Shopfronts you would stop outside. A plant shop with more stock than floor, a hat shop window, a camera repair bench mid-job, a path going into the woods. Twelve free sheets.
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Forest path, drawn as one complete scene. Open shapes and plenty of air — one of the easier sheets to start with.
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Plant shop — one continuous illustration, not an object floating on white. A window full of small props — the sheet to reach for when you want a fine pen.
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Camera repair shop. Plenty in the background if you want to go slowly. A window full of small props — the sheet to reach for when you want a fine pen.
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Flower shop entrance with blooms, with more in it than it looks at first. A window full of small props — the sheet to reach for when you want a fine pen.
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Fishmonger stall — a scene you can sit inside for an evening. Leave the highlights as bare paper and colour only the shadow side of the food.
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Hat shop window. Everything in frame, nothing cropped. A window full of small props — the sheet to reach for when you want a fine pen.
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Bicycle with basket and notebook, drawn as one complete scene. A wall of spines: pick three colours and repeat them out of order rather than one per book.
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Pharmacy shopfront — one continuous illustration, not an object floating on white. A window full of small props — the sheet to reach for when you want a fine pen.
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Candle flames mandala. Plenty in the background if you want to go slowly. Symmetrical, so a colour repeated at the opposite point does half the work.
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Stationery shop window, with more in it than it looks at first. A window full of small props — the sheet to reach for when you want a fine pen.
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Balcony full of plants — a scene you can sit inside for an evening. Open shapes and plenty of air — one of the easier sheets to start with.
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Toy shop window. Everything in frame, nothing cropped. A window full of small props — the sheet to reach for when you want a fine pen.
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Choose “Actual size” or “Fit to page”, never “Scale to fit media” — that one crops the drawing at the edges without telling you.
Plain copier paper is fine for pencils. Markers need at least 100 gsm, ideally 120, or the colour comes through onto the next sheet.
Economy and draft settings thin the lines until alcohol markers escape through them. Print these at normal quality, black ink only.
This is the core of what Cocoa Lines draws: small places that look like somebody keeps them. A shop where the window display took a whole morning. A workbench with the job half done and the tools where the person left them. The appeal is not the objects, it is the evidence that someone is just out of frame.
Because these scenes are dense, they are the best sheets on the site for a long sitting. A shopfront with fifty small items in the window is an hour of quiet decisions — this jar green, that one amber — and it is very hard to make it look wrong. There is no single focal point you can ruin.
A method that works: colour the smallest objects first and the largest last. If you fill the walls and floor early you will paint yourself into a corner, because everything after has to fit around them. Doing the jars, the books and the plant pots first lets the big surfaces settle into whatever is left.
None of these are seasonal, which is the point — the collection is the one you come back to in February when the holiday sheets are put away.
Interiors with soft furnishing, warm light sources and the traces of a person — a folded blanket, a cup left out, a door propped open. It is a mood, and it is the thing this whole site is built around.
Slightly. The shopfronts carry more small detail than the Halloween or Thanksgiving pages, so they suit pens and fine pencils better than thick markers.
New free sheets go up most weeks. The catalogue page lists every collection as it appears.
Yes, and people do — write in with the room you want and it goes on the list.