Advanced Topics in Watercolor House Portraits: Illustrating Different Building Materials

1. Introduction and class project: Hey, Mamie Clark here. I am a watercolor illustrator based out of Louisville, Kentucky, and I specialize in watercolor house portraits. Now, you might be familiar with some of my other classes here on Skillshare, where I walk you through creating your very own watercolor house portrait. But as I was thinking about it, it's really hard to cover all of the different building materials. If you want to continue illustrating houses, maybe you want to create gifts for friends and family, or maybe you want to start your own business selling illustrations of people's homes. This class is going to walk you through the most popular building materials that I have found in my career of almost six years illustrating houses. So I have illustrated close to a thousand houses. And I will say that the majority of them have one or a combination of these different building materials that we'll look at. So my goal with this class is that you will be able to walk away with the skills and the knowledge to illustrate the majority of building materials that you experience in your neighborhoods. So as for our class project, what we're going to do is we're going to create sort of a cheat sheet of sorts where I'm going to walk you through each different material. And we'll talk about the tools. We'll talk about tips and tricks, and we'll also talk about pink colors that will be handy for these different materials. I would recommend you taking a look at my beginner classes. I have a couple of watercolor house portrait classes already on Skillshare, and I would recommend that you start with those just so that you have a good understanding of how to illustrate homes. I think that that's gonna be a really helpful foundation for this class. So let's go ahead and get started and I'll see you in class. 2. Tools overview: Alright, so let's talk materials and tools and all the things that you'll need to work on our class project in this class. First of all, if you are a watercolor illustrator or just a hobbyist painter, I have a tip for you that I think it's gonna be really helpful for your future projects. So what I like to do whenever I add a another pink color to my toolkit, which is pretty often I love by new colors. What I like to do is I like to create a little swatch card. This is really helpful, especially if you are, you're doing a lot of painting and you're collecting a lot of paint. It's really nice to have that visual of your of your different pink colors on paper. This was really helpful for me setting up this class because I could choose the paints that I wanted to use to walk you through these different building materials. So this is just a tip. If you are an artist and you are starting to collect paints, you can also do this with markers or colored pencils. It's really just a really nice visual to be able to kinda keep track of all the colors you have and maybe the colors that you need to add to your collection as well. So I just wanted to share that with you. Let's talk about our tools for our class project. So I love working on a illustration block. And when you are shopping for watercolors supplies, you will most often see watercolor paper come in a couple of different ways that you can buy it. You can buy it in a block, you can buy it in the pad. You can buy it in a role and you can buy it in sheets. There might be one or two that I'm missing, but those are the most popular ways that you can buy watercolor paper. And the reason I like using a watercolor block is because the difference between a block and a pad of watercolor paper is, a PAD is only sealed up at the top, and then you can just rip it off to get your new page. A block is really great because it's sealed on to sometimes four sides. And not only that, but kinda keeps that paper stretched and it doesn't bubble as much when you start to add your paint to the paper. And another reason I like using a pad and drawing and illustrating while the paper is still attached to the pad, is that I love using a T-square in my illustrations. This is better than a ruler because it catches the lip of the side of the pad. You're gonna get those really straight horizontal and vertical lines in your illustrations. And you'll see very quickly in this class project that is going to be crucial in terms of the ease of drawing. So let's go ahead and talk about our brushes. And also you'll need a big glass or jar of water and a paper towel. I like using a couple of different sizes in my illustrations. I have a 06 and I believe this is a this is either a not sure which one this one is. But kind of in-between a 60 for watercolors. I like having that range because they're gonna be a couple of different details, smaller, smaller places that you'll want to get too. Will need a pencil and will also need an ink pen. I love using Micron pens. I usually work in an O1, O2, O3 thickness. I love these because they're archival, but they're also waterproof, which is really great for watercolor. And then I also have a white eraser. I like using a white eraser better than a pencil pink eraser at the end. I feel like it's easier to work with, especially if you're erasing wide areas, your hand is going to thank you. I like having a white eraser. And remember I said that I liked doing the swatches of the color and I like doing this because especially for this class when I was gathering pink colors to use for the various building materials, it was super easy for me to pick up the different swatches and the different tubes of paint. Then the way that I do it is I create a little mini strip of color. And then I put down my paint on my palette in the same order. So I know exactly which paint I'm using, which color. And that's also helpful when you run out of color and you need to refill your palate. So in today's class, I've just pulled a couple of different really great neutral colors. You'll see that we're gonna be working mostly in neutrals. And this is because we're working with a lot of kind of building materials, brick, stone, concrete. And I'm going to list my full list of neutrals and great paint colors to have in your paint palette. But for this, we're starting with seven colors and you could probably even start with less. I have an ivory black, I have a blue buff titanium. This is one of my favorites for brick grout. I have a brown, I have a Venetian red and Indian red and also a CPA. So we're going to talk through each of these different colors and how they can come into play and enhance your building material illustrations. So the first thing that I would encourage you to do, I have a big 11 by 14 block of watercolor paper that we're using. You do not need to necessarily go this big. But what I would encourage you to do is what I created this. And I wanted to show you where we're going and we're going to recreate each of these in these empty squares for your, for your project. But you can do is you can take a watercolor sheet and divide it into, so we're gonna be doing, we'll be doing ten different building materials. If you wanted to have a little box by the side of each of your building materials for notes to kinda keep track of different colors and things like that. You are welcome to do so. So go ahead and create a grid on your watercolor paper for the space for oh, excuse me, 11 materials. So you can do that in a variety of different ways. I'm also going to scan this and this will be available in your class notes just as a reference as well. So let's go ahead and get started. And the first material that we're going to start working on is citing. 3. Material - Siding: Okay, so we're going to start off with an easy one. We're gonna be talking about vinyl or Woodside. It doesn't really matter in an illustration like this, you're not gonna be able to tell the difference whether the material is wood or vinyl. But let's talk, let's talk about a couple of things about citing. So first of all, you will most likely see different widths of your signing out in the world. This example here is a little bit more narrow. You might see ones that are its wood siding and the planks are a little bit taller, a little bit wider. But it just really depends on what house you're illustrating and how they're vinyl or citing looks. Also two. Another thing is the way that I drew this and we're about to draw it together. You'll notice on a lot of houses that have siding is that the corner has a little bit of an end cap and it's usually a vertical piece that kind of wraps around the corner of different citing things. So that's something I put it in there just as a little reminder. But again, the goal, the big goal of this is to really draw what you see if you are looking at a house, trying to illustrate it, and deciding is really narrow, makes sure that the siding is narrow on your illustration. But if the planks are wider and it's a little bit taller, you'll adjust as you see fit. Alright, so let's get started. I'm going to use my T-square. My T-square is really great. Again, like I said, it really is nice because it, it grabs the edge of our watercolor paper and gives us are completely straight vertical and horizontal lines. So the first thing that I'm gonna do, I'm gonna take my pencil. And what we're doing is we're just recreating this siding on the left-hand side. Again, this will all be scanned in LinkedIn, your class notes. So I am taking my T-square and you can see I'm just moving it along the edge of the top of my watercolor block. And I have just created this little n cap. And then I'm going to turn my T-square. And I am going to create the horizontal lines. Now, if you want to be super precise, you are welcome to take your t-square and, and mark out the different tick marks for the siding. Again, this is a little bit of a zoomed in view of the siding. This is just kind of get you comfortable with drawing those materials and so that you can use them in your own house portraits. So I'm just going to go ahead and kinda eyeball this. Again. This is just to get you into the practice of creating, creating these materials and textures. So I'm gonna go ahead and take my, take my micron pen. I'm just going over free hand my pencil lines. I like doing the pencil lines with the ruler and then using the ink pen over top free hand. I feel like that kind of gives you a little bit more of a little bit of a more natural look. Or not quite as stark, straight lines. But if you feel more comfortable using that ruler, please go ahead and do that. After I've inked this, I'm gonna go ahead and use my white eraser and erase all of my pencil lines. Now, something that I love about materials. And you can probably tell, I'm very excited and enthusiastic about representing different building materials with watercolor. Something that's really exciting and I hope you'll notice in this class is that it's not just the pain, It's not just the ink, it's not just the shadows we're going to put on with our, with our paint at the end, it's sorted this combination of all three that really convey these materials and bring them to life. I'm going to go ahead and I'm just going to use my blue for the signing. And then when we get to the metal sheeting, it's not really as important what colors you use. It's just the fact that you're using a color. So if you wanted to use if you wanted to use a red or if you wanted to just use a black and have it as a gray. It doesn't really matter what the siding because as I'm sure you've noticed, siding can really come in a lot of different colors. So what I'm doing is I'm just putting down a base layer of my color blue in my little sightings square. What I wanna do is I just want to get this base layer down, let it dry, and then we're gonna go back with some of our ivory black that is very watered down so that we can add in some shadows. And this is going to add a little bit more dimension to our illustration. Alright, I'm gonna let that paint dry. And then next, once that blue base coat is dry, we're going to go back with some water down, ivory black paint and add in some shadows. Are blue citing has dried. And what I wanna do is I want to add in some shadow lines to this siding. And the way that I'm gonna do that, it's going to take down, take some very watered down ivory black paint to use as my shadow. Since it's watered down, we're gonna get a little bit of that black, but since it's pretty transparent with the water, it's just going to make that paint underneath a little bit darker. We're gonna be able to get a shadow effect. Now, when you're adding shadows to your watercolor house portrait, I would recommend doing this at the very end. Once you've added all of your colors, all of your elements, everything, your shadows are always gonna be the last thing that you do on your house portraits. That being said, I think it's important to choose a consistent light source. So if you have shadows going every which way, it's not going to be quite as as much of an impact is if you had chosen, say, the top left-hand quarter for your light source or your son in that case. So just something to keep in mind as you are creating your watercolor house portraits, I just recommend choosing a consistent light source. So I'm gonna take my smaller brush and I'm going to take a lot of water and a little bit of that. Ivory black, excuse me, ivory black. And I am going to add some shadow. And I've done my shadow line, corner, corner cap to the right. Then I am going to go under each sort of lip of that flat and add in my watered down ivory black so that I can get those shadow lines. And you can see just the distance. The difference between these top and the bottom is that these are really starting to cut it, pop and sort of have a little bit more of that dimension, which is really exciting. It's just, I always think shadows are just the most fun because it's just that finishing touch that takes your house portrait to the next level. And again, on the other side of this health that has siting, you'll want to make sure that all of the windows and doors have that consistent shadow. So assuming that my light source is coming from the top left-hand of this composition. So I'm pretty happy with that. Again, if you if you feel like you put too much paint or too much water or whatever, a clean paper towel, just clean dry paper towel is always a really great thing to keep handy for when you're painting in watercolor. It kinda helps you pick up extra paint, extra paint, extra water on your paper. So always dab and don't rub on your watercolor paper. Because typically, if you rub too much on watercolor paper, that paper might start to pill. 4. Material - Shingles: Alright, next up, we're going to be talking shingles. Shingles. I kind of think of these as that Nantucket weathered wood shingle. But in my house portrait business, I see a lot of shingles and citing combos. I see that a lot more shingle as sort of a little bit of a decorative element to the sighting, but it can also be the whole house. So what we're gonna do for the shingles is we are going to create our horizontal lines. So this represents the different rows of shingles. Shingles are a little bit more uniform. I have also seen what I like to call Jacqueline and teeth where it sort of staggered, where these different shingles might be different heights, might be like two different heights and they alternate. The way I would do that is instead of drawing one line, I'm just gonna do a little bit of a double line. And that one is a little. What I'll do is I'll alternate my vertical lines. Every other one will be a longer one. So you can see how that alternates and we can continue that there. But you might also have shingles that are all uniform. And you'll see on this shingle is that they do not line up necessarily. I offset them so they this line here appears in the middle of that one above it. Now, I encourage you not to get so tied up about the precision of these shingles and these feature building materials that we'll cover. We're really just trying to evoke this feeling of this material. We're not I don't want you to get too tied up about getting every single shingle write. This overall effect is going to be really great and no one is going to be paying attention to these tiny little details except you and me. I know. I'm just going to continue. And again, you can use your ruler for these vertical lines, but I like having the free form ink pens. I think it makes it feel a little bit more fluid and not quite as we're not quite as worried about those straight, straight lines. But again, with this double line, I'm just alternating which ones go all the way to the bottom and then which ones go to that longer one. But it really depends on what you are seeing and what the house you're illustrating looks like. So you might have shingles that have the more uniform look like bees, or you might have one that has more of that. I like to call Jacqueline or teeth, but that staggered staggered look. Again, if you don't get every single one perfect. But I'm pretty pleased with that. We can start to see how the ink outline is really starting to get that shingle Shingo look. The next thing I like to do with my ink pen, and this is just another way to add texture and we'll use it in a couple other materials. Down the line is, I just like to take the tip of that ink pen and sort of stipple or create little dots. This is really just a nice way to add a little bit more texture. Add a little bit more dimension to our shingles. Cool. So I'm gonna go ahead and erase my pencil lines. For this one, I'm going to start with my ivory black on this. And again, I'm just doing a super watered-down color just so I get a nice gray. You'll see on this side when I did the shingles originally, you can kinda see that it's not just one solid color of gray. What I did is I took my brush, I loaded it up with the water down, ivory black. Then with the side of that brush is a bobbed on that gray where some of that white is still peeking out of the paper. Again, this is when I'm drawing these shingles and kind of thinking of that Nantucket weathered would look. You might have shingles that are, like I said, the same color as your citing. So you might just wanna do a solid wash of watercolor paper. But I just wanted to show you how I got this varied effect with my ivory black. So I'm going to let that base layer of the shingles dry. And then I'm going to show you how we can add some shadow lines to give it even some even more dimension. My shingles have dried and what I can do is I could do another wash of that ivory black water down. If that's the effect that I'm looking for. This project is really just to get you experimenting and playing with the different textures for house portraits. So you might come into contact with shingles that are staggered like this or ones that are a little bit more uniform. But I want to add some shadow lines here because I think that again, shadows are my favorite part. That finishing touch of a house portrait. So what I'm gonna do is going to take that same watered down ivory black, maybe loading up a little bit more pigment on there. And kinda keeping in mind, we'll just pretend like our light source is the same as it was for the siding. So I am just going to use this sort of backwards L shape. And it does not need to be every single shingle. It could be every fourth or fifth. And you are just adding in. For me it's a backwards L shape because that's the direction of the light source. But you can see already that that really helps add in some more dimension. And again, don't worry about getting every single shingle because when you're doing a house portrait and you're having this material on your house, most likely you're going to have a lot more of this. Again, these are zoomed in views of these materials, just kinda getting you thinking about how it's all drawn. But I just love that how that shadow makes it pop. So good. So again, it really depends on the color. I think that looks good for that Nantucket weathered shingle. But you might have ones that are in different color and also to you If you have shingles that look a little rougher like there's more texture on the surface. What I would do is you could add another color of that blobby paint, but you can also use that ink pen more and do some more of that stippling, those little dots that will suggest more, more texture as well. 5. Material - Brick: 2 ways: Alright, next up, I'm going to share with you two different ways to illustrate bricks. Brick is probably, I would say brick inciting are probably the two most popular materials that I come into contact with, illustrating houses. And for that reason, I kinda like to mix it up depending on the look of the brick. I'm gonna show you my two different ways of illustrating stacked brick on the material and the brick and all of that, the way your house looks. You might have bricks that you don't really see. The grout line very much. It might be a painted brick. There are bunch of different ways that brick can show up. So this first one is kind of a sort of for a brick that the grout line isn't as pronounced. Or you just have a lot of brick that you have to illustrate. And this is a little bit of a shortcut. So for this one, I'm not even going to use my T-square. What I'm going to do is I'm going to create, I'll call them sort of brick suggestions. If you want, as you're starting out, if you want to use your ruler, you are obviously more than welcome to do so. This is just sort of getting that hint of brick in your house portrait. Again, brick is a very popular texture for a lot of the houses. I do. So depending on the size of my painting, depending on the amount of the brick on my house. I might use this to evoke that feeling of brick without drawing every single brick. So I have these sort of overlapping rectangles just showing that there is brick. And then next I'm going to take my micron pen and I'm just going to keep doing that stippling and just create little dots. I'm going to list all of my favorite neutrals, my neutral pink colors for different building materials. But for this instance, we're going to use a Venetian red. I really like this for brick. I will say sometimes brick can be challenging because there are so many different colors and variations. And bricks that have different specs of color in them. So brick is very, it can be challenging, but it's a fun challenge because once you get it, it's super exciting when you get that color, just right. So the first thing I'm gonna do is I'm just going to take my Venetian red, add some water to it. And just like my sighting, I just want to get a base layer of that venetian red down. Not as worried about all the different pieces and parts. I just want to get that base layer. If you have worked with watercolor in the past, you know that it is really hard to do anything precise on top of wet watercolor. So that's why I like to work in layers with watercolor. It's really nice to sort of build up those layers of color. Because if I tried to go back and add some shadowing where those bricks are just kinda bullied into that block of color. And I wouldn't really get that precision of the color that I would like. So again, that's why I like to paint. Let it dry, paint, let it dry, and then you are able to pinpoint where you want the paint to go. So that looks good. It's a pretty even coat of that base of Venetian red. I'm going to let that dry and then I'm gonna go back with some darker areas to again add some more dimension. Alright, I'm switching to my little bit of a smaller brush, and then I'm going to take that venetian red, a little bit less water this time. I'm just going over those areas that I've identified as little brick areas. I'm adding in some more color just to give it a little bit more variation. Now this is a time if you have a brick that are brick color, brick pattern or variety, where you have different color bricks in the overall design. So maybe you have some sort of brick color along with the darker one, along with a lighter one. This is where you can start to add in those colors. So I might do that one is sort of a darker one or that one is a darker brown one depending on the different colors that I see in the bricks of the house that I'm illustrating. I'm also pulling that color along those lines. This is a really great technique for painted brick, where you're not going to see the differentiate, differentiation of the brick and the grout line. It's all one color, but you still have some shadows and some texture. When you're building with brick. If you have something like this where it is a little bit too pronounced, where those areas are jumping out at you too much. What you could do is you can add in another over another layer of color over that brick. So those areas aren't quite as pronounced. And what's great too, once this area is dry and I want to go back and add in either some more lines or some more stippling. I can do that with my micron pen, but I just want to make sure that that paint area is completely dry otherwise we might get some bleeding of that ain't cool. Alright, so we are going to move on to the other way. We can draw a brick. This one is a little bit more tedious and, but it kinda has a different look and a different effect. It just really depends on the type of brick that is on the house that you're illustrating. This one, I'm gonna go back to my T-square. And what I'm gonna do is I'm going to draw a double line. What that double line is representing is the grout line. Again, either way to draw brick is totally fine. This is just an option, just giving you all the options that I use on a daily basis in my own business. So just like the shingle and then the brick above, I am going to create overlapping brick. I just like to do a little tick marks with my pencil. So you can start to see that our brick pattern is coming to life. Now, you might have a house that has a decorative inlay of brick. Or you might have like a little border or bricks that are running vertically. You can use this same, this same technique to represent those designs and those different, different decorative features. You would just move the brick and to the direction that that matches your house. So now I have that pencil outline. I'm just going to go through and take my ink pen. And I'm going to draw each individual brick. Again. This is something that if you have a very large house or if you're painting a very large watercolor house portrait, this can get very tedious. But that's why I wanted to show you both ways. This one, I think it's important to do your bricks free hand if you feel comfortable just because I think it kinda gives that a little bit rougher texture on the edges of your brick. But again, however you feel comfortable using using these tools. So now that I have all my breaks, I am going to use that white eraser and get rid of all my pencil lines. You'll notice on this technique of breadth, you can see that the brick and the grout line are completely two different colors. And the way that I like to do this, rather than taking a time. Brush and getting into those grout lines, what I like to do is I like to use buff titanium for this. The first step after inking all of the bricks is, I'm just gonna go ahead and take that buff titanium again. Really depends on what the brick looks like in the house that you're illustrating. But I find that buff titanium and we'll use it on some feature. Materials, is a really great color to have on hand. It's a really great grout color for brick. It's really handy when it comes to illustrating stone. It's just a really nice color in. It also helps dull some of those brighter colors right out of the tube and makes them a little less vibrant. So I'm just putting down a base layer of that buff titanium. I'm going to let this dry completely. And then I'm going to use both that venetian red and also some of that Indian red. I'm going to mix that together to create my brick color for this, for this material. Okay, so now my buff titanium or that grout color is dry. I can go back and I'm going to mix my Venetian red. And I'm going to mix it with my Indian red. And I really liked this is just a really basic brick color. The more houses you'll draw, the more nuanced brick color that you will see. I promise. I have seen bricks that are almost brown. I've seen bricks that are almost orange. So I'm going to be sure to list all of my neutrals that I love using as a base colors. Alright, so my buff titanium grout is dry. Next, I'm just going to go in and with that mixture of Venetian and Indian red and go in and fill in my bricks. And I like having that variation of not having every single brick, maybe the same saturation are the same color. So I might skip around and not necessarily do each row at the same time. Just so that I can get a little bit more variation in in the color of the brick. Again, we're not changing the pink color, we're just kinda changing that saturation where we might have a little bit more water, we might have a little bit more paint. It really depends on how much water to paint ratio there is. This is just nice because usually you don't find brick. Unless it's painted. You don't find brick That's all the same color. There is a little bit of variation even if it is technically the same color. So I'm just scooting through painting my different bricks. This is so much better than painting the bricks and then trying to go back and paint the grout line of the bricks. This is tedious, but it's not as tedious as, as, as that. Something I realized. I forgot. I forgot to do our stippling effect with our ink pen. The good news is with those micron pens, you can do that afterwards. Once that paint is completely dry. Again, we want to make sure we're doing it on dry paint and we're not doing it on wet paint because we might have might have some bleeding on our hands if we do it that way. Now, typically I don't really add a lot of shadow that sort of watered down ivory black to my brick. The exception is when if I have a like a window sill or some sort of decorative part of the brick that is further out from the rest of the brick. And I want to highlight that those bricks are not as racist as the other ones. That's what I might do. A line of that ivory black underneath. But otherwise, I typically don't really go in and add shadow lines to just a wall of brick. And the reason is, is it would just be really tedious. But if you find those elements, that would really look cool. If you used shadow, then by all means, do it for your brick. So now that my second option of brick is completely dry, I'm gonna go back and add in some of my stippling. So there's little dots with my ink pen. Again, if you have that really rough textured brick, you might want to add more of these. You might want to not have them at all depending on really the texture of the brick that you are illustrating. 6. Material - Concrete: Alright, the next one is super simple. But I find that this little itty-bitty piece of texture really helps this material have a little bit more dimension. The next one is either a stucco or a concrete. If you have a stucco that has a lot more texture, you're going to use more of the stippling effect. If you just have a poured concrete, I would use it a little more sparingly. But again, it's stucco or concrete is great when you just add in some of that stippling affect with your ink pen. Again, stucco might have a little bit more texture. So you might want to do more of this, but I find areas that have those pieces of concrete on the exterior. This really just kinda helps it not be a solid color and it sort of has a nod to that. It's not a solid, completely solid color. There is a little bit of variation. I like to do that. And again, stucco, I might do it a little bit, a little bit heavier, a little bit more condensed in terms of the stippling effect. Then I'm just going to take a wash of ivory black over it and just to get that concrete material done. Now if you have a painted concrete or maybe it's a concrete that is not quite as gray as this. I love using a watered-down black ivory with that buff titanium. I think that that kinda gives a little bit of a warmer warmer color if if your concrete is that color. But again, this might be This might be white and in that case, I would use just a little bit of that ivory black super watered down and maybe just do a little bit more stippling with your paint around those dots. But again, this is, this project is really just up to, is really just a way to experiment and kinda get comfortable drawing a bunch of different materials. So here we go. 7. Material - Stone: 3 ways: Alright, so next up, we have stone. In preparation for this class. I was whenever I was out running errands or walking the dog. I was always driving down the road or walking down the road. Always taking a look and looking at each house, thinking, if someone took this class with all the materials that I am presenting, can they draw all of these houses? And this was the one that I forgot. I added it. And it's more of a stone block. And we're going to talk about sunblock and then we're also going to talk about sort of stacked stone and then also a field stone to I got you covered. I was I was looking at every single house I passed by. Where I am in Kentucky. This is a can't believe I forgot it. It's a very popular material for houses and it is sort of a combination of, you can kinda use the techniques that we talked about for brick and for shingles because there's, I'm kinda some overlapping and some some brick brick like things. So we're talking about stone that is used kinda like brick in this case. So first, we can see that it is very organized. This is not something where it is natural stone. This is very much manufactured and organized. So what I'm gonna do for this material is I am going to create lines that represent those overarching rows. And then I like to have three to four different sizes of bricks. Are those bricks stones within each of these rows? So I might have one brick that fills the entire row. I might have one that covers half of it or somebody like that. So really take a look at the stone and see what makes the most sense. And I want to make sure that my grout lines don't really overlap. So I'm gonna kinda cheat these a little bit over so they don't they don't ever line up on the vertical. So I'm happy with that and I'm just gonna go in and ink these lines. Now you might have these manufactured stone that have kind of a beveled edge. And in that case, what I like to do, I'll show you once I finish inking all of these is, I'd like to add in sort of a double line, like an inset rectangle. And that sort of suggests that this stone is sort of a beveled edge. But again, if you have stones that are really textured, you can add in that stippling. It's really up to you, or you can have a little bit above two. So you can have that beveled edge, which again is just an inset rectangle. Then you can also do your stippling as well. Let me go ahead and erase my pencil lines. For this one, I think I just used straight buff titanium. I'm gonna do buff titanium and mix it with a little bit of that ivory black. Just to give a little bit more, make it a little darker. This one, if you do, depending on the type of stone, brick that you are illustrating. If it's something that's really textured and it has a really strong shadow line like it's really pronounced and it's not as flush, then I would recommend going through the grout line and adding in some of that water down ivory black for your shadow line, kinda how I did here. So again, you can have something that is beveled. You can have something that's a little bit more textured with that stippling. Or you might have a stone that is completely flush and there's not really much texture. And it's just really kinda where the grout lines are, where those stones are. Stones are connected. All right, so let's keep talking about our stone material. Over here. I have stones to more stone options. And then one option has two sub options, so we only have three more stone options. I have seen a lot of this stacked stone. They might be those flatter pieces of stone, but they're turned on their side. So you're just seeing that edge? I've seen that. And then I've also seen those larger rocks where that front edge is a little bit thicker. So we do this in the same in the same way. We just alter the different sizes of the stones. So I'll show you what I mean by that. I'm not going to use my T-square for this because they're not they're not really straight lines. But if you wanted to put down some guidelines with a pencil on that T-square, that would be that would be good if that makes you more comfortable withdrawing this stuff. For this, I'm just going straight into ink because again, this stone is a lot more rougher. It's a lot more textured than the materials that we have seen so far. I am just drawing really long skinny rectangles. Little bit more free form rectangles. And I'm doing that, that brick stack where it's not, they're not lined up. Just to kinda get a little bit more variation in this stone. Then here I am going to add in my stippling with my ink. I'm just going to go all over. And then underneath, I'm gonna do the same thing, but instead of those long skinny rectangles, I am making these bigger blobs. Again, this really depends on the materials of the house that you're drawing. But I wanted to make sure that you are equipped through this class project of creating this cheat sheet. That you know how to create all these different materials. Alright, so I'm adding in my stippling so that I can show that it's textured. And again, I just had two different variations. This one is a little bit center. They're kinda like the pancake stones and they're stacked up one on top of the others. Then the one below it is the beefier rocks that are stacked up on top of each other. The way that I'm going to paint this is similar to how I painted that second option of brick is I'm going to put down that grout color first, let it dry and then put my stone color on top of there. So again, I'm not trying to go in there with a tiny little brush and get in that grout one. Again, I'm just going to use my buff titanium. And this, I find this to be a really nice grout color. But again, it really depends on the houses that you're drawing. But I am just putting this down so that I can have that grout color. I'm going to let that dry. And then we are going to start to add in our browns and grays for our different rocks. Alright, so now my buff titanium is completely dry and I'm going to add in different grays and browns for my different rocks. I have I have a black, I have a Van **** brown, and I also have a sepia. I feel like a combination of these are really nice. Rock options. I move to my smaller brush and just go. I don't want all of the rocks to be the same exact color. So again, I'm just kinda jumping around like I did with the brick and maybe the grays. Maybe that's enough gray. And then we'll go down to my bigger rocks and alternate the black or the gray there too. And obviously you're going to have some overlapping and stuff. You just don't want like a row of gray, row of Brown. You want to mix it up. So again, this is just an ivory black, watered down to get that gray. Next, I'm going to use my Van **** brown and add in some browns. Somebody that's nice too, is that base layer of that Buff Titanium also really helps create a warmer, more rich color of the stone. Then if you were just painting directly on that white paper. That's also an added benefit of putting down that base layer of your titanium buff titanium. What I like to do too is I just like to get those base layers, base layer colors down. And then once I'm happy with how that looks, what I might do is take another color. I'm taking my CPM. I might go over one of the browns and color mixing while it's on the paper while my paint is still wet just to get a little bit more variation of color. And again, I can add some more stippling to kinda show that it's a little bit more textured. I'm happy to do that as well. And you can put in your shadow lines with the ground. It's really up to you. And our last option of stone. And again, you might have a combination of all three or all four, all of these different materials on one house. I don't know if I've ever had a house that has all of these, but maybe it's few and far between. But you are going to look at houses here and say, I can, I can paint that, I can paint that material, I know how to do that. That's the goal of, that is the goal of this class is to create a cheat sheet that you can refer back to and say, okay, I know that I did little blobs here and there. Lastly, our last stone option instead of that stacked stone. This is when our stone or field stones are bigger. Papers are arranged so that you're looking at the face of the rock and not the edge of the rock. But again, just a variation of the one that we just completed. You can use your pencil, you could go straight to your ink pen. This one I want you to have fun with because it's just kinda like creating little blobs. What I like to do is I like to create my bigger blobs of my stone. Maybe one in the corner, one overlapping here. Then once I have those sort of bigger ones, I like to go in and get this sort of medium, two smaller ones that are there. So kinda looks a little bit like a cow print. We're going to do the same exact thing. I'm going to add some stippling and these stones just to show that there's texture. And I'm gonna do the same thing that I did for this stone above, as well as my second option of brick is I'm going to put down that grout color first so that I am not trying to get in there with my tiny little brush and trying to get in in-between my stones to get that grout color put down. So I've got all my stippling to take my buff titanium. And this is just going to go over the entire area. I'm going to let that dry. And then I'm going to add in my different stone colors. I'm just going to do the same technique that I did above and just go in and add different colors. And right now I'm just doing a watered-down. I red-black that I might use some of that sepia or that Van **** brown and go over it to change it. But I just want to get a good variation of stone. I've seen. This is kind of an interesting combination that I've seen that it has been really fun to draw is a predominantly brick house that has these different groupings of this, these stones like this. It's been a fun little illustration to do just because it's two very different materials, but they just look really nice together. I mean, they look nice together in real life and the illustration is fun to draw as well. So I'm just going to go back with a little bit of my brown and beloved in there. And you also can kind of, you don't have to fill in the whole rock with that color. You can dab it on. Just like how we did with the shingle where it's not it's not like a full color. These rocks are all different colors. They're not all just one solid color. So you might just use little dabs of brown or CPM just to add in a little bit more interest and a little bit more texture. So that was sort of a quick, quick stone material. We have three more. The next one is our metal siding. 8. Metal2: We have three more. The next one is our metal siding. Now, this is different than are deciding that we started with. I've seen this with typically with metal and it typically has ribs that protrude and it's kinda fun to add those shadow lines to make those come, come alive even more. So this one is super easy. I'm going to make sure that my stones up here are completely dry. We're gonna go back to using our t-square. And I am just going to create a, I'm just going to create some double lines. And what that's going to represent are the ribs in our metal fighting. I've also seen this as a roof material. You might see this, I see this on a farm house. Might have a brightly colored metal roof like this. Again, for this example, it doesn't really matter what color we're using. We're just doing this so that we can get the practice in drawing these different materials. So I'm gonna go back and I'm just going to use, first I need to erase these lines. I'm just going to use the same blue that I used for my sighting. Just so that we can have that as our base color. And I'll show you how we add in our shadow lines. So I'm just putting down that base color at base layer of color. So that's just the base layer of whatever the metal siding is. And then once that's dry, we're going to go back in and add our shadow line. So now my blue metal siding is dry. I'm just gonna go through and add in my shadow lines. And it's gonna be kinda similar to our vinyl that we started with. I'm just going to keep that same direction of our light source. 9. Material - Glass and Screened in porch: We have two more materials. One is glass and then the last one is a screened in porch. And so let's head on over to see how we illustrate glass. Here in this, in this square, I have the corner of a window. And I like using this example because it shows how we can work around the different panes of glass. So that casement of the window here. Then I'm just going, I'm doing a quick little sketch. The different panes of glass. And you can just you don't have to draw the casement of the window. I just wanted to show you my tip for illustrating glass. Obviously, you are going to match the design of the windows as it is on your health. But the way I've experimented a lot with how to illustrate glass, and the easiest way is to just have a base layer of that really watered down ivory black. I'm not as precious about where this is. I'm sort of lobbing in that paint in-between the parts of the window panes of glass. And then once this dries, we're going to add in our shadow line. So now that it's dry, I'm just going back with a little bit darker of that ivory black. And I'm adding in a little bit of that shadow line. Again, this is going to be consistent with your light source in your painting. And last one, super easy. Ending on a high note is screened in porch. Um, I don't come across a ton of screen and porches, but when I do this is how I illustrate it. So you can see it's super easy. It's kind of like our stucco or concrete. We just have one little inking technique and then we are adding paint. I just like to add several groupings of a cross hatch. Then I'm going to put ivory black over this. And you have yourself a screened in porch. 10. Conclusion: So, thank you so much for joining me in this class today. I hope you have learned a lot about different building materials and how to illustrate them. I would love to see your own cheat sheets and see which materials where your favorite to illustrate. So please post a note in our class discussion and I'll see you next time. Thanks so much for joining me.