Transcripts
1. Introduction: Hi, everyone. My name is Nia
and I will take you through today's class where we'll be creating a simple recipe card. This recipe card is based off a Betty Crocker
Christmas cookbook. I've had this cookbook
for a while now, and the reference image in this book is something
that I've used for one of my very first food
illustrations back in 2015. So it's rather nostalgic
and near and dear to me. If you've been following
me for a while, you might also know that I majored in graphic design
back in university. So creating a full
layout with a body copy, a little bit of typography and illustration also
brings back memories. I really enjoyed the process, which is why I'm so excited to share this one with you guys. In this class, I will
not only show you the steps right from the
very beginning to end, but I will also share with
you my thought process, the planning and
development stages, as well as some options. So you can adjust
it to your levels. After this introduction,
I will go over the supplies so you can have everything ready
before we start. I'm going to start
by planning with the brainstorming and ideation because prior to this class, I was thinking of creating
other subjects as well. And once I've picked
up the subject, I went ahead to sketch out the simplified shapes
for the ingredients, along with some options to
present them differently. I'm also going to break down the shape of the
main subject matter, which are the scones. So we can combine the
scones with other objects, creating a nice composition, which we can use as the main illustration or
illustrations for the layout. After this, I'm going to create
three different designs, along with some
alternatives from a couple of the
layouts which piqued my interest before sketching and painting the recipe
one step at a time. For the main illustration
of this recipe card, I will be painting
in a bit more detail since I'm not going
to add pen outlines. So it does require me
to depict the texture and values as well as separate the objects with my paint only. However, for the smaller illustrations like
the ingredients, I will approach it in
a simplified way where I will be add outlines
before painting it in. So when we are
ready to paint it, it's ultimately just coloring
in those little objects. And if this is the style that you're more
comfortable with, you can bring it across to the
main illustration as well. So it doesn't require you to paint in as much
detail as I did, since you can add on the
outlines and separate the elements that way and also as small textures with
your pen as well. If you're new to painting
or even drawing, don't worry because
you can still follow along to
this since you can download the outline and the guidelines that
you can trace onto your watercolor paper or any paper depending on the
medium that you choose. This is why I've allocated this class for all
levels since it's very customizable and
you can basically paint and design
with your own style. If you've never taken any
of my classes before, just as a disclaimer, I will be speeding or
skipping through parts of the painting if my hand is either inactive or
off the camera, and if I'm doing mundane
things like writing. So I will be painting or writing faster
than normal speed. So if you're new to my classes, I would recommend for you to watch either the full class or a few lessons prior
to painting along just so you understand
the format and the speed. And then when you are
ready to paint along, feel free to pause in
between each step, so you won't feel rushed. I personally had so much fun
with this one because it's my first time sharing something
like this on skill share, so I hope you feel the same way. And if this sounds like something you might be
interested in trying, let's start this
class and begin.
2. List of Supplies: Before we start planning,
I'm going to go over the supplies so you can have it ready before we
start everything else. Let's start with
the paper. This is Strathmore 500 and
it's hot pressed. I've cut it down
into 5 " by 7 ". But you can create any size
you're comfortable with. I find that since
this recipe is fairly simple and there isn't too
many ingredients and steps, I'm fine with the size. I would also highly
recommend using hot pressed, so it's much easier to write on top of since the grain
is much smoother. You might notice that I
have two pieces here. This is because I did a
failed attempt beforehand, but I felt like it actually benefited me in terms of
understanding the layout, especially when it
comes to how much space the text will take
with my handwriting. But you can also do this
with regular print paper cut in the same size
so you don't waste precious watercolor
paper like I did. I'm also going to
use my sketchbook to play with the layouts and sketch out elements that I might want to include in the
final composition. This is just a regular sketchbook
by the brand potentate. But of course, you can use normal sketchbook or even
just use print paper. Next for the brush, I'm only
going to use this one brush. This is a synthetic round brush
size four by George Jorn. I'm quite happy using
this single brush, but since we are painting on small areas, you can of course, add a smaller brush to
your supplies as well, say like a size zero
for better control, especially when
painting thin lines. Next for the pens,
you can see that I've used a few sizes here. These are the pens
that I'm going to use. This is no man drawing pen
and it's also waterproof, so the pen doesn't smudge
as we paint on top. Here I have three sizes. For the drawings, here, I'm going to use the 0.1, and the 0.3, I'm going to use for the writing
at the bottom. It's a little bit
more heavy and bold. As for the body copy, I'm
going to use the 0.05. Next, this is the pencil that
I'm going to use to make my sketches and also
my layout plans. This is by Pentl Sharplet and
I like to use HB filling. I'm also going to use
Pentel for my eraser. For this particular project, I decided to use a clear ruler so I can create line
guides for the writing. This is optional, though I'm personally very bad at spacing, so I like to roughly measure the space before
writing with pen. You will of course need
a jar for your water, and this is very important, but I always have tissue
right next to me. This is especially
important because we will be painting on
a small area for the main illustration here
and it becomes much easier to control the load if you dab off excess paint with
tissue beforehand. Next for the palette,
I'll be using my usual cheap plastic
palette from diso. I've used this one for
years now and I've created lots of micro
scratches along the way, which is why my paint
doesn't beat up anymore. I know it's a bit
yellow, but it's light enough for me to still see
the colors that I'm mixing. If you have trouble with beating though and it's
really bothering you, you can also use porcelain
palette as well. But generally, if you use
plastic palette enough times, it's going to stop beating. This is optional, but you
can just use a hair dryer to make the drying process quicker if you're
impatient like me. Next here are the colors
that I'm going to use. Firstly, on the left here, this is ultramarine Finst by Sminke henlan dark by Schminka, Burn umber by Holbein, yellow ochre by Holbein. Vermilion B Holbein,
Crimson Lake by Holbein, gray of gray by Holbein.
This is optional. You can also use a light
consistency mix of burnt umber mixed with ultramarine
finest and lastly, I'm going to use Quinciana
by Daniel Smith. Here's the list of items that
I've previously mentioned. You can take a screenshot
of this or print it out, so you can have it right next to you as you organize
the supplies.
3. Ideation: Now, let's go over
the ideation process. Firstly, I want to list down the foods which are
fun and easy to make. At first, these were my choices, which are cookies, pancakes,
muffins, or scones. I decided to pick scones
because I can pair this up with clotted
cream and jam. And I also thought
about this recipe from this Christmas cookbook
that I got years ago. This picture right here
was actually one of my first references that I used for one of my first
food illustrations. So it just brings back
memories when I look at this, and I'm going to
use this recipe. I also like that it only
has four ingredients, and the steps are very simple. So I don't need too much space for the writing and
the composition. With this being
said, you don't have to base your recipe from a book. You can also create your own
favorite recipe, as well. Next I'm going to write
down the ingredients. This is just so I'm mindful and starting to think
about the shapes that I'm going to
use to represent these items in the
layout later on. I've also written jam
and cream on top. Since there are only
four ingredients, I might also add them on into the list in case I need to
fill in a bit more space. I feel like by having the jam, I can also introduce a
different color since everything else in the list
right now just looks white. Flour, baking powder,
salt, and heavy cream. They're basically
different shades of white with
different textures. I feel like whatever
recipe you choose, there will be parts where
you might need to think a little bit further in order to make the layout interesting. In this case, for me, the ingredients
doesn't look exciting. There are no color, not even
yellow from eggs or butter. I have to think
of a way to bring interest through
the shape or color. Here I'm also listing down the tools that might be
relevant to the recipe. On top of the jam, I might use these tools as extra shapes that I might bring
into the composition.
4. Ingredient Sketches and Alternatives: Now that we've done a bit of
ideation or brainstorming, in this lesson, I'm
going to try to bring a bit more life to the
items I've listed. If you've joined my recent
food illustration classes, you know that I
like to do what I call Ideation library
where I sketch out small simplified shapes of relevant items that I can
pick and choose from. I guess these can also be called assets to your
layout later on. Since the list of ingredients are a little bit
boring visually, I had to figure out ways to present them in a
more interesting way. So as you can see,
even from the flour, I can play with how they're
dished up, for instance, the bowl with the wooden
spoon to scoop up the flour, the sack of flour for a more rustic feel
for the second idea. For the third one,
I'm going to create a flour packaging that we might usually find in
our supermarkets. Now that we've
incorporated how they're presented and the props that might go well
with the ingredients, we're thinking in a way
that is much easier to make the ingredients
look more interesting. Of course, these are
just my current ideas that I had as I was
planning for this project, but you can of course, add more if you happen to have
any other ideas. Next I'm going to combine the ideation for both the
baking powder and the salt, since we're only going to use small amounts of them
in the ingredients. So I'm going to
pair them up with either teaspoons or a
very small sauce bowl. Also play with the shapes
of the little bowls and also how you present the baking powder and the
salt on the teaspoon. For the cream, there will
be two types which are unwhipped cream for the dough and whipped cream
for the topping. For the unwhipped cream, I'm going to create
a bottle of cream. You can also do a carton packaging similar to milk that you might
find in grocery stores, but sadly, I didn't really think of it when I was
sketching this out. The second type for
the whipped cream, I'm going to put
them in a deep bowl and I feel like I'm going
to either pipe them into a bowl or just
plop something like clotted cream since
it's going to be scooped in as dollops
for the topping. I feel like clotted
cream is also more thick and rich and also a bit
more rustic in a way. I might go for the
second one here. For this last one, I'm going
to make piped whipped cream, but I wasn't really feeling it since I feel like scones are very homey and I don't want anything that
looks too decorated. But either way, this is
just an ideation library, and I don't have to use every single idea
that I have here. For the jam, you can have them served in a small glass bowl so you can see the jam through it or in different shaped jars, and I'm just going to
sketch a few ideas here. For this jar, I'm going to try a wide shape with a
sticker in front. But as I was sketching this out, I feel like having a sticker or a label means that it's
probably not homemade. So I'm also going to sketch another one with a taller
jar and without a label. I also like the idea of having
a spoon dipped in there, and I'm also going to make
the jam halfway full, so it looks like it's been used. And, of course, because the
jam is somewhat transparent, I'm going to show a bit of
the spoon peeking through. You can also combine
items together, so I'm going to try to
place the tall jar behind the bowl of clotted cream
and just see how I like it. In fact, later on,
I'm going to sketch out ideas of how
I like to present the scones paired with other objects and how they're going to be stacked and so on. After gathering some
ideation library, I felt like I had a
better visualization and I can break these down further into layouts because I quite like how the ingredients
are looking already. But just for the sake of it, I'm still going to sketch out some tools in case I want to
include it in the layout. Since this is a
very simple recipe, these are the tools
that I thought of. I just thought
about mixing bowl, whisk, and also a rolling pin. I forgotten to draw
out a cookie cutter, though, but that's actually
mentioned in the steps.
5. Breaking Down the Form: Scones: In this lesson, I'm just
going to break down and simplify the shape
of the se so you can draw and paint them without reference and you can hopefully also position them how you would like to in
different angles. The main shape of this cone
is this fairly thin cylinder, and the thinner the oval on top means we're looking
from a lower viewpoint. As we look from the bottom, we lose the oval at the top, but we see it at
the bottom instead. Now let's look at the top
view in different angles, which will be the opposite. The more you see the oval, it becomes more circular and the sides will
look a bit thinner. Now with the shapes
and angles and mind, now we can bring in
some imperfections, which will create the
texture of the scones. I like to slightly
roughen up the edges, but still following
the main shapes. And when the scones are cut, you can also see the
layers from the side, and I like to draw the
lines imperfectly as well. They're a little bit
textured and jagged and they're also not
completely straight, but it doesn't go around
the full cylinder. What's important is to follow the curve of the side
face all the time, so the texture will also enhance the three
dimensional form. Sometimes, if I just do a
straight oval from the top, I like to give it a little bump. This way, the scones will
look a little bit more fluffy and puffed up
as they were baked. The bump is also
very subtle, though, so you can just see me almost doubling up
the line at the top, but I'm not creating a
significant bump at all. Now, let's divide this in half, which means they're
basically the same shape, but the edges are probably
going to be a little bit more rough from the crust as
they're being pulled apart, and they're also
going to be thinner. I'm going to create an
imaginary sandwich, so here you can see the top of the bun or the top of the scone and the
bottom of the scone. And this time, I also made
the edges a little bit more jagged and the inside is more
textured than the crust. For this one, I'm going
to add the toppings of dolopo jam and dolop
of clotted cream. As you can see, I'm creating
the textured sides, and when I'm placing the jam, I'm just going to
create an uneven blob, but I'm going to texturize it later as I paint using
the different colors. The jam is going to be shiny, whereas the cream is going to look very
subtle and creamy. As for the sketch, I'm
just going to try to roughly depict the
texture through shading. By the way, for the style
of recipe that I've chosen, I decided to paint the cone
as the main subject matter, but you can also go about this in a completely different style. As an example, you can
just use ink sketches for the main subject if you want to experiment in that way or
even use other mediums. Lastly, I'm going to
draw one combined with the top of the
scone as a sandwich, but we can still
see the toppings, hopefully you can see
the shapes a little bit clearer now after sketching
out the main subject matter. Next, we can combine it
with other items as well. Because the top of the
scone is slightly tilted, we can also see a little bit off the bottom
of that scone.
6. Combining Scones into Compositions: Now, let's put what we've
learned in the previous lesson together and try to come up with small compositions
for the scones. I'm just going to draw
small sketches here to get my ideas down
really quickly and these images of scones
are what I'm going to choose from for the main
picture and the composition. Scones are usually
served with cheese. So I have one with
a teacup here, and I find that the teacup will also be really fun to paint, since we can add more design and color
into the composition. But for the sake of time, I'm just going to do
little squiggles, so I don't forget the other ideas that I have at the moment. I'm just going to try
different combinations here with the open
scone and toppings and other scones behind the main one and add things like a
jam of jar behind them, but you can also
serve them up as they are and present them in
a nice way stacked up. There are no rules to this. We're just trying
to find a layout that will look nice
with our composition, and these are just the ideas that I had in mind
during this time. But of course, you
can always add more to these if you
have other ideas. Feel free to explore
further or even switch up the toppings if you don't like the ones
that I've chosen. These designs that I've
made in this class are just my personal thinking
process that I want to share with you
before tackling a project, and you can always develop it further if you want or need to. I'm just going to keep sketching my ideas down and
add a couple more on top of these ones. And
7. Layout Design: Now that we've created assets
to pick and choose from, I'm going to put it all
together, including the text. Text will also need
to be designed in a position where it's easy to follow and
still looks good. I'm just going to sketch
out thumbnail designs and see which ones I can or
want to develop further. Firstly, I want to know
what the body copy will be, so I want to take note on how many steps and how many ingredients will
be included in the layout. I personally referred back to the recipe because
it's already written. But if you have your own recipe, I would recommend for you
to write it down first, so you have a good approximation
of how much space you would need in comparison to the image that you want
to include in the layout. Writing it down will also give you a better understanding of space because our handwritings
will be different. I generally write fairly small, but you might need bigger space. In which case, you can enlarge the paper that you're using. That's always a choice as well. I feel like we can't compare our handwritings to
font and the computer because everything will
generally be smaller and closer together compared
to handwritten things, and this is something
that you need to get used to when you're
creating your layout, so you have a better estimation. Not going to write in normal
handwriting either though, I'm personally going to use a thin pen with the
0.05 line weight, so it will take less
space and these are the things that you might
want to try out beforehand. I like to simplify the layout by creating lines for
the area of the text, and for the imagery, you can actually
sketch out the assets really quickly if it helps. But sometimes for
this first layout, I didn't really have a clear
imagery in the beginning. So I just represented the
illustration as image boxes. These are the type of thumbnail layouts that I used to do as a graphic designer to get ideas out really quickly
before execution. Then after allocating the space, then I can try to fill in those spaces with the assets
if I can think of any. For the second layout,
I'm going to try to include some of the
images straightaway that I have in my head
or the ones that I've planned out in the
previous lessons. I'm going to try to
do something that's a little bit more
straightforward with only two divisions for the
text for the ingredients and a larger space at the bottom for the
method or the steps. And because there are only
two divisions for the text, it will also look more
structured than dividing the area into four squares like what I did in
the first layout. The way whenever
you're going to do these types of thumbnail
layout design, please draw the frames more or less similar to
the aspect ratio. As an example here, I
have vertical layout, but you can also create a landscape or horizontal
layout or square or even if you want to dedicate a specific sketchbook
for just recipes, you can draw according to the respective ratio
of the frames. This way you have
better understanding of how the page is
going to be divided. Going back to the layout,
you can see here, I'm going to firstly present the finished item on top with a large text for the
name of the recipe. Then under it, I draw the ingredients together
next to the list and lastly, at the bottom, I
drew the jam and cream together next to
the method or steps. I quite like how
this one is going, so I'm going to draw another
one with some changes. Firstly, I'm going to try a different illustration to open the page and see if the spacing is going to
look better for the title. Instead of having a scone on the right hand side
of the illustration, I close up the space
with the jar of the jam. This way I have an
even left corner for me to fit the title in. As for the ingredients, I
didn't like that the image of the ingredients was directly
placed under the scone. I'm going to place it on the
right hand side this time and move the last one with
the topping to the left. This will then create
a zigzag composition, which is more balanced in
terms of spacing as well. With this though, I'm aware that since the layout is very small, and I'm only estimating
the text space with lines. I can actually be quite
far off in terms of how much space I need for the ingredients
versus the steps. But I'm just going to
tackle that one next once I've picked the layout and I want to
develop it further. So at this stage, I'm
just going to keep sketching the layout ideas until one catches my attention. Now let's move on to the
third layout design. I want to try
something that looks a bit more simplistic and classic. I'm going to make
the focal point and the top center part of the page, and this time, I'm
going to try to include a teacup next to the
scone and the jam. Since the list of
ingredients are very small, I'm going to try to sketch them out underneath and
next to each other. I'm also going to try to include the toppings for this one, like the extra jam
and clotted cream. To fill in the space
on the corners, I added some leafy borders and
to keep the classic theme, I'm also going to use script
writing for the title. Since the steps
are going to need way more space than
the ingredients, I'm just going to list them down at the bottom
from left to right. After looking at this again, I felt like the ingredients
are a bit too full, so I'm going to take off the extra toppings
from the final two, which is the cream and the jam. I'm going to place it
at the bottom next to the method as
a corner design. I'm not going to redraw
the ingredients. Instead, I'm just going to
replace them by small boxes, but I do want to draw the
extra illustration on the bottom right corner so I can see it
together as a whole. I'm going to draw
a last alternative for the third design, and I'm going to place
a border all around the recipe this time instead of just the top left
and right corner. But I'm going to use more
or less the same layout as the previous design. I'm just going to speed this up since it's very repetitive. Now I'm going to review
the layouts that I've done to see which
one I like best. Honestly, I can see
myself developing any of these since they
all have its charm. But for the sake of ease, I find that the third design will require less development, at least for the spacing of
the text, in my opinion, because the method
is just going to be placed compared to the
second one where it's divided into two places and the first one
I would say is the hardest to make it
neat and balanced since I've divided it
into four sections. After doing this, I
decided to stick with the third layout and
second alternative. At first, I felt
confident enough to sketch it straight onto
my watercolor paper, but I realized I made some
text mistakes along the way, so I guess I wasn't careful enough and I also
had a little bit of trouble with how I spaced out the text for the
steps or the method. This is what I
mentioned earlier. I didn't know how many
lines it would take for each step with
my handwriting. Mistake was actually
good lesson for me, especially when I'm that
at estimating space. If you're like me,
you can try to do a rough sketch of the actual
size with the writing, whether it's a font
that you choose to hand letter with or you're just going to use your
normal handwriting. But just use your sketchbook
or normal print paper so you don't have to waste
watercolor paper like I did. When you're doing this, it's
important to do this with the exact same frame
size or paper size. You know exactly how to
sketch your final guideline, which I'm going to talk you
through in the next lesson.
8. Final Sketch: As you can see on the left, this was my initial sketch before and I'm
going to use it for the positions of the images and as guide to how much space
I have for the text. I feel like generally I need everything to be
shifted up slightly, so I have a little
bit more space at the bottom for the text. Either way, I'm
going to start with the main image here at the top, where I'll be painting
a cup of tea next to a filled scone and a
jar of jam at the back. I'd like to start with the cup since I feel like the opening of the cup will determine where the viewpoint is going to be. And after this, I'm going
to draw the jar of jam since the jar will determine the overall height
of the composition. Since the jar of jam is taller, I want to make sure that
the oval or the opening of the cup is more narrow compared to the
opening of the cup. Since the scone is placed close to us and at the bottom
of the composition, I want to make
sure that the oval is slightly more rounded, so we can see a bit more of
the filling of the scone, and we're looking at the scone from a slightly
higher viewpoint. After combining all
the elements together, hopefully you will see that
our eye level is roughly at the top of the jar
since the opening of the jar is almost flat or level. Got to add a spoon
here, I'm just going to add one inside
of the jar and I want the spoon to be tall and slim for the sake
of the composition. I also want to clean
out the lines, especially if some
of the sides of the jar or the teacup
is a little bit wonky. I'm going to erase the
scratchy lines and draw them a little bit
neater on top as well. Once I'm fine with everything, I'm going to add the detail
to the handle of the cup. I'm just going to
double up the line for the side to give
it some thickness and add a bit of dimension to the right hand side and showing what's placed
underneath as well, just like twist of a ribbon. I am sketching very lightly here and it might
be a bit difficult for you to see
because I don't want the lines to show
through the paint later. Just like my other classes, I will have the outline as well as the guide
to the recipe card, including the lines
for the text that you can trace onto your
watercolor paper in case you want to
paint straight away. This is if you want to create the same recipe card that
I'm making in this class, but you can also make your own with any of your
favorite recipes as well. If you want to draw your own, but you can't really see too clearly from my
demonstration here, you can also download this outline that I was
talking about. You can use it as a reference
instead of something you trace because the lines will be much clearer
on the downloadable. Once I'm done with the top of the page, I'm going to add the title next. I'm going to roll the
bottom of the line so I can use it as
guide for the text. I've chosen to do
a script writing, and I'm just making things up, but you can actually
go further and look up certain fonts that you
might like and try to replicate it
for the title for an extra typographical
element to your composition. Next for the ingredients, I decided to divide
it up into four instead of adding the toppings like how I planted
out in the layout. I divide this up by creating squares to allocate
the positions first, and I like to start from the center with the salt
and the baking powder. Then on the left, because
the items are larger, I'm going to bring it
slightly lower for the sack of flour and also the bottle of cream on the right hand side. This is the way I've chosen
to represent the ingredients, but you can always choose and pick from the assets that you've created earlier if you don't like the combination
that I've drawn here. I'm actually going to change the salt and baking powder into little teaspoons later so there isn't too much
height difference. Just like the title, I
added lines to the list of ingredients so they can
be aligned with each other, and I'm just going to use my regular handwriting to
write a smaller body copy. But again, if you want
to explore further, you can also try different font other than your handwriting. Next, I'm going to allocate the spacing for the
text or the steps. From my previous trial, I can see that I need around
three lines per step, and I also want to add a bit more space in
between the steps as little breaks so the body copy won't be too
bulky and hard to read. When I make the lines, I find it much easier to start
from the bottom, so the last line won't be
too close to the edge. If it's slightly taller
than anticipated, I can always move the
previous text slightly higher or even just make them smaller to
squeeze them further. I also want to use a
transparent ruler for this so I can use the
numbers and lines as guide to estimate the distance between the lines and also the extra
space after three lines. Before I get on with the steps, I'm going to first draw
out the small bowl of cream and jar of jam
on the right corner, so I know when to stop
writing at each line. I also want to roll
out the margin on the left where I'll
be placing the numbers, and I can also use it to
align the start of each line. Okay, so that's
it. I'm just going to write down the
steps one by one, and next, I'm going to go over the body copy with pen
in the next lesson.
9. Writing over with Pen: We've basically done the
hard bits of planning. Now let's just enjoy and relax by going over
the body copy first. You can see me jump to
the second step here. It was a mistake. I
forgot to press record. But yeah, I'm here using my 0.05 waterproof pen
to write the steps. This is my Tennis pen, and I choose to use this
because you can write a little bit smaller when you use
a smaller line weight. Downside though would be the fact that the
watercolor paper isn't silky smooth and
with such a thin pen nib, sometimes it can get
caught within the grain. I like to write very
slowly with this pen. You can also see me shifting some of the text to
the left because the light line weight helps me space the letters a little
bit closer together. Though I am making little
cuts in the edit here, this is the actual real time
speed that I'm writing. I just want to show you
that I'm not rushing this step because
I want to write neatly and do not accidentally damage my paper
with the pen nib as well. And Once I'm done with the body copy, I'm going to move on
to write the title. Here I've switched to my 0.3
for a thicker line weight, and you can actually feel
the difference of the nib. This flows so much better because it is a
little bit thicker. So the pen glides a
little bit better and doesn't accidentally
make stabs along the way. For the title, I want to
make this a bit special. I'm going to double
up the writing, it looks slightly calligraphic with different line weights. I'm not really a hand
letterer though, so I'm not very good at this. Here I just try to double
up the downstroke. I had to imagine myself
writing this again and I tried to keep the upstrokes of the letter as the
original weight. If this step is a
little bit too slow, I understand you
can speed this up, but I just want to show you
how I did it clearly in case you want to replicate something similar to your fonts. For the subtitle, I'm also
going to use my 0.3 pen. And just like before,
I want to double the line weight on the
downstroke as well. And this time, I also added small lines for the
tips of the letter, so it looks like a serapont. For the line on either side, I decided to draw
some leaves to keep the consistency with the border on the corners of the recipe. This was a last minute change, but I'm happy with the leaves because it looked
lonesome before, so this just helps bring
the design together. I don't want the outline of
the leaves to be too thick, so here I'm using my 0.1 pen. Lastly, for the list
of ingredients, I'm going to use my 0.3 pen. This stands out a
little bit more and it also separates
it from the body copy. Once I'm done with all the text, I'm going to make sure
everything's completely dry. It doesn't take too long, leave it for a few seconds. Then I'm going to erase the
pencil marks for the writing.
10. Outlining Items and Ingredients: Now, let's outline the
rest of the elements. I'm going to outline
the ingredients first using my 0.1 pen, and I'm going to also add
textures along the way, but minimally since I'm still going to paint
on top of this. For some of the textures, I try to use less pressure when I'm outlining
the line weight is slightly lighter
and the lines are somewhat dashed instead of
completely solid and thick. There are some details
that I added with pen that I didn't
draw prior with pencil because I just
treated the pencil as guide to spacing
and basic shapes. However, I will include the details in the
downloadable outline. You can always refer
back to it if you want, when you're drawing your own, it can become a
choice whether you want to include the
details with pencil in the beginning
or at the details while outlining with pen
like what I'm doing here. For the first three ingredients, they're basically a powder form, and I don't want the color to be too dark later when I paint, which might be a bit hard
to then depict the texture. So I just added
some dotted texture on the side with my pen. For the leaf border because
they are fairly large compared to the leaves
next to the method, I decided to use my 0.3 pen just to make the
drawing process easier, and I also played a little
bit with the line weight. So I am taking off pressure as I get to the tip of the leaves, which will make the
tip nice and sharp. Once I'm done with the section, I'm going to wait for it to dry completely and then erase the
pencil drawing underneath. Then after this, I'm
going to outline the bowl of cream and the jar of jam at the
bottom right corner. I feel like some
of the lines are a little bit too dirty
for me to follow, so I ended up drawing
it again with my pencil at least to
go over certain areas. Then once I'm done, I'm going to then
outline with my pen. Just like the
ingredients, here I'm using my 0.1 size pen. For the spoon part behind
the jar and inside the jam, I'm going to texturize the
edges within dash lines, so the edges are not as solid as the area of the spoon that we
can see clearly at the top. Then once I'm done,
I'm going to wait for the ink to completely dry, then erase the pencil
drawing underneath.
11. Painting Ingredients: Now, let's paint
the ingredients. This is going to
be really fun and simple since we already
have the outline down. I'm going to start with
the sack for the flour, and for this, I'm going to use a mix of yellow ochre
and burnt umber. Here I've picked
up a good amount of paint and you can see
that it's puddling wet. I took off the excess paint
with tissue from my brush and I use the rest of the paint to spread it out into
a flat surface. I've left out a bit of
white space as well. This was unintentional, but I don't mind it
slightly textured, while the surface is still damp, I added a darker value with more burnt umber on the
bottom left corner. Spoons, I'm going to use the same mix with
a slight addition of vermilion to warm the color and add a bit more saturation. I was thinking of something in between copper or rose gold, and I'm going to apply
it just using the tip of my brush since I am painting
on a very small surface. Once I'm done and the base of
the sack is completely dry, I use this rose gold color
to add some darker value underneath the fold and also add some bulge to the
bottom of the sack. Then I use pure yellow
ochre to paint the spoon. By the way, these are
very small items here. You can of course, use a
smaller brush to paint these as well to make
it easier to control. As for the cream here for
the lid and the label, I just use a medium consistency
of vermilion as the base. I'm going to wait for it to dry and move back to the flour. I'm going to use gray of gray
and a medium consistency to paint the areas that I've
dotted for the flour, the baking powder, and the salt. You don't have gray of gray, you can also use a mix
of burnt umber and ultramarine finest
or ultramarine blue in a very light consistency
to make it a light color. Then for the cream, I'm just going to cover
it using a medium to thin consistency of
Jean Brilliant dart. Lastly, I'm going to add
more vermilion this time in a thick consistency to
paint the side of the lid. I'm also going to go
over the left side of the label and the top
left corner of the lid.
12. Painting Toppings: Now let's move on
to the toppings. I'm going to start with
a thick consistency of Jean Brilliant
dark to paint some of the hills and valleys
of the clotted cream. I'm placing most of them
on the left hand side. Then I used a clean damp brush to soften some of the edges, but I want to still leave out a bit of white on
the right hand side. Next, I'm going
to add a tiny bit of vermilion into the
Jon brilliant and place it on the left corner and also at the bottom for
a slightly darker value. Now moving on to the jam, I'm going to use a
thick consistency of vermilion and place it on
the left side of the jam. I'm going to leave out a
bit of negative space in the inner edges of the jar
and this will give a bit of thickness to the material of
the jar and I'm going to use a clean damp brush to pull and spread some of the paint
to the right hand side, so the color will be lighter. I've also left out
the scoopy part of the spoon and for the
top face of the jam, I use the thin
consistency of vermilion. Next, I'm going to add the
darker values, and for this, I use a mix of vermilion
and crimson lake. I'm going to place this on the left side of the jam while
the surface is still damp. I like to.it in and as I get
towards the right hand side, I made the dots a
little bit more sparse. For the spoons, I just use
yellow ochre and you can see the effect that I try to create by leaving the bottom
part of the spoon white. It looks like the bottom part of the spoon is
directed towards us, but the handle is
covered by the jam. Next, I'm going to
paint the shadows of the jar and also the bowl. For this, I used a mix of ultramarine finest with a bit of yellow ochre and burnt umber. You can see that this
creates a cool gray and I used a lot of water so
the color is really light. I'm placing the darker values on the left side of the bowl and then I'm going to soften the edges using a
clean dry brush. I'm going to add a blue design
to the bowl and for this, I want to make sure
that the base is completely dry so the edges
stays nice and sharp. Lastly, I'm going to add
the cast shadow for this, I'm going to use a mix of ultramarine finest
and burnt umber. This will create a neutral gray. I'm using a light consistency and I'm going to place it
at the bottom of the bowl. Then when I get
close to the jar, I used vermilion to
paint the bottom, then I follow it up
with the gray mixture, it looks like there's
a glow from the jar. That's it for the toppings. But while I'm at it, I'm also
going to paint the leaves. For this, I used a mix of yellow ochre and
ultramarine fins, which will create
this grayish green. I'm just going to
paint the leaves flatly for the method as
well as the corner borders. In the next lesson,
I'm going to start to paint the main illustration
and this will be painted in a more
detailed manner since I'm not going to
add additional outlines, it will be a different style. But if that's something you're
not too comfortable with, you can also outline and color
in the main illustration, it would be painted in a similar style to the
rest of the ingredients.
13. Tea Cup and Jar Base: We are finally ready to paint the main illustration and this does and I'm going to paint the base of the tea cup and the jar the main color
mixture that I'm using is ultramarine finest with burnt umber and
a light consistency. Generally, I want the light to come from the
right hand side, so I'm painting the
shadows on the left, and I'm starting with a
light consistency because I actually want the base
of the cup to be white, and this is just the
shadow of the white. You can see that the rim of the cup is slightly
curved outwards, which means we need to add a slightly darker value
underneath the curve. I'm doing this in a very
light consistency and I try to soften all
of the edges so the transition of the curve
will be nice and smooth. With the extra bit of paint
that I picked up on my brush, I'm going to spread it to the middle towards
the right of the cup. Now we can start to
see the round form. Instead of the cup, I will
have the opposite shadow. This time I'm
applying the paint on the right hand side and
I clean my brush of the excess paint
and smudge a bit of paint to the left side
for a soft gradient. At the moment, the
base is fairly damp, I'm going to leave
it to dry before adding a slightly darker value. And meanwhile, I
move to the handle, painting the side with a medium consistency
of the same color. I'm moving back to the inside of the cup, again,
once it's dry, I'm going to apply
the same color at the corner to increase
the contrast. As for the large
face of the handle, since it's facing
towards the light, I'm just going to use a really,
really light consistency. So it's not completely white, but it's just ever
so slightly tinted. I'm fairly happy with
the form of the cup, so now I'm going to move to paint the jar,
starting with the rim. I'm using a medium to
light consistency here to just line some of the details
for the cap to screw on. I'm creating the lines
following the curvature, but on the left side,
once everything is dry, I just used a clean damp brush to smudge some of the paint, so the left side looks
a little bit darker. I'm going to do the same as the cup for the
inside of this jar, placing a slightly darker
value on the right hand side, and then I'm going to try to smudge and soften the blend
towards the left side. Once the paint has settled, I'm going to darken the bottom inside of the rim
with a darker value, hopefully by now you
realize that this is a one color painting where we're just trying to depict
the form through values. Now working on the outer
part of the jar again, I'm using a really
light consistency and how I painted the jam, I left out the edges
completely white. I outlined the inside edge, then use a really
thin consistency to do a light wash towards
the right hand side. Don't forget to paint
the bottom as well. After this, I'm going to let it dry and move back to the cup. I'm going to darken the
bottom even further and also increase the
contrast and value. I darken the side and inside
of the handle as well as the bottom left side of the cup to make it look rounder.
14. Tea and Jam: In this lesson, I'm going to
start by painting the tea, and I'm going to use a mix of yellow ochre with a
bit of burnt umber. I'm just going to
start with a light to medium consistency
to paint the base. I'm intentionally leaving out some white negative space following the
curvature of the cup. And while the surface
is still damp, I added more burnt
umber and place it at the bottom and also
around the edges. With this setto I don't want
the edges to look too sharp, so I'm going to use a clean
damp brush to go over it and let the paint
slightly travel outwards, then take off the
excess with tissue. Next, let's paint the
jam inside of the jar. I'm starting with
the top face of the jam using a light
consistency of vermilion. I want this jar to look used, so I'm going to spread some jams sticking to
the walls of the jar, but please don't do
too much of this if not everything
will just turn red. I still try to leave
quite a large area of the jar untouched, and here I'm using
vermilion with the tiniest bit of crimson
lake to.in some blobs. While doing this, I still left the outer edges of
the jar untouched to show the thickness of the jar and to lessen the
density of paint, I'm taking off the
excess paint with tissue which will leave us with a
slightly textured effect. Now for the bottom
part of the jam, I added more crimson lake into the mixture so you can
see that the red is slightly deeper and I try to leave out some white
negative space here and there, so it looks like
random highlights. I'm going to start by avoiding the spoon as well
as the bottom edge, then follow it up with a
lighter consistency to paint inside of the spoon
while leaving the edges of the spoon
completely white. Jam inside of the
jar is fairly damp, so I'm going to leave it dry and move on to
the jam filling, just like before,
I'm starting with vermilion and I'm going to use a medium consistency
for the base. I must again leave
some highlights following the cross
contour lines of the jam, so it looks rather plump. Since the light is
coming from the right, I left out larger
negative spaces on the right hand side
compared to the left. Again, I wanted
to look textured, especially on the
right hand side, while the surface is still damp, I took off a little bit
of paint with tissue. Now, let's add the shadows
for the am for this. I added crimson like into
the vermilion and I'm going to place most of this darker value on
the left hand side, but I'm still following
the curvature of the gem. I'm also going to increase
the value underneath, so it looks like the
bottom is in shadow. Then as I get closer
to the highlights, I'm going to.in some texture. Before everything
completely settles, I'm going to take off the
excess with tissue again, especially towards
the right hand side, and then I'm going to add
some dots around the edges so the transition looks more
natural and less abrupt. Now let's go back to the
jam inside of the jar, I'm using the mix of
vermilion and crimson lake to darken and add texture
to the jam again. You can see me using really
tiny brush strokes and intentionally leaving
spaces so you can see the base layer
through some areas. For the spoon, I just
paint the top part and leave out the bottom of the spoon lighter
with a base color. And as I get towards
the top of the jar, I'm going to disperse
the dots that I make. So the bottom of the jam looks
more dense than the top. Don't forget to also darken the bottom of the
jar under the spoon.
15. Spoon and Cream: Next I'm going to paint
the teaspoon using a mix of burnt umber and yellow
ochre, just like the Tea. I started by painting the bottom of the spoon over the red, then I used a thin consistency to paint the base of the handle, followed with a thicker
consistency to paint the side. I also made the lines
a bit wonky behind the spiral of the rim to give it a bit of
glass distortion. I understand that the lines
are fairly thin here, so I would recommend for you to use a light load
on your brush, or you can also use a smaller
brush for easier control. While I still have a bit of
paint left on my bristles, I decided to darken
parts of the tea as well to give it
more depth in the cup. Next, I'm going to
paint the cream, starting with a medium to thick consistency of Jean
Brilliant dark. Then I'm going to clean
and dampen my brush, to smudge the edges, then take off the
excess with tissue, which will then reveal a
very light textured base. Then I'm going to go back in
with a thick consistency of Jean Brilliant dark again to
paint on the cream textures. And now I'm using a
really light consistency of the color of the jam to smudge the jam towards the cream and
also parts of the scone.
16. Scone: In this lesson, I'm going
to paint the scone. I'm starting with a mixture of jon brilliant dark
with ultramarine finest and burnt umber to
create a light muted brown. I'm going to use a
thin consistency to paint the insides
of the scones. This is for both the top and
the bottom of the scone. At the edges near the
cream and the gem, especially on the left side, I'm going to use
the same color in a thicker consistency
for extra shadow. I'm going to make more of
this color so it's more accessible and I'm
going to apply more or less the same thing
for the bottom scone. As I'm painting this, I realized that the
surface was too damp, so I'm going to leave it
for a while and let it dry. Meanwhile, I'm going to move to another area and just wait. I line the top rim of the
jar ever so slightly, then I'm going to go
back to the scone again using the same mixture in a thick consistency to
paint the left side, as well as under the jam. Here I'm still using the
same muted brown but in a very light consistency
to start adding the base. I'm only adding this
to the middle of the scone for the top and the
bottom and while I paint, I like to follow the curvature. A areas that I've kept white, it'll help enhance the
form and the texture. Next here, I'm using a
mix of burnt umber and quinciana to paint
the most baked area of the scone, which is the top. I first line it using
a medium consistency, and then I follow it up
using a clean damp brush. While I was smudging the edges, I naturally picked
up some extra paint, and I'm just going to use
it to spread to the bottom and also leave out some white negative space following
the curvature. Bottom here, I'm
using the same color, but I'm starting with a light consistency to paint the base, and then I'm going to
follow this up by using a thicker consistency and a light load to paint
some of the textures. You can also use a smaller brush for this to make the
lines nice and thin. Felt like some of the lines
were a bit too rough. I just pick up the excess
paint with tissue and I'm going to darken the top of the scone again using
a mix of burnt umber, quinciena this summer I added some red from the jam to
increase the vibrancy. I'm also going to apply the same color for the
bottom of the scone. Then I'm going to
try to soften some of the edges using
a clean damp brush. I'm also going to add minor
adjustments to the jam using the same mix to darken
the bottom of the jam and also to add some dots
for the top part for some added texture while cleaning out the corners
and the edges as well.
17. Cup Details and Cast Shadow: Let's finish off
this illustration by painting the design on the
cup as well as the caso. I want the cup to
have a blue design, which is basically
ultramarine finest. But for the darker areas, I'm going to add a bit
of burnt umber into the mix to mute and darken
the colors tightly. By the way, you can switch
to smaller brush for this since the design is
fairly delicate. I'm going to start by creating random curvy lines here at the top and the
bottom of the rim, then I'm going to add
leaves on either side. This ratio has mostly the ultramarine and only a
little bit of burnt umber, and I'm using a medium
consistency with a very light brush load so I can paint using the
tip of my brush. Hopefully, you can see
that my bristles are not holding excess water
and it stays in shape, though this one is a
little bit frayed, I just had to be extra aware of where the tip is tilting
and to control that, I just rotate my brush around. However, if your brush still
comes to a good point, it should be easier to use. Don't forget to use tissue
to control the load. Looking at this again, I felt like I need to
darken the handle, so I use a really
light consistency of the same mixture from
ultramarine and burnt umber. Then I took off the excess paint on a really tiny
section using tissue. There's a nice and
soft gradient. Here I'm using a mix
with more burnt umber to darken the leaves on
the left side of the cup. Next, I'm going to
paint the main design. I'm using a light to medium consistency of
ultramarine fineness. This also has a little
bit of burnt umber, so the color is not
overly too bright. Then I just paint on roses. I painted a couple with some
leaves and on the left side, I'm going to do more or
less the same design. But this time I'm using a darker value which
has more burnt umber, so you can see that the
color is a bit more grayish. I'm going back with a
thicker consistency of the ultramarine to paint in
the center of the roses, then I follow it up with a clean damp brush
to soften the edges. By the way, you don't have
to paint the same design. You can also make up your
own if you would like. As for the right hand side, I use pure ultramarine
and a light to medium consistency to
paint a single rose. Since the area of the
teacup is a bit small, it might be hard to see
what I did with the roses. So here I'm going to paint a larger version so you can see what I did
with my bristles. I started with a
medium consistency with the petals at the center, which are basically two
very small curved lines. Then I'm going to slowly build
the petals outwards while alternating their positions so they don't sit directly
on top of each other. I'm going to paint another
one here as an example, and this is something
that you can try to do multiple times as practice before applying it to
your teacup design if you wish to use the
same design that I did. Once I'm done with
the base color, I added a bit of
burnt umber into the ultramarine finest and I'm also using a slightly
thicker consistency. Then I'm going to line the
center and some of the petals, but I'm going to leave the
outer petals as the base. Then I went back in with a clean damp brush
to soften the edges. Hopefully, this is clear
for you to follow. Also be mindful of the
load on your bristle since the area of the
teacup is much smaller, so you would need to paint in a much lighter brush load so the paint doesn't
travel out too quickly. Once I'm done, I'm going
to paint the cast shadow. I'm using the same mix, but this time it has
more burnt umber. I'm going to place it right
under the round part of the cup and also
underneath all the items. I like to start with a light to medium consistency
near the items, then follow it up with a clean damp brush
to soften the edges. I don't mind as some
parts are blooming. In fact, I quite like
the loose effect.
18. Closing and Class Project: Congratulations for
completing this class. I hope you enjoyed watching the full process right
from the very beginning of the development stages to the final execution and
painting of this recipe card. For the class project, I would love for you to
create your very own. You can follow along to the recipe that I've shared
in this class today. Or you can make something
that is completely different, maybe something like
a family recipe that has been passed down from generation to generation or even create your
favorite recipe. And hopefully, this
class has given you enough insight to
create and develop your very own and feel free
to also play with the medium and style that you're comfortable
with at your level. You're done with the projects, please don't forget to post
it in the project section. I'm so excited since I've never shared anything like this
on Skill Share before. And since this is very much
open to interpretation, it's very exciting for me to see what you
guys come up with. If you enjoy today's class, I would very much
appreciate it if you leave a review since
I like to take into consideration the
feedback that you give me so I can keep making classes
that you will enjoy. You would like to see
more Tutorials by me, you can follow me on
my YouTube channel Nan yani where I post weekly
watercolor tutorials, or if you would like to be updated with my latest artwork, you can also follow me on my Instagram at IG
Underscore Nanyani. So that's it for this class. I hope you enjoyed
watching through, and I wish you the best off
lock for your projects. Can't wait to see it in
the project section, and hopefully I'll see you
again in the next class. Bye.
Nianiani, Watercolorist and Graphic Designer
