How to Draw a Glass of Water: Narrated Step by Step

Hello and welcome to my new video: How to Draw a Glass of Water step by step, in this drawing I’ll show you one way of drawing a glass of water, the materials I’m going to use for this drawing are a 4B pencil, any soft pens will do, some gray paper, paper that’s not white but a mid-tone, a soft white pastel and an eraser, the first step in this drawing will be to draw an ellipse which is a circle seen on its side, to do that we need to look at the glass, so I’ve got a glass in front of me and I’ve got some photographs of glasses as well, a glass of water, but I’ve got several images to choose and when I draw the ellipse I make sure that it hasn’t got points on any corners or any sides of it and then it’s going to be symmetrical, so I need to make sure that the middle of the left-hand side ellipse is similar to the middle of the right-hand side of the ellipse, once I think I’ve got the rough sketch of the first top ellipse of the glass in, then I draw the left-hand side and find the bottom ellipse of the glass, now the bottom ellipse is going to be pretty similar to the top, and I’ll try and make sure that the right-hand side of the glass is also tapering in a little bit just like it is on left, now there’s a thickness in this glass, so it has a more solid base to it, so this is the basic shape that I’m going to be working on on this drawing, so the next step is really just to keep looking and seeing the quality of line around the top ellipse, I think what I’ll do is I’ll make this top ellipse really just the way I want it and try to give an indication of the thickness of the glass and to do that I just need to look very carefully, so the line that goes around the glass doesn’t want to be a totally continuous line of the same sort of quality all around, because, like when you look at anything it varies quite a lot if you look at it in detail, so some parts of this line will be lighter than other parts and it will also, at least in the one that I’m looking at, the glass has a thickness that is visible and therefore there needs to be a double line, to some extent, you need to be careful as the thickness of the glass goes around the far left and right hand sides of the ellipse, that it sort of goes underneath and then around, it’s hard to explain, but it’s not two parallel lines going around into ellipses, it’s more complex, so you just need to look really really carefully at the glass that you’re drawing and try and work out the shapes that you’re drawing, rather than think about what it should look like, you just draw what you actually see! now working down here sort of more in the middle of the glass I’ll create another ellipse, which again echoes the earlier three ellipses that I have, and now I’m going to start to make some marks and indications of some of the shapes that are within the glass, these shapes are created by changes in tone, in light and darkness of tone, and also in the water that will be within the glass, so I use a line, a quality of line, sometimes pressing down with the 4B pencil a little bit firmer and sometimes being quite delicate with the line, and just trying to see the shapes that they are, I think one of the keys to a drawing like this is to not, well it goes in two parts really, the the ellipse and the actual shape of the glass, you need to look really care that what you can see in front of you, but also you need to hold in mind what you know about symmetry, that if a glass is the same on one side it needs to be the same on the other side if it’s a symmetrical shape, so the glass needs to be drawn, what you see, but also you need to hold in a bit of information about what you know about glass, but when it comes to water and reflections and tone and all these some shapes that we’re looking at within the glass, I think it’s probably best to not think about what you know water should look like or what you know glass should be, but just look at the shapes, now it’s quite tricky to do that because it’s more comfortable in a way to draw what you think should be there, but if you draw just what you see, as shapes, and really trust that if you draw carefully what you see, rather than trying to explain it in your drawing or even explain it in your mind, but just respond to the tones, the light and darkness, and the shapes that you see and the quality of lines, how a line can start and then just sort of dissipate or disappear and stop and if you just draw what you see and then hopefully the quality of glass or the quality of water will come through later on, you don’t have to force it to happen hopefully it will just happen by being curious about observing what you can actually see, so this stage I’m working through the drawing in a small area, so some of it is just a couple of lines at beginning, but the area that I am doing now, I’m starting to do a full tonal range, going from very dark areas to quite light areas, as a full tonal range this drawing is on grey paper which is like a mid-tone, which means that later on towards the very end of the picture I guess, I’ll use a little bit of soft pastel, soft white pastel, to create some highlights, so at the moment, as I’m making some areas darker with mid-tones and dark tones, those other areas which I haven’t drawn, the grey parts the paper are starting to look a little bit lighter because of the context of the dark things around them, if you make something dark it’s going to make the thing next to it seem a bit lighter than it was before you made it dark, but also know, because I’m going to use some soft white pastel towards the end of the picture, that I’m going to create a much more dramatic sense of tone, just at the end, and that will capture those quality of light going for the glass or at least I hope it will… so this stage along here, I’m going back to the rim along here and looking very carefully at the quality of line and then sometimes I’m pressing down pretty firmly and moving around the drawing a little bit as well, I think it’s quite a useful tip to not concentrate on one area specifically, but maybe do one area and then move on to one or two other areas and then try and work those areas up together, so at the moment I’ve got the rim at the top of the glass I’m using the the line of the water around the middle of glass and then some of the tones and shapes within the top half of the glass, now I think it’s time to work down the lower part of the glass and see some of the more contrasting shapes that are within this area, so I’m starting in this point with the very darkest tones, pressing down quite firmly, trying to make the marks as good as I can, just as the shapes that I see, so I’m just trying to draw the shapes that I see again and again, I really think there are an endless number of interesting shapes and connections that can be made when looking at a object to draw and that’s one of the reasons that I really enjoy drawing things I can see in front of me, quite often you find that shapes that you draw, you just draw the shapes that you see and then later on you find that first lines start coming together and you start see a shape which you didn’t really draw as a shape, but you draw those parts of it, a bit like a jigsaw puzzle when you, let’s say you have a jigsaw puzzle and you’re putting it together and you start to find that you can put it together and then later on you can see what the picture is that you’re actually creating was the jigsaw puzzle and I think that’s quite a good analogy if they’re sort of drawing, that you’re drawing various shapes and parts that you see and then, it’s like there will hopefully come together as a jigsaw puzzle of an image, which is recognizable and realistic and and all the qualities that you want within the drawing that you’re doing, so down here at the moment I’m putting lots and dark tones towards the bottom ellipse of the glass because one of the things about glasses I want the quality of light shining through, but also want the quality of the heaviness of the glass, the tactile quality of it, so I’m making sure that if there are darker shapes towards the base of the glass, that I put those in, now some of these shapes need to be just dark lines of various thicknesses and then other parts of these shapes need to be a more general graded tone, so towards the top of the glass and that I drew a little bit earlier that you can see, there’s a graded tone where the pencil marks aren’t so visible, but you just see a change in tone over an area, so I think that I’m trying to get various parts of that to happen in different areas and then being quite careful that I leave some areas undrawn, so they’re just the gray of the paper that I’m using, will stay gray, so I’m not wanting to put pencil marks over the whole of the image, I’m just putting pencil marks in some of it, it’s quite tricky just around the edge here, where I’m doing now, because if I define it too much, a bit like when you’re drawing you know the lips of a face, if you draw the edges of the lips it becomes a bit too static and cartoon-like, so sometimes it’s good just to not quite finish a little area and leave it so that the imagination of the viewer can sort of join the dots as it were and make the image and work together in their eyes, rather than spelling it all out and joining everything in a sort of logical way, because quite often like if you have three dots in a straight line you can normally see a straight line, you can sort of imagine a straight line between three dots, the same sort of thing with glass, I haven’t drawn a hard line all the way around this glass, but it’s starting to look a bit like a glass with water in it, although there isn’t a solid line going all the way around, which is a thick outline, so it’s just that sense of allowing the viewer to connect the dots, to connect the tonal shapes and to create something that they see as realism, a realistic tactile quality, but obviously it’s an illusion, because it’s just a drawing, it’s just a two-dimensional drawing of a three-dimensional object and light, so working down here is really quite interesting shapes it’s a lovely thing to draw I think, when you have the freedom just to draw shapes… that you can see in front of you, so they’re very interesting shapes here and and keep discovering new shapes to draw and finding small little details and seeing how those details relate to the wider picture, at this stage I need to think quite hard, so that I don’t have a drawing which has different styles too much in it, so I’m looking to see how the middle part of the drawing the earlier part and the base of the glass will work together, so that they’re sort of unified, so making some darker shapes up here, because there are darker shapes and the images and the glass that I’m looking at, I’m drawing this image using an a natural glass for water in it, but because it’s quite difficult to get the light source on the glass, I’ve also got a photograph or two, which shows light going through it and they’ll be particularly helpful when I do the shadow of the glass, it’s always a good idea in a drawing to know what it is you want to capture, the main thing, so up here I haven’t used an eraser yet, but I think I’ll need to use an eraser at some stage later on, having it quite useful, know if you can see something which needs changing its really good to change it, just to change that one part that you see, but if things are going sort of okay, I think, to me it’s best just to keep going and try and make everything work together and try and create an overall image, so I’m trying to unify some things at the moment, so long here there’s some strange shapes and then just on this side as well, there’s quite subtle so I need to draw it quite slowly, I’m quite fast at drawing, it just doesn’t really matter if you’re fast or slow at all, was quite convenient to be quick at drawing, but and it really doesn’t make any difference, if you’re fast or slow or if you like to draw large drawings or small drawings that’s quite a small drawing of a glass, those sort of things are totally up to you, but the key element of this the key thing that I want to go through it is drawing what you see, not what you think should be there, drawing the tones how light and dark something is, and a really good way to find out how light or dark something is, is to half close your eyes and sort of look through your eyes, so you can hardly see, but then when you look, or you can see really are the tones, the colours sort of go away a bit, and you see the contrasting tones, you see the really dark things and really light things and often if you sort of squint and half close your eyes and look at the glass or the object that you’re drawing, it’s a very clear way to accurately see the tones, the basic structure of the tones, which bits are dark on which bits are light, because the other alternative of looking with your eyes fully open, you see lots of subtleties, but sometimes you can miss the more overall quality of where things are dark and where things are light, so at this stage in the drawing I think I need to be a little bit careful, I think I’m putting in a bit too much pencil mark, but I will use an eraser and I actually use the eraser hear a little bit, just to smudge things out and make them a little bit more subtle, so at this stage I just go along here, I’m creating a little bit too much dark, knowing that I’m going to use an eraser and either make it a little bit more subtle or to actually take away some of the areas to create a few highlights… and obviously I’m still leaving the areas that are going to be used from soft pastel, so, working down here, this is actually the part of the water which is most still and there aren’t really many shapes in that, so I think it’s time to put in the shadow, now the shadow I’m using the same pencil, same 4B pencil, and just blocking it in, in the sort of broken line which isn’t too strong and then I’m going to place the shadow in and I need to look to see if the shadow is darker or lighter than the glass and where it’s darker or lighter so this bit here is really dark, of the glass, and then the shadow which goes next to it, I need to really judge, assess, where it is darkest, so I just need to work a little bit more on the base of the glass, keeping a little line of where the light is and I’m just blocking in some of the shadows, so I use the pencil and try and keep quite a firm grip on the pencil so that I’m using the same angle of the tip of the pencil so it becomes a blurry line rather than a sort of scratchy scribbly line, so if you keep the pencil and hold it at one direction as it were, then you get a more graded tone, I don’t need this to be a totally flat shadow, because in reality of the glass I’m looking at hasn’t got a flat shadow, it’s quite complex, so there’s going to be a little pool of light on the left-hand side base of this glass which I’m leaving an area but so that that looks really bright later on, because that’s what I need to achieve and making sure that there are some areas of tone within that part, which are very dark, but then it needs to be blended out and the edge of the shadow mustn’t be quite as sharp as the edge of the glass, because, well, at least on what I’m drawing it isn’t as sharp so I need to just remember that, so just worked out this little area here and starting to differentiate the glass and the shadow so they’re separate and it seems to have sort of two shadows in it, again not trying to work it out too much, just draw what I see, but there seems to be one shadow and then another further shadow, it just depends on the light source that you have, it’s very difficult to draw something if you are using a light source which is like the sun, which is changing moving around or visit it’s very good to draw that, but you need to be quite quick, because before you know it the sun will have changed direction and the shadow will change, so anything that will make it a little bit more stable or just work a little bit faster is good and this area here, just fits into my drawing, so, so long here I’ve done the shadow and now I’m working up into these bits here, trying to get a little bit more sharpness within the shapes that I’ve discovered, so now I think we’re onto next step and I’ll just use an eraser a little bit and the eraser will just take out a few of the marks so it’s nice clean eraser, sometimes I get quite dark, and I’ll clean up the background paper as well, so next I need to use soft white pastel, so this isn’t an oil pastel, it’s a soft white pastel, sort of slightly chalky pastel, but it’s, there aren’t any white things in the drawing, because it’s on grey paper and I’ve been using a 4B pencil, so now suddenly I can create a white, but I don’t want to do it too much because I don’t think that will help, so I’m just gonna put the highlights in all the little pools of light in where they’re really necessary, the obvious ones, that really necessary, if they’re too strong I can just smudge the edges of them or blend them in a little bit, but I just want to make sure that I don’t do too many and the ones that I do are just where they need to be, so they’re going to work quite well where the the pencil marks next to them are pretty dark, so anywhere where they’re really dark, then I can put a little light source in, if there is a light source there and then that will create the full tonal range that I’m trying to create within this picture, I just need a little bit more down here in the shadow and that could be pretty strong just a little direction actually just a little direction of marks I might make that a little bit stronger, the more you look the more you see so quite a lot of drawing is about deciding what you don’t want to put in, because all sorts of things that you can’t put in it that you know, you’re drawing something which is free dimensional, making a two-dimensional image and it’s just a representation of reality, drawn as well as you can, from what you can actually really see, but you got to bear in mind that you want to leave things out as well, so the way that you choose is just, you just draw what is vital to the image, what you what you think is vital to the image Please subscribe to my channel for a new drawing every week:

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