base color. I'm just doing a
transparent layer to keep the colors more
consistent with each other. I'm also going to apply the same colors as
well as technique for the layering for these marshmallows at
the bottom, as well for the marshmallow
close to the chocolate. I feel like since the
chocolate is slanted, parts of the marshmallow
will be slightly in shadow, just like the area of the cup. I'm following the angle
of the diagonal line and I'm going to use a darker
value to paint that area. Instead of using the gray here, I use the pink mixture from vermilion titanium
gold ocher first for the midtone because I don't want to accidentally
darken it too much. After I soften the transition, then I'm going to use a very thin consistency
of the gray, especially for this area
near the chocolate. And I'm also going
to apply it right at the very base of
the marshmallows. I feel like the marshmallow on the right turned
out a bit too dark. I ended up reactivating
the paint with a damp brush and I just pick up the excess
pigment with tissue.
9. Cinnamon Sticks and Spoon: The next element
that I'm going to be painting are the
cinnamon sticks. And for this I'm going to use
a mixture of four colors. These are CPA Vermilion, a little bit of new gamboge, as well as titanium gold ochre. I'm going to be using
this light orange brown for the base of the cinnamon. I'm starting with a
medium consistency for the cinnamon
stick on the left. I want to be careful to not paint over the areas
of the pine leaves. You don't have to paint right to the very edge of those leaves. And you can leave out somewhat negative space if
you would like to. As I'm painting, I'm using a medium to light
load on my brush. After I've spread the color, it won't take too long for
the base color to dry. You can even see from the first cinnamon stick
that the color has faded slightly
because it's drying up. Meanwhile, I'm going
to use or layer on a slightly thicker consistency of the same mix with added new with this color
painting on swirls for the top oval as well as the right hand side
where I painted streaky lines for a bit
of the woody texture. After this, I'm
going to build on the darker values by
using a different mix. This time I'm just using CPA and million to create a
dark reddish brown. I'm going to define the top area by
creating swirls as well as some lines for the detail or the folds
of the cinnamon sticks. I'm also going to
add some cracks along the way for added texture. With the starker value, I'm basically
drawing on the fold from the roll of the cinnamon sticks and I'm just going to draw on some extra
texture as well and darken a little bit off the side as
well as the bottom. I'm trying to not
add on too much of the Starker value since I'm not going to be able to
erase it later on. I also want to make sure that the previous layer
is completely dry, the darker value doesn't run into the rest
of the surface. Instead, I'm going
to soften some of the S using a clean damp brush. This way I can control
where the paint travels. For the final layer, I'm
going to go back in with an even darker value by using the same mix with added
CPR in the ratio. I, of course, want
to make sure that the previous layer is completely dry because I'm going to be painting very small and
thin cracks with this. If it helps, you can switch
to a smaller brush in order to paint on the
really fine cracks. Just for an extra tip, make sure that the brush load
is more on the dry side. When you're painting
on really thin lines or really thin details, the paint doesn't travel too
fast out of your bristles. And that's it for
the cinnamon sticks. Next, I'm going to make
the color for the spoon. I decided to create this antique gold color
by using a mix of CPA, new gamboge, and a
little bit of million. I'm starting with this
very yellow brown color and a light consistency to paint the base
of the spoon as well as the side for the
inner part of the spoon. As for the concaved area, I'm going to use a
clean hand brush to pull the rest of the paint so it's a little bit
lighter than the rest. After that, I'm just
going to completely dry it off before adding
on the next layer. For the next layer, I'm going to paint the concave area again. This time I'm using a medium
consistency of the same mix. As I get towards the sides, I use a clean damp brush. This time the well is darker. I'm also going to do the same for the base of
the spoon as well.
10. Chocolate Drizzle: This is probably my
favorite thing to pat for this whole composition, which are the chocolate drips. For this, I'm starting
out with a mid tone brown from a mix of burnt umber and a little
bit of vermilion. This is going to be
the main base color, but before I paint the
chocolate drizzle, make sure to leave out
the negative area first, which I just outlined
using the tip of my brush. I'm basically following the
triangular shape while making a wavy curve line for the
longest line at the top. Then I'm going to
fill in the rest of the chocolate drizzle using this color as I'm painting this. I also left out a little bit of negative line following the flow of the
chocolate drizzle. As you guys probably
know already, these white negative shapes are going to be the highlights. And the thing that makes the chocolate drizzle
look nice and glossy. I'm working per section. After I'm done with the section, you can see a clear line
for the negative shape. I'm following this
up with a clean, damp brush to soften the edges and making sure that I have no
pigment on my brush. I'm just going to move the paint around after I've reactivated it to make sure
that the edges of the main highlight
looks nice and smooth. While you're doing this though, make sure that the center of the main highlight
is still white. Surface of the
base color is dry. I'm going to add on the
darker value for this. I just added CPA to
the previous mix. I'm going to place
this at the back of the drizzle as well
as the right side. This darker value will give the thick form of
the chocolate syrup. I'm just going to do this with a thick consistency
to make sure that there's a really nice contrast between the light brown
and the dark brown. I'm also going to do the
same thing on the left side, but I want to make
sure that the line on the left side
is much thinner. After that, I'm going to use a thin consistency
of the same color. I want to make sure
that the load on my brush is nice and light. I'm just going to smudge this consistency with the
darker tone on the side. I'm doing this on both sides, but just like before, I want the right side to be
slightly thicker. Then I'm going to go over the right hand side again
with a thicker consistency. To increase the contrast. I also added a streak
following the curve off the high light to using a light consistency
of the same mix. Since the area that I painted
is very dark in value, I decided to dry it
off completely in case I accidentally
smudge it with my hand. That's basically the hard
part of this lesson. Done for the rest of the swirls on top of
the marshmallows, I'm going to follow more
or less similar method. I'm starting with
the lighter brown from burnt umber and a
little bit of vermilion. And I'm just painting it as
the base color while leaving a bit of white negative
line for the highlight. I'm going to do this
for all of the swirls except for the drip on
the side of the rim. And I'll get back
to you when we're ready to move on
to the next step. Once I'm done with
the base layer, I'm going to follow this up
by using a darker value. By just adding a bit of a
into the previous mixture. I'm going to line
some of the sides. I'm trying to make this look
more three dimensional. I am essentially painting on shadows to make the
chocolate syrup. When I'm painting
on the shadows, I like to imagine where each
of the swirls are facing, if they're slightly tilted
to the left or to the right. This will help with
the shadow placement. As an example of the
marshmallow is facing the left. The chocolate syrup will
also be facing the left, which means we can see
more of the right side. I'm going to use more
of the darker value on the right hand side and also making the line
a little bit thicker. This method is still applicable. If the chocolate swirl is
facing the right hand side, you just have to
put the shadow in the opposite direction for some of the marshmallows though, if it's curved and words like the one that I'm
painting right now, I am going to put a bit
more shadow at the bottom. I'm basically
following the area of the darker value for the
marshmallows as well. When I'm painting
the chocolate swirl on the darker area
of the marshmallow, I also darken the value. Now moving on to the pool of chocolate syrup next
to the marshmallows, I'm going to treat
it the same way. I'm starting with a mixture of burnt umber with
vermilion and I also left out a bit of
white negative space randomly following the curvature of the pool of chocolate. Then I'm to follow this up with a darker value with CP
added to the mixture. And for this, since I want the light to come from the top, I'm going to darken the
side closest to our view.
11. Chocolate Drink: In this lesson, I'm going to be painting the chocolate drink. As I mentioned while I was going over the
reference image, I want this to be lighter
than the chocolate syrup, so there's a nice contrast
between those two elements. For the brown, I'm creating this light brown by using a mix of burnt umber with a lot of titanium gold ocher and
a touch of vermilion. Since there's a lot of space
on the right hand side, I'm going to place the
highlight there here. I'm just applying a
medium consistency of the mixture around the edges
as well as the corners. To paint the tight corners, it helps to direct the tip of your brush to the small
side of the corner. It's touching the very
tip of your brush and then dragging your brush following the
curvature of the cup. After I've painted the edges, I'm going to follow
this up using a slightly thinner consistency to paint closer to the center. As I get to the white area, I'm just going to use a clean damp brush
to smug everything. There's a soft transition and the lightest part
just looks very blurry. I don't want the high light
to be too glaring for this, because I want the texture of the hot chocolate to look like a soft foamy around the corners. I'm going to increase
the value by layering a slightly
thicker consistency. I'm just placing it very
close to the marshmallows, making sure that the
edges are nice and clean. I'm also going to apply the
thick consistency around the cup as well as I get
closer to the center. Just like before, I try
to round the edges by painting curflines
following the rim of the cup and just
slowly building on a slightly darker
value little by little. I'm also going to use the
same color for the left side, but I'm not going to leave
out as much high light since the area is mostly covered by a lot of marshmallows
and different elements. Don't forget to also
paint behind some of the leaves if that area is
not completely covered. As for the area closer
to the cinnamon sticks, I'm guessing this area would be very dark since
it's quite hidden. So I use the dark brown mixture
from Pia and Vermilion. Then I added a bit of the light brown to
the dark brown and painted around the edges and
softening the middle part. It's still slightly
lighter but it is not as light compared
to the right hand side. For the darkest value,
I also used a bit of the CP and Vermilion mix to add a bit of a darker
brown around the rim.
12. Cup: 2nd Layer (Adding Warmth): After painting the elements
inside of the cup, I felt like the cup
itself look a little bit too flat compared to
the rest of the elements. And it's also cold because
I only used one tone. I decided to bring some
warmth to the temperature of the cup by adding
a transparent layer of buff Titanium, which is the subtle,
neutral, warm tone. I'm placing the buff titanium in similar areas to
the previous layer, making sure that the
lightest area is still left, more or less white. I also use a slightly
thicker consistency around the edges while
painting some lines as well as some slightly
wavy lines following the cross contour line of the cup to further
support the form. As well as the glossy texture for the side of the handle as well as the bottom
of the handle. I'm going to use more or
less a thick consistency of the buff titanium because this buff titanium is
much lighter in value. Even if you paint using
a thick consistency, I'm going to use a
medium consistency to paint the main surface of the handle as I get
closer to the curve. At the top though,
I'm just going to soften it using a
clean, damp brush. There's a gradual gradation following this up with
a mixture of graphite, gray and mineral violet, again, right at the bottom behind
the pine leaves to darken the shadow more from here on, I'm just going to balance
out the values further. I'm adding a darker value
using the behind the rim. I'm also going to darken
the area around the handle, especially the part
of the cup underneath the handle and at the bottom
side of the handle as well. This is all about balance. The value will greatly depend on the rest
of your painting, making sure that it's
cohesive throughout. Since I still want the cup
to look more or less white. By the end of this,
I'm being very careful while painting
on the darker values, making sure to only use a medium to a lighter
consistency layer by layer. Finally, for further definition, I decided to sort of outline
the cup or the features of the cup itself using a medium to light consistency
of the grain mixture.
13. Saucer: In this lesson, I'm going
to be painting the saucer. I finally found the correct word to describe what this is. For the first color mixture, I use a mix of burnt umber, titanium, gold,
ochre, and vermilion. You may notice that these
brown color mixtures that I've been using are either
the same or similar. This is because understanding
the ratio really matters. A lot of times it's not about understanding the
percentage of each color, but more about the visual cues. If you look at what I'm
painting right now, what do you see in the brown? Is it a bit more reddish or
is it a bit more yellow, lighter, or darker and such. You need to add more vermilion. Would you need to add more nu? Gamble? Should make
it a bit more yellow. You need to add Pia, maybe for a darker tone. Or if you like the hue
but you want it lighter, you can just add more water. This way, you can adjust
your own mixtures by adding the correct hues or even
water that you need to. This will make you a bit
more proactive in learning and color mixing with
this first layer. As you can see, I used a heavy brush load and a
light to medium consistency, so I can cover the
whole area easily. Now while the surface
is still a bit damp, I'm going back in
with the same color, in a slightly
thicker consistency to paint the texture
of the rings and the cut piece of wood here, I tried quite hard to
paint the rings close to the red current in the middle because the surface
was still quite damp. The dark color paint ended
up covering the whole area. I took off the excess paint with tissue and I even
reactivated some of the paint with water to take off more paint around
the side of this area. Then I just paint on
more textures on top, but making sure that the
surface is slightly more dry. This time I just paint more of the rings
while placing them further apart for the
side of the saucer, which will be the
texture of a tree bark. I'm going to use
a dark brown mix from CPA and burnt umber. I just want to cover this
whole area with color. I mostly direct my
brush to the side, but I like to paint on some
textures radically along the way that I've indicated from the outline where the
edges are a bit uneven. I also made the right side a little bit darker than the left. Then once the left side
is completely dry, I went back in with the same
color mixture and paint in some of the ridges for
extra texture of the bark. The right hand side was still
a little bit damp here, so I use a thicker consistency and a darker tone with
added CPA in the ratio. I've more or less
indicated the texture, but I want to add
some finer ones using the dark brown mix
with more CPA in the ratio. And I just paint on
thinner lines to add some extra definition
to the textures. I felt like the top of
the coaster is a bit too reddish in terms
of the tone of brown. So here I'm going to layer
more of a yellow brown. It's basically the same
mixture but it just has a bit of new
gamboh in the ratio. I'm just going to use a light consistency to paint over following the
previous brushstrokes.
14. Chocolate Squares: Let's move on to paint
the chocolate squares. This was probably one of my favorite areas to paint as well. For the color, I'm just starting with burnt umber
and I'm going to paint each of the squares
or the flat trapazoids. When I'm painting this,
I try to leave out some random white negative space because the shape of
the faces are angled. I want to also make
the negative spaces geometrical in
terms of the shape, instead of smooth and rounded. Here are the negative
shapes that I just made up. Along the way, you can leave
out some of the corners or even just add diagonal lines
to make the surface looks. After that, I'm going
to use the same color, in a slightly
thicker consistency, to paint a slight
outline on the left, on the bottom side, so it looks like the lighter brown
areas are slightly lifted. Then with the same burnt umber, I'm going to paint
the frame around the four squares and make sure that the lines on the left
as well as the bottom, is slightly thicker
compared to the one on the right where
it's more hidden. I'm going to mix
up a Acker brown. I just use burnt umber
with added CPA this time, and I'm using a fairly
thick consistency to paint the sides
of the trapezoids. As I'm spreading the paint, you can see that the color
will start to fade after this. I'm going to layer
on the same color, but this time I'm going
to paint per side, while leaving a bit of negative
lines around the corners. This way it'll separate the faces so they have
better definition. I'm also going to use the
same dark brown mix to paint the left side as well as the bottom of the
chocolate squares. For the sides, I'd like to
use the tip of my brush to paint thin lines instead of covering the whole
area straightway. Meanwhile, I also
want to leave out some negative lines or space for extra
highlights to the sides, as the surface would more likely be a little bit uneven
as it was snapped. Just like the previous size
of the smaller four squares, I'm going to layer on a slightly thicker consistency while leaving out
more negative lines. And that's basically it here. I'm just going to
clean out and separate those faces to redefine
certain areas.
15. Chocolate Drizzle on Cup: Now let's paint the
chocolate drizzle on the rim of the cup. I am going to treat
this the same way as the chocolate
drizzle from the spoon. Here I'm using a mix of
burnt umber with a bit of vermilion to outline
the highlighted area. Then with the same color, I'm going to cover the rest of the chocolate drizzle
while still leaving out some smaller negative shapes following the flow of
the chocolate drizzle. The same goes for the smaller drip on the right hand side. This time though, instead
of just smudging the edges, since there's a lot
of white space here, I'm going to pull some of the paint with a
clean, damp brush, I pick up a little bit of
the surrounding color and paint following the flow
of the chocolate drip. The lines are slightly curved and I'm just
going to make up my own reflective surface
as I did for the cup. Be careful to not pull too much paint because you don't want to cover everything. I still want to leave out some white negative space
for the lightest highlights. Once I'm done, I'm going
to layer it with a darker brown by mixing Pia
into the previous mix, just like the drip
from the spoon. Since the strip is also
facing the left hand side, I'm going to be
placing the dark brown mostly on the right hand
side as a thicker line compared to the left at the bottom where the
drip is pulling up, I made the bottom
slightly thicker since I want the highlights
to be at the top. After this, I'm going to soften the blend by using
a clean damp brush, making sure that there
are no hard edges. As for the large, high
light at the top. Also going to add on
very thin curve lines following the flow of the
drip using the brown. I'm just placing this
at the bottom though. And then I'm going to
blend it upwards like I did with the lighter brown
using a clean, damp brush. So the dark value blends a bit more with
the lighter brown.
16. Redefinition and Cast Shadow: In this lesson, I'm going
to be redefining all of the elements again and also
adding on the cast shadow. I'm going to start out
with the marshmallows. I'm using a mix of titanium gold ochre
with a bit of burnt umber And a
touch off vermilion because I want to
use similar color as the surrounding area which is the hot chocolate and the
chocolate drizzle here. I'm adding on the
darkest valleys of the marshmallows to
separate them further. With everything else
painted already, it's much easier to estimate
how dark you can go with the lids object without making it look like it's
no longer white. So this is why it's much
easier to go back with a slightly darker value now compared to doing
this beforehand. I'm also going to
apply the same method for the marshmallows
and the saucer, but I am using a
lighter consistency here because the marshmallows are a bit more
exposed and they're not hidden behind
other marshmallows. Once I'm done,
just like the cup, I'm going to add a light
outline to these shapes, especially if the
edges look to light. Now, moving along to
the cinnamon sticks, I'm just going to define the lines that I
painted earlier. And here I'm using
the dark brown mix from CPA and Vermilion. You can also switch to a
smaller brush for this, but I'm just going to paint
using the tip of my brush, using a light to
a dry brush load so I can make those
really thin lines. I'm also going to darken
parts of the bottom area. Then I'm going to
soften the blend using a clean, damp brush and just
pulling the paint upwards. Lastly, still using the same
color and a dry brush load, I'm going to paint on some short lines to add
a little bit of texture. Again, you can also do this
using a smaller brush. Now moving on to the
texture of the saucer, I'm going to add some
short lines as well. And I'm going to limit the
amount of the scratches because I just want
this to be very subtle and I'm directing
it towards the center. Next here I'm painting on some cachetows for the
area of the saucer. For this I use a
different brown mix from mineral violet
and burnt umber. I'm placing this in a light
consistency following the diagonal line
that I've painted earlier than softening it
using a clean damp brush. I'm also going to paint cachetos on top of the items
on the saucer. And for this I'm just
going to paint it on free hand using a medium
consistency of the same mix. Next I'm going to add the darker values for the pine leaves. For this I'm using a mix of Hooker screen with a bit of CPA. I'm just going to use
the same brush strokes that I've used before to
paint the pine leaves, but this time I'm
placing most of the darker values at the bottom as well as
the stem at the bottom. Then as I get towards the top, I made the lines look
a bit more sparse, with a starker value, most of the curves have
been facing upwards. And this time I added some
downward curves as well. For a little bit of variation, I'm also going to apply the same thing for the smaller
pine leaf on the right. I'm going to define
the cup for this. I use the same mix of mineral vallet with
a bit of burnt umber. This time I also neutralize
it with a bit of gray. I'm just recycling the colors
that I've already used. The tone of the whole painting look consistent with each other. For this, I'm just adding
on the darker values, especially around the sides, using a light consistency as
they get towards the center. I use even more water to
lighten the color further. In terms of the shapes, I just follow what I've already
painted earlier. You can also add
more curve lines like what I'm doing
here along the way. But for me, I made sure that those lines are subtle
enough so it doesn't take away from the
whole composition to outline parts of the
handle as well as darken the bottom of the
handle using the same mixture. Then, of course, softening it until it becomes a
lighter gradient at the bottom of the handle
for a very subtle glow. I'm also going to introduce
a bit of the titanium gold ocher in a very light
consistency to parts of the cup, especially on the
lightest areas. Some of the red
currents have faded. Here, I'm going back in
with a thick consistency of million to go
over those areas. I'm not going to cover every single part of the red currents. In fact, sometimes
I like to leave a bit off the faded
color as well. This just adds another
dimension to the highlights. After that, I'm going
to dry everything off before adding on the ca
shadow for the saucer. After everything
is completely dry, I'm going to mix up the
color for the Ca shadow. For this I use a mix of
mineral violet with CPA, titanium gold ochre, and a bit of vermilion to warm
up the color further. And I'm just going
to use a very, very light consistency to
cover the area of the shadow. I'm going to treat this as a wet surface as I'm
going to go back in with a slightly thicker
consistency to place it closer to the saucer. I'm also going to place a tiny cachetow underneath
this red current as well. After the previous ca
shadows are completely dry, I'm going to define it closer to the objects and I'm just
using the same color in a medium to light consistency for some of the red currents. I'm also going to add a bit more vermilion
as the Ca shadow because I want a little
bit of the red of the current to reflect on
the Ca shadow as well.
17. Splatters and Finalisation: For a final touch up, I'm
going to add a little bit of a warm glow or splatters on
top of the hot chocolate. This, for me, represents some Christmas lights
distant in the background. For this, I'm using a thick consistency mix of vermilion and
titanium gold ochre. I splattered it while
covering the main area of the painting so it doesn't get to places that I
don't want it to go. Before everything dries off, I take off some
paint which landed in unwanted places using tissue, and I'm going to use a clean, damp brush to spread some of the splatters and turn it
into different sized circles. Instead, I'm also going to add some free hand to complement the ones that
I've already painted. After this, you can always go back to the previous elements to balance everything out again and do some final adjustments. But as for me, I think I'm quite happy with the
balance and detail. I just forgot to define the
spoon in the previous lesson. Here I'm going to
use a mix of CPA and New Gamboch to layer
on the darker values at the bottom of the
spoon base as well as the deepest part of the spoon where it's touching the ram. And that's the
completed painting.
18. Closing and Class Project: Congratulations for
completing this class. For the class project, I
would love for you to paint along using the steps that
I have shown you today. You can either use
the traceable outline that I've provided in the
projects and resources section, or you can also draw
your own cup of hot chocolate if you're feeling extra creative or
looking for a challenge. You can also change up
certain features like the garnish or even add
a cozy background. Once you're done
with your projects, please don't forget to post
it in the project section so we can have a
combined collection of all of your works. And it's always so much
fun for me to see that a single subject matter can be painted in so many
different ways. A review is also always
very much appreciated, as it a way for me to see which classes you guys are
most enthusiastic about. And it also
encourages me to make more classes which
caters to your taste. If you guys enjoy today's class and would like to see
more tutorials by me, you can follow me on my
Youtube channel Anani, where I post weekly
watercolor tutorials and sometimes squash if you would
like to see more art by me. You can also follow
me on my Instagram at IG underscore Nayan E if
you guys are still here. Thank you so much for watching
right to the very end. Best of luck for your project. Can't wait to see it
in the project section and I'll hopefully see you
in the next class. Hi.
Nianiani, Watercolorist and Graphic Designer
