Watercolor Masterclass for Coffee Lovers: Food illustration in Ink and Wash | Elisabetta Furcht | Skillshare
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Watercolor Masterclass for Coffee Lovers: Food illustration in Ink and Wash

teacher avatar Elisabetta Furcht, Making Art Accessible

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      About this Class

      2:27

    • 2.

      Supplies

      5:04

    • 3.

      Coffee to Go

      16:27

    • 4.

      Chemex Sketch

      9:40

    • 5.

      Chemex Watercolor - part 1

      11:33

    • 6.

      Chemex Watercolor - part 2

      16:38

    • 7.

      Moka Pot

      27:39

    • 8.

      Espresso

      20:21

    • 9.

      Wrap Up

      1:01

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About This Class

Hello to my students and welcome back to my channel!

My name is Elisabetta Furcht and I am an Italian watercolor artist. I started sketching later in life but art is now a big part of my life: I sketch everyday and I feel I am part of a tight community.

However, I sometimes get stuck in a creative block or I find myself with too little time to sketch. When this happens, my comfort zone is sketching coffee! From a simple Espresso cup to a more complex percolator, coffee is my comfort zone!

So I thought it was a good idea to share my passion for coffee sketches with you!

In this class, you will learn how to sketch four different coffee-related objects, from the easiest to the more complex ones. That's why this class is suitable for all levels! But don't be afraid, I will take you step by step through the whole process!

We will sketch together an Espresso cup, a Coffee-to-go, a Moka Pot and a Chemex : a lot of fun!

For today's class, I'm using my preferred style, ink and watercolor: it's easy, forgiving, and relaxed!

In this class you will learn a few watercolor techniques:

  • how to draw free-hand an object from a photo reference
  • how to draw symmetric objects
  • how to layer watercolor so to get an interesting,  realistic result.
  • how to mix colors on your palette or directly on paper for color variety
  • how to paint shadow and highlights
  • how to fix some mistakes....

My teaching style is friendly and relaxed, with step by step detailed explanation. I know for sure we will spend a great time together painting coffee!

I hope you will join my class and learn how to sketch coffee!

Take care! Elisabetta XX

Meet Your Teacher

Teacher Profile Image

Elisabetta Furcht

Making Art Accessible

Teacher


Hi! I'm Elisabetta, an Italian watercolor artist based in Turin, where I live with my husband, my dog and two cats.

I started painting later in life, after a long career in Marketing and Advertising.

When my son left for college, he gave me a watercolor set for my birthday. I started sketching and I never stopped. 

I love sketching the world around me: corners of my beautiful city, street scenes, everyday objects around my house, and the food I cook. Sketching is really a self-care routine for me!




I am mainly a watercolor artist, but I also love gouache, oil pastels and colored pencils.

I firmly believe that in art talent is overrated and that anyone can learn!

Practice is key: so let's start sketching toge... See full profile

Level: All Levels

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Transcripts

1. About this Class: Today I have a new class for you in disease about one of my favorite subjects. When I'm stuck with the creativity or I have an odd block, I draw coffee, or coffee makers or cappuccino or a cup of tea. And I know that I am in my comfort zone. I told myself, why shouldn't I share this passion with my students? That's why today we are sketching. The nice sketching. You see there are all the iconic symbol of coffee, coffee to-go. There is a climax. There is a mock-up art. There is a small espresso. So we're going through these different subjects. They have a different level of difficulties. But we will learn together many, many secrets or watercolor with this class from the easiest subject to the more complex ones. This is why this class is suitable both for Guinness and intermediate student, because you can pick the subject that is suitable for your level. So we're going to have a lot of fun with this class. We're going to relax. But also we will learn different techniques. For instance, wet on wet and wet on dry. We will learn how to mix colors directly on paper. One of my favorite techniques, we're going to learn how to layer and glazed water color. We're going to learn how to lift water color for highlights. We're going to learn how to add shadow. We will add some final details for really smell. Coffee is sketched in ink and water color, which is one of my favorite techniques because it's fresh, it's a sketchy, can be loose. It's very forgiving. As usual, I will take you step-by-step through each single phase in real time. So you won't get lost. Don't be afraid. So what are you waiting for? Grab your supplies and CountSketch with me. 2. Supplies: The supplies for these plants are very basic. We start from his pencil sketch, so you will need a pencil HB or to be, or I like to use mechanical pencils like this. This is professional. It's very heavy. It's very nice to draw with mechanical pencils and an eraser for this face. Then you will need a pen. Watch out. It must absolutely be waterproof. This humble simple pens, uni-ball, Eye Micro is absolutely waterproof. I love this pen is my go-to pen. This is very popular among urban sketches. You can use this one. I like. These two are very much and it's easiest also very waterproof. Then of course, you will need some paint. I'm using my watercolor set. And you can use either student grade or professional grade. Results are somehow better if you use professional grade. The colors are very basic ones that we will be using some yellow ocher, raw sienna if you have it. But the yellow ocher is more than enough. A lot of burnt sienna and Brown. Any brown we'll do burnt amber or Van **** brown. Sepia. You can use it and we will be using some black or neutral tint. No worries. If you don't have it, you can mix it with burnt umber and ultramarine blue. And you can make a very dark neutral tint. Then we will be using some pure yellow. You find yellow in any basic set. And also we'll be using some Payne's gray. Once again, if you don't have Payne's gray, you can mix a gray with burnt sienna this time and always ultramarine. But if you have Payne's gray, always comes in handy. We will also be using purple too dark and our brown, earthy colors, black, purple, Payne's gray, yellow. Some very basic colors. And if you don't have them, you can always replace them. Experiment, it's a good exercise for final details. It's optional, but it's useful. White gel pen. I have these unipolar sign gel pen. She's very good. Also, you can use Raleigh gel pen brushes. I'm using to round brushes with a fine point. And the smaller one for details or to spawn just one we defined point is perfect. Number four, this is number 12. But nonetheless, very, very much according to brands. So this is a medium-size, not too large, and this is a smallest size, then you will be needing some kitchen paper and two jars of water. One will always be cleaned so that you can take clean water for rinsing your brush that will become dirty during your sketch. And of course, you will be needing paper, which is the single most important piece of supplies. I have tried to sketch it in two formats. I have sketched it in one big sheet of paper. And this is cellulose, cellulose plus small content of cotton. Or I have also sketch did in three smaller sheets of paper. And four, we count is plus. And this is also another choice. This is a 100% cotton. The result is maybe vector with a 100 per cent proton. But you'll see that he's also very lonely with cellulose. So it's really up to you. The important, very important thing. It must be watercolor paper. And the way to must be better if it is 300 GSM per square meter. So that's all for supplies. And we start sketching. 3. Coffee to Go: We started from a very easy sketch, which is the coffee to go. To draw this, we, we started by drawing a boxer. My marks are a bit darker, but you can make them lighter, but if I make some drama, you will be not able to see them on camera. And draw a rectangle. And inside this rectangle, we will draw our coffee to-go. We find here very light. Mark the half. Okay, this is the middle line. Then we start from, start from top. You make these cross. This is ANOVA. Looks a bit daunting, but actually it's quite easy. The ova don't put a sharp angle here. The secret is to make almost a straight line here so that the overall is very realistic. Just we are in the pencil phase. You can erase as much as you want. So like this, just draw what you see. Then it goes down like this Alito. And you draw another line that is completely parallel to the first one. Here. There is a little pattern. Here. You have a whole okay? Here it goes down like this, and then another parallel line. Below this angle. There are three is the kappa. Here you should measure, let's say images three centimeters each, measure a distance that is the same from the center of this rectangle. You can very lightly go with a ruler. Go with a ruler, because in the pencil face we can use a ruler, will not be using a ruler. When we are in the pen phase when we outlined, we want to have a sketchy here parallel to this one. In here. We need to be exactly the same height. So how we market. Okay, we got a little outside of the car. And another parallel line here also occur. Here. It goes like this and like this. Realistic. And that's it for the pencil drawing. You can erase. You don't like it. Now we go to the pen outline. Here. You can have your own style. My style is a line that is a bit sketchy, a bit round. I don't want sharp angles here. And lines that are on the edge are a bit more, a bit stronger. This line that is just apply is freely adopted because this is a ply of the plastic cup, especially in the center. Here we have this. And here. Also. Here we have our plight. And here the cap itself. So you see it's a very easy drawing. If you make mistakes even in pen, you can just go over it. Just slowly erase them, embrace them. You see that my lines are not straight, very sketchy because I like these to be obviously hand-drawn. You can also just break them in some points so that this obviously hand-drawn. I made a mistake, so I'm redrawing it. Okay. That's all for the pen. Now you wait until this is completely driving, and then you raise everything with a simple eraser. That was very easy. Right? Now we go to the fun part. We just add to put color and it's going to be very simple. I take mine color palette. You see that I have this mixing space that it's well-used. Don't really clean it because I can always use this color, rewet it. And it is also useful because I don't have colors that are straight from the palette, but they're always a little mutate because they mix with the other colors. So when it's too dirty, I clean it, but now it's perfect. I can just continue using my mixing space. I take a medium brush synthetic star from birth. So I'll take some black or some neutral tint. If you don't have black cat, you can always mix it with ultramarine blue and burnt amber. Make it very dark and you will get almost black. But I have this black, so we'll be using it. But before we go on, we need to decide the light source. And for me, the last source is from here. So I know that all my drawings, we have a consistent light, light here and shadow here below our objects on this side of the cap, because there is a cast shadow from this rain shadow here, shadow below the late shadow below the cartilage, ring. And shadow here cast shadow from the Mac. So I start from the darker corner and then pull the color in the direction. Okay, now I just pull it. I leave some white here for some highlight. And I finish on this side. Same here with maybe leave some white to between these two parts so that there isn't a highlight with three supply. I don't want the GSR will clean my brush and inwards. And more black here. I start from here because here we have shadow, because light is from here. Just little dots here. And here we will have light hitting from here. So now we've pulled the color here. And here we're going to have shadow. And I can leave some white for a highlight here. The center. Maybe we need the second layer, but we'll see later. You see I always keep them. Some kitchen paper in my hand so I can dry the brush. Here. We have a shadow, but we wait until everything is dry. Before we apply shadow. We can apply some black, but that needs to be different colors. So we will add some purple relate. Now, wait until this dries and we can go to the cardboard ring. I change brush because this rationals dirty was full of black. So take some yellow ocher and apply on the light part. Leave some white here for highlight. And then we changed to Rosanna for instance. Or burnt sienna. If you don't have Rosanna, Rosanna, nice or some burnt sienna here. It's also nice. Some burnt sienna. I have both. So you can just limit yourself to burnt sienna and Rosanna. Rosanna is a beautiful color to have. I just commanded everyone has. And I can even take some burnt amber. And dotted here where we have shadow. Here. We get some color variety. Okay, This is spent on there. So we have mixed burnt sienna, burnt umber, and just put some dots here, but less concentrated in here. And this is our first layer. Now we need to weight everything dries, but we can start to add cast shadow here. And for cast shadow, we take our black and we add some purple that we have a different color from black. Or if you don't have purple, you can add some ultramarine blue so that you have a cold called the shadow. You can use Payne's gray if you want, but wait. Use these lovely. And that would make it nova. Yeah. And the same color. The same color can be used it below here. Along the side to give some less. We have bleeding because we haven't waited, but it's not perfect. It's always good to make mistakes so we can fix them. Touch here like this. And also can take a smaller brush if you prefer. But below would be a shadow below. Hey, ADL is to wait for these layers to dry. But if you're on the go does not always. You can wait. Just fixing sakes. We laughed a darker shadow there. And there was some darker shadow just below. I can add some plaque just below the Mac, like this. And we take some pure purple. And we added here, we have the home. And you can also take these shadow color and add some shadow here and here, and also here. And now we can stuffed him these edges. And we let these dry and regular coffee to go. He's ready. If you want to add a touch of realism, you can always add some smoke. And you take some Payne's gray, mix it with some blue that I have on my palette. But you can take some pure green and just smoke. Now we let this dry and it's ready. If when it's dry, you find that it's tweak the color. You can add a second layer of the same color. But I like a very spontaneous instance, sketches like this. It's finished. 4. Chemex Sketch: The second subject in our coffee series is a Cemex In iconic classical way of preparing coffee. I find it's so beautiful that I don't own one, but I want to take one. We take our ruler, so we assure that everything is symmetric. We draw a box, a longer one this time. Because I want to put paper on top ten centimeters, so it's easy to divide it in half for two straight lines and center lines as well. So we start from these heights, so we have space for the paper. The eyeball. Here we have our downward wooden cone. And it goes like this here, symmetric there is a wooden cone. I insist on the importance of eyeballing and the importance of hand drawing. So you just draw what you see. This is very important and this is slightly round. And this is more complicated drawing. Here you make around angle and you make another parallel line to this. Once again, I made the dark marks so you can see in camera but you can make lighter. In any case, you will be erasing. Just try to be as symmetric as you can. Here you have an opening and you have a certain thickness. Here. You have the plastic cone goes upward and you have a parallel line always. But here we have these opening. You will have that. There is. Okay. He's here also where you pour coffee and it continuous. So you have an interruption here. And here you have the other side of the opening. Because ponder, okay, like this. And a good array. The array is, you don't get confused. This end. Here you have a ball, wouldn't hold a leather string. You'll see it's quite a complicated full of details. And you will have a not below. You can really simplify this node. Here you have a piece of string. Here, you have this, and then you have going down. Now they're not the same. Here you have the glass going down. Tries to be a symmetrical as possible. Here you can use the ruler. So you can pick the same height for both. Okay, So it's symmetrical. And then here you go. John curve parallel to this one. And here you have small base like this. Now we need to draw the paper goes upwards, seamless, same configuration of the plastic cone. You have these paper at an angle. Here. You also have it and it goes down in a round way until the Dutch, nice. And then he goes back and here. Okay, I hope that it was easy for you as well. And now we outline it with our pen. Now I take my pen and I outline it. Remember it softer lines. You can break them in some points. Okay. Here it goes around. And you can have a dream hair. Here. You can put this here. It goes around, around. Remember, maybe start with the strings. So remember everything that is over. You draw it fast. You can always refine your drawing. Does it have to be perfect? Yeah. So maybe you can just draw some lines here. It say family lucky. So you remember the Shanda? Here you have glass. So the small base. That's it for the ink drawings by crazy. 5. Chemex Watercolor - part 1: Now that we have erased everything, we can start adding watercolor. I will take my usual round brush. It's quite large one, but you can take a smaller one and if you prefer the staff from top, but as usual, I will put my light source from here. Let's watch attentively the reference image. And let's try to just copy what we can to really paint and sketch what we see. So we start from paper. We have a two colors that are very similar. It's the mood and the paper. And we need to differentiate them. We need to make a choice. The choice I made is the made the paper colder and the wood warmer, but you can do the opposite. So for the paper, I will apply. We mix some burnt umber. Here. The container use the same mixing space. If I have used for them coffee to go. Touch of yellow ocher, just a touch and then I will watered down so we have a very light color, but it's colder than burnt sienna. And start from here where we have shadow, where we have shadow stuff from here. Now remember that we have some reflection here, so do not bind. Here. We have reflections. So it's going to be white to leave a white line here. I'll show you how. You can just leave it. Leave a line if you forget to do so, don't worry, because we will do later. Why did these wet to add some shadow here? Especially where do you think you have coffee? And then you continue towards the light. Maybe you can use some white here where you have glass, but here also, you cannot do with a gel pen. Here where we have light. This is transplants, so you will have some light on this side. You go even lighter. Or you can add some more yellow ocher here. So you can see that light is coming from here and it's transparent. Paper is transparent. You can add some white highlight. Some of these yellow ocher here too. Then it is still wet. We take some number and we add some dots are here because it's going to be coffee powder here. Stocks. I did here. You can even take some sepia if you have some blacker neutral chain and you mix the black with the bedtime or you take some sepia and just statuary, you think you would have coffee? Okay. Now, you got to glass because we don't want to touch here. It's all wet and we don't want this to bleed. We can add glass and I would take the fan brush smaller one and I would take some black because I think that black diluted is the best color for glass. And so what I will do, it will take some pure coffee, so pure black. And what I will do, I will just worked my area. And I would take some black and go along the rim. Spend also the base knowing that the reason why maybe we can leave some white here. Okay, We'll disperse beautiful name. We can just soft and you can also decide that here we will have some highlight. So remember to leave some white over here. Same here. Don't put water where you don't want to have glass. If we decide that we have a wax reset here, you're just leave this dry. You don't put water and take care with black or our Payne's gray if you don't have black, disperse the color with beautiful dispersion is it's wet. Some more pure black here. Green here. Leave some white here, and we can add some more black just along the rim. And we'll let this dry, soften the edge and we'll let this dry. I will start painting the board. Now. Here also I would like to leave some highlight. Here. We'll mix some yellow ocher with some burnt sienna or red ocher so that I get the very warm, very warm brown. You can also paint over the string because in any case that would be darker. We carefully paint, leave some highlights here. You see the border can be here. I need to make it go behind this. Same here. Just add warmer tones. Just some variety. You some warm, some yellow ocher somewhere and then some burnt sienna. Same here. Okay. I just tried to add some variety with some yellow ocher towards see light added to the mix. Some burnt sienna towards the shadow, towards the part that is away from the light source that is here. Leave some white towards the rim. Here also you can leave some white. Here you have shadow because it goes inward. Take some more burnt sienna and just dot, dot here adds textures, the dots and heroes. Shanda. Okay. Then we can add some texture. You can even add some burnt umber on the side here because you have dark. So just go Seat. 6. Chemex Watercolor - part 2: Now we can add some coffee, signed for coffee, I would take my pencil and draw a very light parallel line here and here behind. And that's it. I don't want to use ink. Just this is the level of our coffee. I would take the same color that they have used, the burn center that I used, the form, the ward size cohesive. I can have some of these color on this side. On this side, because like this from here, I will hit here. We can hit here, just some color here and there. And then you stop taking some burnt umber. And you add some black or maybe better, some purple. You've got some purple to your phone to Brown. And from this corner, just you can even take a larger brush. You go with confident strokes towards the light. You can leave some. White. Can be somewhat. But if you don't, you can always go back with a white gel pen. Some pure, some pure burnt umber. If some white here and there. And some more confident strokes, plenty of color, especially on this side and on this side. Leave some white between the two. It's bleeding. So we do something very nice. This is called Sir2 branch. You go with a dry brush and you're just absorb the excessive paints. Now we also put some brown him. So you can take a smaller brush for this. Along here. Along here. Maybe you can use some yellow ocher here and just go here and here. We let these dry. Check the detail, brush like this, and take the mixture of burnt sienna and brown so that I will have a different ground and I would add some pure yellow so that it's even different. And they go over this first layer. Then we will add shadows. We need to differentiate our brown so that they were all different. Now the small bowl, it can take some, some burnt sienna with some yellow. This is also WuDunn. We forgot to paint it and they will have some bait leaving. I liked somebody tamper on this side so that the roundness. Now we take some burnt amber and we add some shadow below. Here below on this side. And this will also serve as a shadow on the wall. You take the same burnt amber and we add some shadow here. Now we take some black, mix it with some purple that we have from the previous sketching. We add some hand, we add some shadow here or you can always leave some color, highlight, some highlights in. Okay, So we'll leave some color, but we will be adding some white gel pen. Here it says apply, Here's just a shadow. Here is shadow. Here is shadow, and then we just prolongs the shadow. We soften yet. Some Shanna though they would. Now we need to add maybe some of these shadow here where we have the cone, the cone. So we need to somehow define these plastic or glass cone, maybe glass, I don't know. I'm not sure. We accentuate this with some shadow color. Here. We can accentuate shadow here. Below that my shadow color, major, purple and some black. We add some shadow here and then it's alive. It's more realistic on some hand tool. Soften the edges. She had. Maybe we have some shadow. Here is going to be fairly dark, so it can also add some purple. Then also better defined our coffee with Sam. I'm Tampa, and black or purple. And we can turn this, just draw a line like this. And like this. So the bank define coffee. I can also add some purple color, variety and reach darkness. You can define these. And then you just so maybe we can add some yellow ocher, some kind. Okay. The woud, like the mood. So we have a cohesive drawing and also the coffee is reflecting the colors that they see around. Here. For a highlight. Just go over with some clean water and then I rinse my brush. I tried. I can accentuate maybe here, the dark in the base, some black mixed with purple, our shadow color. Now we add some shadow here. Some blue collar variety. Just turn it if you don't not satisfied with the angle gesture, what is whatever is comfortable for you. Okay. Immediately, shadows make the Cemex becoming more alive. I will add some purple to add some difference from. So. Especially here, we'll add some shadow, some purples so it makes a difference from the Cemex itself. I take these shallow corner and the centroid here. The darker the shadows the better. Remember the detail. Brush just below. Yeah. Yeah. Yeah. You can also refine this, add some shadow here. Refine this edge, and soften some brown stick. Let this dry and then we might add some white. To add some variety. I add some shadows, some darker brown here. And we just blend it towards the upper corner. And that would put a touch of yellow towards the light. Here's two. Then I will soften it. Yellow is decoded by our brain as light. So it's always a good idea to add some yellow towards the light. Okay. I'll let this dry. Now that everything is dry. If I want to, not compulsory, I can add some details with my white gel pen, so it may be accentuate. Here in there. The separation between the surface of coffee and the side. I can also help with the resupply. Add some white lines. Here also. The rim of the glass. The cone can continue the white line. It would just stop here. Looking at some white points. We can add the white line. It will give me an idea of deaths. You can also do this with whitewash. I'm doing with my white gel pen more. And can accentuate some shadows. Maybe with your pen. You see shadow, you can. Just another layer of Penn. Okay? Right For me, this is finished. I hope you are happy. And I'll see you in my next sketch. 7. Moka Pot: Okay, we're now drawing my favorite way of making coffee, which is the mockup bought. This is also slightly complicated, so we draw it together. We start by drawing a box. This time, I think I will make it only eight centimeters. This slowly if you want, on the left hand side. Because here we will have the handle. It's nice if it is slightly on the left hand side. You just you should be also distance eight. Yes, it is. And can be 13 centimeters. So we can divide it in half. You draw this little box. Okay? This is half. The mockup bot has a ring here that divides the two parts, will be here too. The first thing is to find half. So here is four. We divided in half. So it's divided in four quarters. And we can start from the appellate. Here. You can use a ruler if you prefer. In this phase is acceptable with the small handle. Here, what we do is we draw this sort of ring that divides the mockup bought into the little perspective. So you make two curves. And here you got Lisa. And you go like this. But actually, this is gonna be a literal inwards. So this is like this. And you will not, you can erase this. So the ring will be here and here. And this will be the upper part of the mockup. Now, at least a two-thirds, 1 third. You will have m this side, you will have a line that goes slightly inward like this. Here we will have we divided in three parts. This will go this way. This way. This is going to disappear. And here you have a curve. Curve. And the curve here also, you will have slanted inward. Just a little perspective. Here is the pouring beak. And this is going out, slightly out. From here. You will go in this direction. And here you will have a small triangle. Because out like this. Because behind, just believe me. And here you will have like a small v and then it goes here. So this is, can be slightly inside. Same thing here. You go. Seize it much easier. The lower you will have here. Goes around, here, goes around nine. And then you will have another curve parallel to this one. But now you must draw the curve exactly in the opposite direction. And here, and here. I know it looks complicated, but I hope it's not. Here. You go downward, downward. And cars like this with a curve. You mentioned curve. And you draw the base exactly like. Here it was straight. Here it is curved curb curve, curved line, curved line. This is the only straight line. Here you handle. The handle is going from literally inside. And here you have the plastic. Plastic goes Start Here, it goes like this. I draw the inner part first curve. And up towards this angle. Then it goes down. Goes around, is this tray around here. And we will be refining this F18. These can be slightly bigger. In the pen face. This is slightly champion you see can be Tinder. Depends for how many cups this is for one cup. The mock-up I for one cup. Like this, little choppy if you have it for more cups. Longer and thinner, but this is perfect for one. Okay. I will go to the pen face. Now with the pen and we can refine if we're not be aware finished sketch. I always start from the top so I don't smudge anything. Start from the lead. Everything which is in front can be drawn faster. Can be sketching. I have a cold press paper which is, um, it's difficult to draw straight lines on called the press. So it's naturally sketching. Always look at the reference image and try to do as realistic as possible, but don't stress, you don't need to. Remember that these lines do not exist. Just concentrate on the outer edge and just dot here and you just stopped this line. Here. You can make a solid line. Hope not too curvy, just slightly curve. Okay? And this is a thicker line. You can make it a double because you have a lead. It can be a double line. Here, slightly inside. We'll have the ring, goes around, comes around. Slide is straight. And here you will have these curves, finite curves. And this is a mock-up art. Final ink face was very easy, right? The pencil phase was slightly more complicated. Now we'll wait a couple of minutes and we erase everything. Now we've got to have a lot of fun with these because we're going to use wet on wet hair. The feeling of older metal, I would take a round brush. Maybe this one has a sharper 0.1. For details like this one. I will start from this side. Here. I will take the smaller one because there are some detail part. I will use basically three colors, ultramarine blue. And we'll mix it with some burnt sienna of red ocher to get some gray. You'll see that it combines with gray. We'll also makes them a lot on paper. So we get some color variation is usual. I will have my light source from here. I start from the lead. And then we'll also introduce some yellow ocher so that I will have some light as well. So let's start from I will apply some of these watered down. You see that applied on Directly on paper. Some blue, suddenly they get some variation. And here I have the line, so we'll add some yellow ocher or raw sienna even better. So we'll have some color variation and you can leave some part untouched. We'll draw these in sections, and we will try to leave some white between sections. So nice here. Here we have a nice color variation. Because all the mockup hours have sort of the, the flame gives this old look and feel. So here it's darker. So I'll put some blue rule and then I will apply some sienna. Sienna. Now I will mix them on the palette. Thanks them. On paper. You see how it goes. Now some blue. You have some interesting color variation. It can even, some will not stay blue if you find it is to blow us and here we have more lives. So we start by applying some yellow ocher. Just some water will flow better on paper. And then I will continue with some burnt sienna. I tried to stay away from the edges. And some blue somewhere. My burnt sienna here. Just let them make some paper just for the filler metal. And now you go back to our gray. We have some yellow just to add variety. Some burnt sienna, maybe hear. Some blue. I need more blue here and there. I think, especially here. When I have Shanda. So this gray and put in here. I need some paper. I use the same paper from previous drawings. Now I started, we've done some gray here. I would also go inside here. My gray. And I start introducing some more burnt sienna. Then some yellow ocher just on this side where I have more light. And I leave it, then I will add a shadow here, but not touching now because I'm afraid that it bleeds. I do the same that I did here. From gray hair. Maybe near the ring. I see that I can introduce more than Sienna. Blue. Yeah, most important thing is color variety and some white here. So you see we'd all working wet on wet. Now here, you could take some of our gray. We start by applying this like this. Then we are the different colors. Just as we live, maybe here. How we apply some burnt sienna. I have used the small brush rollover, but it's okay. Yeah. Maybe more yellow ocher towards the upper path. My blue here. You see that they never turn green. Yellow ocher. So that I add light. And a touch of yellow ocher. A touch of Bergson calls. So here it turns gray. Okay? Now here I see that maybe small fasting phase. And then I go definitely don't go with some blue. So we mix it on paper. Then it's time to add some yellow. Nice color variety. Now we can introduce our black for the handle and the little handle here. And we try and leave some white here on this side because we know that. Also, if you can. 8. Espresso: Now my favorite subjects that is smart cup of espresso. This is so easy. I do it so often, I draw it so often that I don't even need a reference image. So we can still use our box and we put the paper in landscape mode in previous sketches. It was in a portrait mode, but this will keep it horizontal. Draw it on the right-hand side. Slightly. Total box is not a rule. It's going to be a rectangle. I find the center with this little rectangle. Here. I put a little cross, these cross this over. I always tell you don't draw a sharp angle here, a bland angle, ANOVA. Then I go down with a central line. Because to use a ruler, if you want to show and calculate a smaller distance here. And you go downwards. Downwards. Can be shorter. Actually. Hear a curve line parallel to this one. Here you draw coffee line for coffee. Here the handle is really nice. There are many types of handles. Will draw the easiest possible handled, which is like half and half. Or maybe an ear. You can add some embellishments if you'd like. Just now complications. And here you can take a ruler to make sure that the little dish below the cap is symmetric. We can draw this late tall plate. Just, okay. You see our sketch. And then we can draw, I can draw these directly in pen, but if you don't feel confident, maybe you can draw some coffee beans in pencil first. Just Kiran, they're known directions. Some pointing upwards, some pointing downwards. Just make sure to make NADH Ananda not even numbers. So maybe five or seven. Okay? Like this. Now we take our pen, we take our pen. We sketch. As usual. The outer lines are going to be stronger. Still you can read them for more natural organic feel. Okay. Here, it's a bit tricky because here you have a double line here you will have a dotted line into REM. And here these down will be dotted. And this one, which is over it, it's going to be continuous. Okay. Now, dish here. Okay. Yeah, you can dot the border. Okay. They told base. We could also add small spawn. It can be after thought, which means even if we have drawn the tissue ready, we can, if you prefer, we can go with a pencil, fast curve line like this. My dog has come to see me. You can maybe hear it in the background. Norman here. Family lines. Not the most beautiful spoon, but it's not important. Here. Some dotted lines and coffee here. You can put some bubbles in a corner like this. Okay. I want to fix this and it even in pen, you can still fix your sketches. Okay, Just wait a minute and then we can erase this here. Very sketchy. Just a hint of a drawing or to detail, very loose like this. Okay, now we can erase everything. Now I take now I take the smaller detail brush because some areas are very small. I can start from shadows in the car because it's a white cap and we only need to add shadow. So I take my usual gray plus purple, which can be neutral tint plus some purple. Okay. I like purple for shadows. Cold. It's lovely. It's sketchy, it's painterly. Let's say that is usual. Light source is from right-hand side, from top, right. And I will have shadow on this side of the cup. And we can just soften these handed. Just roundness. On this side, I have it white calf, this t. I can take some yellow and yellow will do and add a touch of yellow. Just means light yellow. Now I play. Now the opposite on this side of the cup. So we'll take some shadow color and then we'll apply here. And then we'll take some very little yellow light. When the light hits, are we applying? Very, very likely just to hint. Now we will have shadow on this side of the handle. And also below. I will have a cast shadow here. We have a shadow below the spoon. Now we can take some Payne's gray, Payne's gray and corner here. And we can feel our spoon. Just be careful to leave some highlights around here. Splitting, go around, but leaves some. Remember light is from here, so we will have some light here. On this side of this form. Here we will have shadow and we will have probably a striper 12 here. We reinforce this side. Now, let's go to coffee. Could have waited here because it's split in shadow, but we'll put that because in any case we will layer. Yeah. We'd love to solve it with the brush. Now, for coffee will use some burnt sienna. Will go very carefully. Here we have light. Leave some white in this area for reflections, for highlights. And some burnt timber. Any brown we do fungi or burnt amber. And to blend the two colors together, you will have a darker brown on this side because there is shadow. Maybe around the corner here. This, now with the detail brush, you paint this Babel but you live and what spot? Maybe just half. You can add it later with the white gel pen. Okay, We have reached some color variation here. Also. The little dish. We will have some shadow on this side. Shadow just soften the edge. Soften. On this side we have some shadow because the ring goes like this. And the little base, you have some shadow and more cast shadow around the country, darker shadow here. The dark in value. Around the H. Here is going to be jobs. For sure. Immediacy comes alive, gentle find. Also somehow darker. Be afraid of shadow. So you have different layers of shadows. Now the first layer of the coffee beans must be very warm and light. First layer will be in burnt sienna. Now although still wet, you can touch of dark brown below, behind. To treat darker brown. That this trial. Now, if you want to add interests to your Kafka, we can add the rim, a golden green with yellow ocher mixed with some yellow yellow ocher. And I don't know, caught me yet, for instance. Gentle, straight line but broken. Just about some high act to indicate highlight into broken. Now the handle, maybe a sin cast shadow. We'll add some purple here. Okay, now we add some shadow to the coffee beans. Jake have a shadow colors heavy, shortly to line just behind. So immediately this comes alive. Take some burnt umber. I mix it with some burnt sienna, will meet that. And I will accentuate shadow here. And also this line should be the darker brown accentuated. Cns. Okay. If you find that those are two-page, just add some dark color. Remember just the direction of light. Now I will add more definition to my sketching with my pen. So we lacked shadow on the side of the spoon. I will add more shadow. On the site of the cup. I will draw the shadow. I will just helping my sketch with the pen because the beans needs more definition. This is also very nice. I find when you just use your pen to add shadow. Here you can also Shanda. Stronger line here. Here. Hello, small capitalists presto. We can do. 9. Wrap Up: Thanks for having joined this class with me is usual. I'm sure that you have the reach that very nice results. That's why I'm asking you to upload your projects in the gallery. And also if you have lacked the class, so why not preview it? That would be awesome. I would be so grateful. You can also post your projects on social media. You can tag me and you can find me on Instagram under my name and he's a bit. Then you can also find me on YouTube. Believed them as supplies review. Thanks a lot. It means a lot for me. You follow me after all these classes. She don't want to miss my next classes. You can follow me on skill share. That's all for now, and I'll see you in my next class.