Creative exercises
Draw a cup in Aquarell: ellipses, volume and cast shadow
Build a cup from its rim, body and handle, then use one-sided shading, a bright edge and a table shadow to describe simple volume.
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A convincing cup depends first on shape and light direction, not the number of highlights. A simple Aquarell cup practises sketch structure, layered colour and shadow strength together. This is a small illustration with readable volume, not a precise product rendering.
Observe your own cup, or use a photo you took or are authorised to use. Note the rim shape and where the cup meets the table.
1. Build the cup body with an ellipse and two side lines
Create a 1400 × 1200 pixel canvas, place the cup slightly above centre and leave room below for shadow. Sketch a flattened rim ellipse about 500 pixels wide and 150 high, then two slightly narrowing sides downwards.
Join the base with a shallow curve. The numbers explain proportion; no precise shape tool is required. An imperfect hand-drawn ellipse should still connect smoothly on both sides, without sharp rim corners and an unrelated straight-on base.
Lightly sketch the handle on one side, locating its attachments first. Keep an interior opening so it does not resemble a solid ear attached to the body.
2. Separate body, shadow and background
Fill the body on a colour layer with a medium-value colour such as gray-blue or terracotta. Reserve a darker rim interior and use related colours for body and handle rather than suggesting different materials immediately.
Keep the background light and simple, postponing table texture. Clear subject–background values make shadows easier to judge. Use a large brush inside and a smaller one for the rim and handle opening, avoiding narrow edges with a broad tip.
3. Fix the light at the upper left
Write “upper-left light” in your notes. On a separate shadow layer, darken the cup’s right side, retaining its main colour centrally and a brighter left. The shadow need not be a vertical black stripe; vary it with the body’s curvature.
The cup interior is usually darker, but not solid black. Test a small darker related colour, then expand according to the whole image. Reduce layer opacity if too strong. If the shadow is misplaced, fix its position and shape first; fading cannot repair lighting logic.
4. Suggest material with a small highlight
On the detail layer, reserve a lighter segment along the left body or rim. Begin with a light related colour rather than pure white. A small highlight can explain the curve.
A matte ceramic cup may have broader, softer highlights; a glossy surface may have tighter ones. These are painting choices, not automatic material recognition. Avoid equally bright long strips on both sides, which undermine the chosen one-sided light.
A little darkness inside the handle clarifies the opening. Ensure it still connects to the body rather than becoming a separate object divided by dark lines.
5. Add a cast shadow to ground the cup
On a separate layer below the cup, paint a flattened shadow extending right, consistent with upper-left light. Darken the contact area and lighten the outer edge. Begin with a simple shape before adding a little irregularity if needed.
Avoid an accidental bright gap between cup and shadow, which makes the cup float. Do not spread the shadow several times wider than the cup without a deliberately low light source. A modest shadow is easier to check than complex gradients.
Final checks and revision order
Hide the detail layer temporarily. Can body and shadow alone show volume? If a black outline is essential for recognising the cup, revisit the large shapes and values. Restore the highlight and check that it adds volume rather than decoration alone.
Zoom out to check the handle opening and contact with the shadow. Look for accidental transparent gaps and decide whether to keep the background. Export a PNG or JPEG preview and save the native project for later colour changes without rebuilding structure.
Compare outlines to locate structural problems
If the cup looks crooked, show only the sketch layer and compare the rim endpoints, base endpoints and side connections. Include the handle in the whole structure. Restore colour layers and check whether paint distorted a correct outline. Separating structure and colour often reveals problems more easily than adding shadow and preserves existing details.
Questions and limitations
Why does the rim look like a flat line?
Check whether the ellipse is too shallow and whether inside and outside lack value contrast. Exaggerate its height initially, then reduce it once the structure works; photographic perspective is unnecessary at the start.
Why is the cup still flat after adding shadow?
The shadow may be too uniform, poorly fitted to the cup or too close in value to the background. Fix one light direction and check whether every value supports the same structure instead of endlessly darkening it.
Why does the handle look solid?
First check whether paint filled the handle’s opening, then whether its connections are too thick. Understand handle and body outlines separately and leave enough negative space to remain clear when reduced.
Can this exercise serve as a product photograph?
This is an illustration, not proof of a product’s appearance, dimensions or materials. Label it as artwork when presenting it; the exercise’s proportions and lighting are not measured product data.
Sources and applicable version
Information checked on October 22, 2026, for Aquarell 1.0.5 (iOS / iPadOS 15.0 or later). See the official description and Apple release lookup; the interface may change with the version.