Imaginary Vacation in Watercolor | Jessie Dodington | Skillshare
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20 Lessons (2h 51m)
    • 1. Imaginary Vacation: Introduction

    • 2. Materials

    • 3. Tropical Vacation: Palm Trees Part 1

    • 4. Tropical Vacation: Palm Trees Part 2

    • 5. Tropical Vacation: Palm Trees Part 3

    • 6. Tropical Vacation: Beach Part 1

    • 7. Tropical Vacation: Beach Part 2

    • 8. Tropical Vacation: Journaling

    • 9. Paris Vacation: Café Part 1

    • 10. Paris Vacation: Café Part 2

    • 11. Paris Vacation: Café Part 3

    • 12. Paris Vacation: Eiffel Tower

    • 13. Paris Vacation: Window View Part 1

    • 14. Paris Vacation: Window View Part 2

    • 15. Paris Vacation: Window View Part 3

    • 16. Paris Vacation: Coffee and Croissant Part 1

    • 17. Paris Vacation: Coffee and Croissant Part 2

    • 18. Paris Vacation: Coffee and Croissant Part 3

    • 19. Paris Vacation: Journaling

    • 20. In Closing...


About This Class

Paint a tropical vacation AND a Paris vacation in watercolor in your sketchbook.

Join me as I pretend to visit a tropical beach and record it in my sketchbook. I detail how to sketch and paint a simple beach landscape, some still-life elements (beach bag and book) and some palm trees. You can add these in any combination to your sketchbook spread. 

Next we will visit Paris and draw and paint the front of a cafe, the Eiffel Tower, a view from a window at french architecture, and a croissant with a coffee. 

After each "vacation" you can watch as I add my own personal journaling elements to the sketchbook. There are endless possibilities for personalization as you can add your own memorabilia, journal your own thoughts and wishes onto the pages, add stickers, washi tape and anything else you desire.

Note** Originally there was a "Beverages" section of this class but the content grew so much that I am making it into its own class. So if I mention painting a wine glass or a tropical drink, that's what I'm referring to. Stay tuned and check back for a whole class on drawing and painting beverages! 

Music Credits:

Oceanside by Scandinavianz |

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Jazzy Frenchy by Bensound |

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1. Imaginary Vacation: Introduction: Hi, I'm Jesse. I'm an artist working in painting and drawing media. In my first scale share class, I taught how to sketch landscapes in watercolor and ink, and I covered a lot of compositional basics. So if you want to get those under about first head on over and take that class in this class, we're going to play a little and go on some imaginary vacations from her own home through travel sketching. I'm filming this during the Kobe pandemic, and I'm aware of so many people whose travel plans were canceled, who had workshops canceled. But it doesn't mean that we can't still visit these places and experience them visually through painting and have a little fun with it. I often use art as an escape from reality, but it isn't the same. A zoning out in front of the TV art takes presence to make, so it's very meditative, and it has thes stress relieving qualities because of that, so it is directly related to our health. So it's just a really wonderful activity to do right now, when collectively world very stressed, the purpose of this class is to de stress while working on our sketching skills and just getting to spend more time in our sketchbooks, even though we might not be outside as much where I tend to use my sketchbooks more on the go. This class will also give you more confidence in sketching buildings, landscapes, still lives and elements that you would want to put in your travel sketchbook before actually being outside in the elements with people in busy city streets and distractions, whether insects, all sorts of things. So it's actually a great way to build those skills when you're at home with a desk and nice lighting and you're comfortable and you'll be able to apply this when you're ready to get outside again. In this class, we go over a variety of elements that you can combine in a sketchbook, spreads landscape elements, some foliage and trees, still life components as well as a saw, a monument view from a window of some French architecture er and like a table spread. I also go over different layouts and different journaling components like titles and dates and memorabilia you could add. Hopefully, you can take what you learn from this class to go on a ton of imaginary vacations of your own, and you're inspired to try out different layouts and different ways of filling a sketchbook . It's just a great way to, you know, keep the pen move and keep the paints going and sit down every day to just make a little bit of art goes a long way. Please share with us any of the components that we go over in the class, even if it's just one of them. And also please share. If you decide to take what you learned in this class and making imaginary vacation somewhere else entirely, we'd love Teoh. Keep the momentum going. Keep the inspiration flowing for all of us who are just trying to stay busy and trying to stay inspired at home trying to Philip Sketchbooks. All right, please join me in the next lesson where we'll cover some of the materials that you can use in your own travel 2. Materials: Today I'm using a Strathmore 400 series field watercolor sketch book. It has a cold press type paper that's very thick and can take a ton of washes and water on it. And it also comes with these little protective sheets between each watercolor page. And that does a couple things. It allows you to work on both sides of the paper. And it also allows you to work in mixed media. Because sometimes mixed media when you're working on both sides, they'll stick together like acrylic and it can tear, tear the work, or can smudge your drawings if you like using graphite. So this is a really nice feature of this sheet in between. However, this book only has 15 sheets in it. Personally. That's wonderful for a travel book for me because I'm not, haven't ever finished a book. Like one sketch book on one trip. That's never happened for me. Usually, my sketch books have multiple trips in them, or some homework and homework, some art I've done from home and trips as well. You could also work in a level sketchbook which makes it more realistic. This is actually what I would take on travels. I have a medium size I like as well. These are mole skins. But this little ones amazing for going on walks and not wanting to carry a lot with you. It has a lovely can make a lovely landscapes spread or crazy vertical if you're in a city. So these, this is a wonderful option if you're actually out there. And it's great to get practice using a tiny book like this from home. It'll really make you believe you're on vacation if you're working small like this, the brushes I use are between a two and an eight. This is a 26. Note, this is a 4608. You can do everything in this class with those sizes. You could do everything in this class with just one brush if you want it. And I have some wash watercolor brushes as well. Just another option. Obviously, the smaller you're working, the less brush sizes you need, you can get by with just one. And in fact, when I'm traveling, I do just use these Pentaho water brushes for facility and ease of travel. They don't leak ever. So you don't need to go crazy on brushes. For this class. I use, for my watercolor. I use the Prima marketing tropical set. And this is a lovely size. You could add a comes with 12 colors. You could add more down the row and the center. I love to fill half pans with my own colors. I don't make watercolor, but I take him from other sets and glue magnets on the bottom and they yet fastened in just like so. So I can add as many other colors to my trials that as I want. We are using tropical areas of the other things we use our ostensible just for fun, you don't need them. This is just giving you options for the journaling component of the travels sketchbook memorabilia. So ticket stubs, stamps, anything from your actual travels you might want to include to make a living memory of this book. I use Safari Lamy Safari fountain pens with a fine nib. They're wonderful for drawing. I have two different color inks and here both are permanent so that I can lay the down and paint over it and vice versa. And lastly, just in case you're curious, when I go over throwing techniques and things like that. And actually in a Canson mixed media, this is a seven by ten inch little sketch book, spiral bound. It has Expedia paper that is, you could do your watercolor sketches in here just fine. It holds up to a lot of use in it's extremely affordable. These sketch books are awesome if you want to stay on the cost-effective side of things. 3. Tropical Vacation: Palm Trees Part 1: This'll Essen, we're going to go over how to draw different palm trees and perspectives of the trees in different ways. You might combine them on a sketchbook page, and then we will paint them in water color onto our final spread project page. You can hold off on the final page if you want to, and just work on all the individual components individually. Or you can divert and start working on your quote unquote final sketchbook page. All right, let's go over a couple of those palm tree shaped options. I really love the ones that fold out over the beach Causal. Create some shade and a place to hang a hammock and such. So bring your line for this shapes. Bring your curved line up like this. So rather than making that kind of shape, that's fine. But I've seen more coming out of the ground this way, leaning up and over, and we will call this the center, and from here we will branch out. So you've got make these lines that branch out very curved before you get caught in details , create the major shape of this palm first. Doesn't matter how many Franz you add Sometimes it it looks a little awkward. You might add another one in there. Just toe Fill it out a bit more. I have seven here, um, of the Franz, That air coming up right here, the ones that were not looking at side on the there leads are gonna kind of hang down and look narrow so they won't be coming out like this. Right we're looking at, um they're kind of hanging straight down, So just trying to add a little bit of perspective to these, even though we are just having a bit of fun here, remember, Gravity is pulling these down. Yes, you can have some coming out like that, but for the most part, Thea leaves are hanging down. So here we're looking at this kind of from the side so you can see a bit more of the fronds , and then it gets narrow here, where we're looking straight out at it. So you've got a very, um, swooped down version. We can add a couple of contour lines to this palm. We could add, uh, the shaggy nus up at the top, where these fronds kind of come out of, so give your palm tree, some sort of transition area right there. And then we've got just the straight straight on view when you're going to do this, it's okay for to be that wonky. In fact, it'll probably help it look more realistic if you are letting it be a little wonky, letting it, ah, be a little flow here, end up at the top were going to do sort of like, um, think of the top of a pineapple. He's kind of bushy, um, shaggy area here. And then from there we can do our Franz out. Now, I've seen people say, you know, draw circle first, and that's if you want, you know, the perfect palm tree in some. Do you look like that? But ah, I think usually when you're drawing nature when you're drawing trees and plants, um, non symmetrical, non like, um, sort of what sort of looking for in perfect Those things are going to look more realistic because it's just how nature is being really rough here. But just get in the shape down. So again. Remember that when I'm drawing and I'm going a little darkly so that you can it's that you can see the shapes I'm making better. But on your own page, you're going to want to do this with an even lighter touch. So there we've got to shapes. Instead of this pushiness up here, or even in addition to you could add, um, you could have coconuts. They're often in Bunches around the base here, that's up to you, whether you at that, just on extra little touch, you get out and you can add some texture. You could do a sort of cross hatching, or you could do a contour line like this Contra line means it's following the shape of the , um, object. And this is a cylinder, basically. So we're going to We're making these curved. Here's the trunk up close, and we're making these curved contour lines, and they don't have to go all the way across. In fact, if you ever want to draw birch tree, this is the effect you'll use cause birch trees have thes lines in them. Sometimes they have a little not in them, so there's a little tip on the contour lines Now. One last option for you is the view straight up at the sky, which would be really fun to Dio because I you know, I imagine that would be a wonderful, um, vacation reality, right? If you're lying down on the beach or in Hannah Corona on a beach chair, you might This might be your view was looking straight up at the country's. So in order to get that perspective, you can start wider and get thinner and thinner and thinner and thinner. I'm also arching mind just for funded, sort of enhanced, that looking up perspective, going to get shaggy here. But you could barely see this detail. And then when I do the Franz for since we're looking up at it, they're going to be they're all going to be coming out like this and we won't get that sort of. We won't get as much of the gravity effect I was telling you about with the other ones and the way you know, if it's up here and down here and we're looking straight on it, that we wouldn't see as much of it. Well, that's not the case because we're looking straight up at it, so all of the fronds will be equally showcased in all their glory. You do not have to draw this on. These will be actually probably more effective, just loosely done with a very fine brush. But I'm going forward anyway, in case you want to maybe add the drawing like this in pen after the fact over top of your watercolor. Or maybe if you have a waterproof pen, you could even do this step before and then add watercolor to it. I work in watercolor and ink a lot, making these fronds a little fuller. So there you've got the perspective of looking mawr straight up at it, and I would add more than one as well. And if if your sketchbook pages like this, you could you don't have to show this whole palm tree you could just have the edge coming in and this would make a great composition. You just have your excuse, the scribbles. You just have your palm trees, you know, coming in from the side and maybe the bottom here. But the idea is, if you were looking up at the sky and you want this to look like that perspective, you want all of your, um, palm trees to kind of angle in. So imagine there's a point in the center and you're taking your, um, the trunks of the poems up there, and that's just a little trick. This obviously isn't the case in nature because you have those wind e sort of, you know, the problems that kind of look like that as well. You wouldn't necessarily. They wouldn't all be perfect and have this perspective. But that would just This is just a trick. If you wanted kind of have that idealistic little, uh, sort of not fake, but, you know, idealized view of vacation. Why not? Because we need a little escape and perfection right now. Don't way. All right, so that's one of you going straight up. And if you do this, you could do wonderful watercolor clouds in the background as well. And that would be a wonderful tie. And you could journal on top of your sky and I'll be, ah, very neutral, wide, expansive sort of background wash that you could do. Is this aerial or not? Aerial view? But this view looking up, um, squirrels, I have you. I don't think that's what's called, but yeah, this this view up would be a really fun way to do the Palm's 4. Tropical Vacation: Palm Trees Part 2: I'll add one last thing, which is that you could do a blown up palm frond. And this is isn't necessarily coming from a palm tree, but maybe a plant on the ground. And you could have in a much, you know, larger scale these these individual spikes would be thicker. And you could have this frond coming in from the side. You could have a couple of thumb, and that would be another sort of adding another interest in something really in the foreground, as opposed to this, which would look sort of like it's in the background and farther away. So this is just another way to create interest on one page. Notice that with this fraught with this up front right here, I didn't make both sides identical. So I have one side where these are longer and we know they grow symmetrically. But we want to kind of create some perspective. So I made this side. I made these instead of coming out this far and kind of looking identical to that. I'm changing the angle of them and making them come up this way, and so they appear, they appear shorter, and that's just because I want Teoh change the perspective a little bit and just add some interest and some believe ability to it. So let's go ahead and get to painting some of these palms. All right, we've got a faint pencil sketch of just the shape of the palm where I wanted to go. And just the basic, uh, sort of angle of the leaves are all curving out from the center point. And I even have more close at palm frond that I want to paint here in a second as well. So let's get going with see, gonna probably start with a size four just because this is a fairly small sketchbook and I don't want to be super super duper loose with this palm tree. Now let's think ahead and ask ourselves if we would like to see the sky behind this. I think we should show the sky. So I'm going to get a bigger wash brush, maybe even around Who cares? Go crazy. It will take a while to dry. So give yourself some time. I'm using my cerulean blue. If you don't have this color, you could use a sale. Oh, blue. That's a very sort of bright, uh, greeny blue. So this is a fellow blue, and it is just, you know, super vibrant and very great for skies. So I'm going to loosely put in a wash sky here. I'm going to leave some white sort of like clouds floating by and just to add to the texture, because why not? It's watercolor. That is the best part of watercolor. While it's what I'm going to drop some more color, some more pigment down into that wet wash. So over on this side, I'm going to do ah, scene of a beach. So I'm gonna leave that for now. But I'm just going to get this very pale wash of sky in and you can see I left little, little white blobs. I think they're the edges are a bit harsh. So I might, um, I might fill that in and then use a paper towel to blot some of it back out a couple different ways. You can achieve that sort of patchy sky. Look, I like this with some of the clouds being a bit more carved out than than others, so it can look kind of like these air closer and the tonal variation of the rest of the sky will just look like clouds farther away. Generally speaking, skies are more blue higher up and they get paler towards the horizon. I'm gonna take the wash right down behind this front because I know that when we paint this , we won't cover all that space, right. The the leaves won't be gaps in between. So we want that sky show through. I think that works for me. We'll let this dry and then go ahead and attack our palm tree. We're ready to paint our palm tree. The skies has dried enough and I'm going to mix a sort of light green. I'm gonna add some yellow into the screen to kind of make it look like dryer foliage, and that's gonna start. Start at the frond and drag away from it. Don't try to do your brush strokes towards this main stem. Pull away from it and as you pull away from it, you're lifting up your brush. Kind of. It kind of creates a flick, and it will make that texture for you. I'm gonna use a slightly darker green. It's great when you're drawing nature at any point when you're painting nature to keep varying your colors because there's not going to be a tree or plant a flower that is truly , you know, uniform, uh, uniformly colored all the way through. And I also I'm kind of being loose with the watercolor and letting bleeds happen. I made a couple of strokes longer there just to create some variation, adding some yellow to this branch. Remember, it's kind of more straight on, so not as fluffy as the side ones, right? It's hanging straight down. Generally speaking, you're gonna have more success if you draw your brushstroke away from the center towards the outside. That's how you all branches, even in drawing its just easier to create that look like it's grown out, adding a tiny bit of another color. They're a little bit of extra layer and adding a bit of second color to this one as well, so it doesn't just look like it's one flat color you can rotate your page to. That helps for the sake of the video. I'm just kind of awkwardly reaching around, but, um, yeah, when you're when you're working on plants and things like that, you're probably gonna want to turn your page around to make it less awkward for you and your hand in your brush More yellow. If you're going to do yellow bits, you probably want to. You can add them later, but it's best to start with the lighter colors and go darker in watercolor, mixing some darker green here. And I think I'm gonna even add a little bit of around two. That green. Well, I was strong at over. Overpowered my green very quickly. Alright, so I've got a dark green here. Remember, you're welcome to Swatch. Don't be afraid to Swatch, which means test your color along the side of your edge of a page just creates ah need effect here. It's OK if these aren't uniform, if they're blowing this way and that that's actually what they would do in a little bit of a breeze. So don't be too much of a perfectionist about this. If you don't like the shape of it, go back in and add some. I'm adding some darker green here and then going Teoh plop in a bit of dark color there to suggest where the palm fronds grow out of, and I started making my trunk green for some reason. Don't follow me down that pass. Mix yourself a nice brown. There are some palms that are like like green up here, and they get brown down below, so it wouldn't be that big a deal. Remember, I'm making the trunk thicker at the bottom and center at the top. I'm also going to make it darker at the bottom and lighter at the top two. Again. Just enhanced the, uh and hits the perspective. Things that are paler look farther away. So we've added some darkness up close. I like the shadow in here a lot, so I think I want to add more over that in places and I'm going to be spotty with it. Try not to be too uniform where you add your lights and darks just here. And there is the way to make things in nature appear more natural. Be loose. I actually I think this is a bit tight, and I think that's because I'm talking while I paint, so that sometimes happens. But when I'm just on my own like imagine you were out here on the beach, you wouldn't probably be fussing over it quite so much. She probably be trying to capture it pretty quickly. Keep it keeping it loose. I think I'm happy with the way this is turning out. Going to add a bit more of a warmth to the top of the trunk and maybe some yellow were bits here and there again. It's just the business of variation and layering to make it come alive. Look a bit more active. Middle green here for this area. All right, so there you have it. You've got a palm tree as seen from below, and next we're going to add a closer palm frond for some foreground interest. 5. Tropical Vacation: Palm Trees Part 3: okay, I zoomed in and I flipped my palate around so that you can see me mixing my greens. I don't think it is a super huge deal. What color You make your big palm frond. But I'm gonna go dark because this is kind of lighter greens, some lights heading it. It's farther away from me. I'm going to mix some darker green for my close up front, going to start with stem, and you can make it go. AST's faras you want into the page or not depends on what other plans you have for that space. And I'm just going to start adding in my, um, little individual leaves. Now the brush control for this is basically start. I'm pulling my brush away from the centre. I'm starting Finn, and as I pull away from that stem, I'm pressing down my brush to get a thicker middle of a leaf, and then I'm lightning it up and continuing to drag it away from the center to create that shape, so light pressed down to make it thicker and then lighten it up by lifting. Now, these are looking really pale, but I'm not really worried about it. I'm more concerned with just making the right shapes right now. And then I can go back in and dark in it, and we're gonna have overlapping watercolor unless you plan not to. Um, watercolor just takes a lot of planning. And and that's not really how I paint on the ground. Like if I'm travel painting. So I'm on more just layering things and letting ago again with the brown, this brown a super strong. I'm using the tropicals that prima marketing tropicals set again, if you need a reminder. Sorry, I just need a medium green, Nothing to brown light, pressing down and lifting up again to get that point. They are not going to be sort of uniforms, and this is the goal. This will help make them look more natural. I'm kind of mixing in a just slightly different, uh, slightly different pigment into each If you could make them identical. But I think switching out your colors is a good idea. Now you'll notice I switched the angle a little bit. This will probably happen by accident for you unless you've got super duper awesome hand control. But I'm purposefully angling my leaves farther forward now, but also they can. They can twist in the breeze that can cross each other. Um, it's just how nature is not perfect. So when we say that a 1,000,000 times and so I'm adding some blew into my agree now darken it a little bit. I recommend practicing this stroke. Thea the varying thicknesses before you get to your quote unquote final sketchbook painting . It's practice on a random piece paper, preferably watercolor paper as well, because paint and brushes handle differently on different paper. So if you're gonna practice practice on the same paper, otherwise you might be defeating the purpose a little bit. Here's a hair in a brush going to add a bit more light green to this one, angling more away from more to the right away from the base. As your leaves get towards the tip of the stem, they may get thinner. That happen naturally. I was kind of shortening them as I went, and I was making them slightly center just by pressing down just a little less with my brush, I'm liking the multicolored effect. I'm liking the tips, being a bit darker like that. If you don't, you might go back in and darken them a bit. But that's just be happening because I'm leaving more water or more pigment at the end when I lift off and it's just pulling back a little bit. Your paper might behave a bit differently than mine, starting at the base again rather than continuing from up here and remembering that thes leaves are longer and wider than the ones up there were. I'm not creating a perfect V here. The angle of this leaf, um, to the stem is going to be different on one side to the other. And I'm doing that on purpose. As I explained when we were sketching it out, and hopefully that will just help make it look like this leaf is on an angle. This whole frond is on an angle you can do to leaves at a time without reloading your brush . If your brush holds enough water, otherwise, most the time I've been loading up my brush between each stroke. You can try to match up each leaf perfectly, but I'm not really worried about that. Not really a concern of mine. I don't think it will add to the believability of this painting. We want our paintings to have character, especially if they're meant to be a travel journal. So practice use your time right now to practice blood and go a little bit and having a bit of fun and not, you know, really, really fretting over the the result in the perfect um perfect. This perfection of the of the image just this will be great practice for when you are actually out on the road vacationing. So here's the whole front. Um, these are a bit shorter, and that's just going Teoh, look, make it look like they're on a different angle. I want to dark in these up a bit just because, um I think it will help make it look like their more silhouetted against the sky. The lights guy. So I'm mixing a brown and a bit of purple with my strong green, even a bit of blue in there to get a nice dark color. This set does not come with black, and you do not need it. If you have black, go to town. You can use that if you want, but you could mix really dark colors just by combining your, uh, the colors that have a darker value, naturally, like purples and blues and browns. I'm not going to do this to every single leaf, just this side, especially some that seem particularly light, like back here at the beginning. We're also bit shorter, too, so I'm gonna lengthen them a bit. There's a there's a little bit of, um, ability to correct in watercolor, not a lot, but of it going out a few more dark ones. And then I'm going to go over the main stem again. And this will hopefully cover up a little bit of the brushstrokes that you know where all of leaves connected. Kind of like that. I feel weird leaving these two lighter ones. So adding this to them and just because I'm adding close to the same color to all of these leaves, it does not mean that they'll all be uniformed because of the different colors underneath that, you yellow er leaf will still end up looking more yellow to the ones that were blue looking . There you have it. Time to move on to the next part of the class 6. Tropical Vacation: Beach Part 1: next, I'm going to walk you through a stolen component beach bag, a book and a pair of sunglasses. And this will go in our final tropical sketchbook layout and we're going to leave space. This is something you might want to put in the foreground. We're gonna leave space to draw and paint a lovely beach tropical landscape to tie it all together. It is time to sketch out a little beach bags and still life items that will really bring your travel your fake travel journal toe life. Um, so let's start with sort of a square shape. Our rectangle rather think of a cereal box on its side. Um, without getting too much into perspective here, the sides away from us are smaller than the sides closer from us. So let's make our and remember, you're you're drawing this lightly. I'm going to draught a bit darker so that you can see it. So we've got the saggy top of the bag open yet make it kind of wobbly, not perfect and sides coming down here. So we have a general rectangular shape. It's just kind of caving in at the top here, and we're going to add some, um, straps to it. These air kind of ropes so again do this lightly. Um, the one farther away from us is going to be the shorter one because it is coming from farther away. We can add the back inside corner coming down into the bag. Let's make the stripes on the edges, go vertically, and we don't want them to be straightly wanting to be wavy to go with the shape of the bag . So, um, for the sake of the drawing, I'm going to color in the stripes to give you better view of the the way they're undulating and on the side. Let's make the stripes go horizontally. I kind of think stripes that I want to make a 1,000,000 of them. That's just going to be more arduous to paint. And these will be sort of, you know, probably a navy blue, gotta and white or beige, like a nautical stripe going on groups of their own. That's okay. Colored in the wrong stripe. This is a good reason to lightly sketch out your painting before you start shading it in with Pete. All right, so we've got our bag and we need to add some reading material. So about midway through the bag, draw kind of straight line, um, on an angle, going up a little bit and we're gonna pull us out into another rectangle. Only this one is going to be a book. So we've got a rectangle here, These air parallel lines to each other. Make sure you make a little curved line here. That's the pages inside the book and a curve line here. That's the spine. Another parallel line up the side. You're very, very basic book shape, and I think what we're still missing are some shades because we cannot read out on the beach without sunglasses so you can draw your favorite shape of sunglass. Here. I'm going to make mine super simple, but you might do the very fancy cat eye shape, even Little wing on the edge. I'm going to make my normal. You could even make aviator style, which would be kind of look this a very popular shape right now. And we will be coloring those in because our painting them in because they're going to be shaded. And you might just add the backs year. Here you go. Pretty simple Ah, little still life action for your beach scene. And let's move on. Before we continue painting our little tropical scene here, I wanted you to take note of the differences and improvements I've made upon the beach bag . Here we have a large opening. It looks pretty stiff back here on. We can see a lot of the interior of the bag and how I've changed. That is just by, um, only showing a little corner of the inside here and just the front side of this bag up here in a little corner of the inside here. So if you want, maybe pause the video and just your sketch accordingly, I think this looks a bit better than Theory Journal. And one of the reasons that we put this bag in front of the book and had it overlapping is because overlapping is a major trick to showing depth and making things look believable and making things look like they're in in actual space around each other. So that's why we're putting the bag in front of the book just a little bit. Um, now it's time to paint 7. Tropical Vacation: Beach Part 2: we are starting with the paler parts of this scene, and we're gonna work kind of light to dark. So we're starting with that, um, sky blue that we already blocked in over here. I'm just going to continue it. So it comes right over to the edge here, and then I'm going to mix a more awkward color. We want our water to be very tropical, so it's slightly more green than the sky. And that's up to you. What color of water you want. But I like the clear green water look. So I'm going to start back here where the heart where the horizon is and then just going to drag that color, keeping it lose, not making any specific, Uh, you know, border for where the scene ends and the other one begins. We're just kind of mission them all together right now. If you don't like that, look, you can add a cute little scribbling borders around. That's a nice way to deal with multiple scenes on one page, and I don't want the water coming too close to my beach bag, so I'm just going to pull it in like that and again, didn't quite work here because I started in the back. You want the distance to be paler than what's up close. So just blotting a bit of the color out, and I'm going to add a bit more pigment closer up that will help it look. Give it more perspective. I want this to bleed right into a beautiful, sandy beach color, so just make sure my palace showing I'm mixing kind of yellow Oakar. There's a tiny bit of pink in there and I'm going to water down a ton. So it's nice and pale. I think that's gonna work perfectly for sand. Make it slightly more yellow and then I'm just going Teoh, lay the sand in right next to the water and just let them bleed. Let's let him have fun. I'm going to bring the sand color right down around my beach bag. This is why we drew it in and before we came down here with the paint, just ah, to make sure we could leave the whites white. Remember, you're working with a wash, so it's you need to keep a lot of water out here. Just toe. Um, give it that watery look. Let that water color actually act like watercolor and do nice cool mixing things and as the sand. It's not a tiny bit more brown to our mixture, where the sand is closer to the water. It is more brown. It's wetter sand. And then as it gets farther away, it's going to be more white. So I have a clean brush right now. There's no pigment on it, and I'm just It's kind of smoothing out the edges between that, uh, medium sand color and the side here. So this is just dragging a bit of that color over, but not really adding more color over here. It's kind of the whitest part of the sand, working fairly quickly here, toe let all of the colors bleed in together, so there's not a whole bunch of lines. But again, it's just meant to be a record. You can do whatever you want with this area here. That's probably where I'll add some text, so I'm not too worried about what the colors air doing there. Now I'm going to switch to some dark green, and I'm going to add in some tree like shapes in the background. If you're sky isn't dry enough. This is going to bleed into your sky, which might be what you want it to look like. But if you don't give it some time, let it dry first, then go in with different color greens. And I'm being really loose here. I don't really want to add much detail. We've got some nice Palm detail already, so I'm not too worried about what the vegetation is doing back here. I'm just kind of filling it in to give it that impression of the distance. Being full of trees. Gonna make it a bit darker just for some contrast in our scene, and I'm going to add that same dark green to this little island tuft right here. You might switch down to a smaller brush. I'm not too concerned about it, adding a bit more that vibrance green and a bit of sand will bring the scenic part of the sketch to close, adding some darker sand color back here. And it's implying some shadow from the trees, especially if we give it some texture. And why not, while we're at it at a tiny bit of shadow to the sand? Because we have this color mixed up already. We can add that around our objects here, so I'm definitely going to switch to a smaller brush. Now, that was the eighth. We're gonna move to the four here, and I'm going to bring some color in with pink just for fun. And that's going to be the cover of my book. That is super right. But I felt like this scene isn't missing. The warm colors writes mostly cool colors. So I'm going to let my cover be nice and pink. I'm careful not to touch the sand too much because we just painted that. Unless you are really paying attention to how wet your pages, this pink will bleed right into that sand so you might choose to wait a little bit. My paper is soaking this water really easily, and so it is already fairly dry. I'm mixing that a purple into my pink for some darker value and laying it in along the spine. But its gonna bleed a bit and I'm okay with it. I'm also going to pull little line of pink along the bottom to act as that back cover, rinsing my brush. I would like to be classic in the tote coloring, so I'm going to mix a dark blue so we can have like a navy, a Navy striped bag. It's very, very beachy in my mind, and I'm going to paint those stripes in in their wavy and they're following each other loosely, and they're also not straight. So it makes the bag look a bit rumple e vertical on the side, and I'm going to go horizontal on the front here. It's a bit fine detail work here, um, going around these straps, but I wouldn't worry about it too much if you make a mistake. You can always color these straps in later with, Ah, you know, nice gel, jelly roll pen, the white Just pull back in like that. There's lots of cheats toe watercolor these days. Better, quite acceptable. See how I'm? Did I dab that a little bit just for water control? Because I felt like there was going to be a lot of my brush and this just takes practice. I'm, you know, still not perfect at my water control. Sometimes things get more out of hand and bleed into each other more than I would want them to and sometimes things air. Try and not as exciting as you know. When watercolor does, it's wonderful. Fantastic blooming. All right, there we have our stripes down. We could do vertical stripes back here is well to show the inside of the bag in some trying to decide on a color for the straps. I don't wanna go too crazy with a 1,000,000,000 colors here, so I'm going to make it a darker brown kind of tie into the sand color. So I'm just gonna mix my brown with some blue and my stripes are not dry. So this is just doing what it's gonna dio. And the brown might get some balloon it the blue my gets them brown in it. But I'm OK with that. Now what I am going to do before I shade this bag, I want some shadows on this bag. Um, but I am going to wait for the straps to dry the straps, straps and the stripes. I want that. I'm alter I before I add some lights and darks to the fabric of that bag. Let's color in our sunglasses. You know what I was going to do? The black. I think they need to be bright blue reflecting the sky. You gotta look nice trying to clean my palette off a little. Here, you could get crazy and have them reflecting palm trees as well. But like I said, they would be crazy. Crazy, detailed. The rest of my glasses air going to be stark. And they're doing some funky bleeding and stuff. And I'm okay with that because the lenses work. Try. I kind of like that, though. Be pleasant surprises of water color. So as I said, my paper dries really quickly. So I'm pretty pretty confident that this is dry enough to work on. I'm going to make a very light grey with purple and some blue water it down a tone. Swatch it, make sure it's light enough, gonna go even lighter, and I'm going to add some lights and darks to the bag. Here. This is the inside of the bag right here, so I'm going to make that darker. Still maintaining the stripes. I want them to be visible still, and let's add some more shadowing right here. Him, maybe over here and that just gives it some definition. I'm pretty happy with that, adding a bit of shadow of the straps on the bag, but it's getting pretty detailed at this point, but of shadow on the pages at the top here, letting the pages below be a bit lighter. That brings us to the end of our beach scene. Hope you had fun with that. This isn't meant to look like it's 11 of you. It's meant to be sort of a collage of moments from your day. You can try that with these items and elements or switch them out. If you have, um, a double page spread, you could add more elements like the beverages. 8. Tropical Vacation: Journaling: way our with our tropical vacation sketchbook spread, and it's time to do some journaling over top of it. So there you have it. There's our little can Cain spread, I added, remembering up here and put today's date rather than the data actually went to Cancun, which I can't remember and just did. A little memory journaling of that memory. And I added a little tapped the side. You could do this. If you have multiple trips going into one little sketchbook, it's a great little wayto quickly head to that, and it's just also fun and their purchase herbal on Etsy. Um, try to link to where about these ones at its and stickers. Trouble shooted? Um, a bit of a stamp issue. If I wasn't getting the ink right, make sure to test out your stamp. Have a test paper beside for any of this, just to see what the colors look like. I just ended up using some paint marker to go over that redux. It's not amazing, but I'm happy with it, All right. We're done taking our little vacation to the tropics somewhere and enjoying the little tropical escape. But fix and fix son, and we're off to Paris next 9. Paris Vacation: Café Part 1: Next, we're going to take an imaginary occasion to Paris, where we will sketch out a monument, the Eiffel Tower. Cheesy. Maybe I like cheese sometimes from Maj. We're going to sketch out a facade of a coffee shop and a view from a window that features French architecture's very particular. And any time I see buildings like that, I'm taken back to when I lived in France for a year. You can add different elements, like your wine glass or your coffee cup in Cristante to this spread, and this spread is actually a two page spread. So if you want to follow along with that idea, you can prepare to use two pages in your sketchbook that face each other, as opposed to starting on one side and having the Paris journey continue on the other. If you just want to do one spread for Paris, then I suggest organizing it in your sketchbook. Out. Let's begin by drawing out our little cafe, and I'm going to use that a sort of a grounding element on the left side of the page, and I'm going to just draw it straight on as a way to sort of simplify perspective, etcetera, Um, and just keep it sort of quirky and cute and simple and quick. So I've got erecting girl rectangular area here that I'm going to put the cafe name in. It's going to be written in there. And here's the little overhang. So again, just kind of wonky. Um, doesn't have to be to particular to specific. I'm going to follow this line down through the building, and that's gonna create that look that this overhang is coming out towards us and try to find the center of your little building here and bring a poll down the center. Now, I'm going to draw mine a little darker here just to make sure you can see it. Then I will lighten it in a minute. So about a little less than 1/4 you maybe 1/4 the way down from here to here is this wouldn't ledge and that divides the window areas. So I want to make mine a little higher up. I want those windows to be a little more narrow, not as tall. I'm just going to raise that I like that better. Okay, then divide thes spaces into three and drawn your little windows by leaving spaces around. So you're drawing a smaller rectangle within these. They did not have to be perfect. These are all three different sizes. It's really okay. I don't think that's thing that's going to stand out. I try to do a better job spacing the right side here. Here we go. So we have some narrow windows along the top and follow these lines down to create our windows below. Now, I'm not going to take the these lower windows all the way down. I want to leave space for the tables better sitting outside. These are very tall windows going to add this beautiful fund framing that there had they have on this cafe. This one is actually a door. So if you want to get specific, you could add a little handle here. This is the way into the cafe, which is funny because there are tables right in front of it. But, um, things are kind of close together in Europe. I found little spaces, so I'm adding some rectangles within the wood as just some texture. That's the little stuff that makes it look detailed when it really is much simpler. 23 on this side. I'm being rather quick with this kind of sketchy but loose. And that's just the feel I want to go for with my little Paris portion. So I'm going to draw two ovals over here. But it's kind of hard to space them when you had the chair. So let's, um, get one tabletop drawn in there and make this chair shape. I want to make sure that you can see that little chair shape zoom in here. Alright, so I've got this little chair shape. It's kind of unique and then going to at the bars to It's just a little wire chair. There's a little opening here into the details you do not have to add, but you can. Ah, let's bring the base of the table down and give it some triangular feet and let's do the other side. These air just in profile right now, um, the simplest way to render them and let's do another table. So had I just on the table in the first place, it might have sort of collided with this chair. You could do some overlap that could be quite realistic if you pulled the chairs in front of one another. I'm just going to make room. Shove it over here. I'm adding extra legs kind of showing through. You don't have to do this. It's just suggesting basically what's happening over here. All right, so we've got our one side done with some little cafe tables in there. We're going to add, um, another table over here. But first, let's add a sandwich board. So we're basically just going to do this rectangle on an angle here and I'm gonna leave a little space just for some visual interest. Got this rectangle coming down. These lines are parallel to thes lines, and then the backside comes down and this line right here is going to be parallel to this one, and that gives it the appearance that it's behind. This is the, um, the side that's behind. Then you can add your little feet to it. The last one on your feet match with not like that's your feet. Match the angle of the sandwich board. So, like, is so not that's direction with this direction. So you've got a sandwich board. You could even add the little chain. That kind of connects it and keeps it up again, pretty detailed. We don't have to do that. Mine looks like it's tipping that way, probably because my legs are too short. I mean long and the angles quite harsh. If you wanted to to not look like it's tipping over so much, just minimize that angle there. I'm going to add in another chair back here. It's going to be behind be sandwich board a little, the table in another chair. Now, to add a few more details, we could add a little, uh, plant situation happening in these big planters. We could add some fun. Franz here, Palm Fromm's You could add Ah, funky leaves if he wanted to up to you what kind of plants you add. But so just a nice fun addition already. Let's, uh, add in the ground here and in the actual coffee shop. The windows actually only come to here, and it's up to you whether you get that specific or not. Um, but they do have sort of a base here. This little area that's just would we're gonna do that on the other side as well. So it's just a matter of fitting all these little pieces together. So there we have a cute little coffee shop. You could name it what you want. I'm going to use my photo inspirational quote the cafe Go mom with my cursive that I'll probably redo when I get to this drawing in pin. And we could add a few little increases in the overhang here. And they go not swell to go straight here, but that on the sides, they kind of angle out to match this angle here. 10. Paris Vacation: Café Part 2: Alright. My favorite part of the painting. We're going to use a four and a six. This is my six. This is my four. And I'm not going to worry about these letters right now. That is something I can come back over with. Pen, I'm going to try not to be too stiff with my painting. Um, this isn't for realism sake, so it's gonna try to stay loose with it. And I'm just following the main strokes of the architecture here. Not too worried about, um, edges and things like this. I'm gonna leave this, um, unpainted so I can add this plant in. I'm going to go ahead and paint back here because I do have my chairs and tables blocked in . I'm going to go over them in pen. So I do not mind that they get painted over at this moment. And I am only taking the red down as far as the edge of this building. So just to the sidewalk, basically, and that's a Sfar. As I'm going with that, I am leaving a little gap there for the table leg. Something different with this layout is I I'm going to use ink in it just for definition and fun. And just to create a bit of a different style and look than the previous one we did together. The tropics. You should put on some French music while you do this. That would be most delightful. Some family soundtrack. Go ahead and do the Red Cross bars. I'm still working with my four, and it doesn't even have a really great point on it. I'm just not worried about the perfection of the lines. I'm kind of holding my brush up instead of down to the side. I'm trying to keep it pretty vertical to get those thinner lines keeping my brush going with the direction of the the woods. So I'm not going like this across it. I'm I'm dragging it that way. Just gives it a bit more control. I am not going to paint through the sandwich board. I'm going to go around that and just pay through the chair. I'm not going to paint through the table going to paint around it. - All right? We've got the main red in. I'm going to deep in it in places. But first I'm going to paint the overhang. Let's mix a kind of medium brown. I'm going to darken it with purple and a little bit of blue as well. I wouldn't mind it looking a bit gray. That would be fine. And this is going to be the awning. I'm going to go back over this sketch with ink afterwards. With the pen. I'm going to change the value for the different angles. So it'll be lighter on the top and darker where I'm painting right now. But I can't do that just yet because both sections are wet. Going to leave the table tops white for some pop. And let's just jump into painting those fun plants. I'm going to switch to the four size four brush. Don't be afraid to use multiple colors. It will look better than just using one color all the time. So I just added a bit of light green in there. Then a bit of red got into my green, and I'm going to go with it. Just creates a different color. I don't want the whole thing to be that brown green, though, because green and red or opposites on the color wheel, they will create brown when mixed together. So make sure you are Red is dry before you add the green plants sticking with my smaller brush, I am going to grab a black and one way you could do this. I'm going to pay the windows right now. You could paint them a light blue as if they were reflecting the sky. But I'm just gonna go ahead and paint them black, maybe with a few reflections here and there. And I could always add the reflections later with a white gel pin might actually be easier to do that, because it will be finer line. You can see the character right now is really coming out its quirky It's not straight. It's hard to control when you're working a small, and this is how it would turn out. If you were actually sitting across the street making a painting of this cafe, it would probably end up even one. Keir actually depends on how much time you gave yourself. But the idea here is that we are we're traveling. Place ourselves right there. Make yourself a coffee while you paid this in, maybe a glass of wine the so a little bit of shadow on the sides of those vases. And once this awning, this edge of the awning is dry enough. You can add a little bit of a darker, uh, cast to the top of this building. So it's it's in shadow. So we're just going to dark in the value. I'm going to add some interest by taking the darker value and going along this line here, maybe around thes little would forget what you call them, but just little would designs on the on the wall there anywhere else, you think a little bit of detail wouldn't hurt? Um, I'm using the very edge of my rush for a little fine line coming down between there. Just the fun little stuff. And it's one less thing you're going to go over with pen, and so it might retained just a bit more. But look more looseness as soon as you added black pen. Two things, Um, when you have to be pretty committed to the lines you're making, and sometimes I don't like the lines that I make in my black pen, and then it's too late to change it. Really? So I had some more with the paint, Um, and then you can be sparing with the pen. One last thing I think should happen in paint is a very light gray brown beige Doesn't matter. Really. What shadow? We're gonna do a very light wash for the ground again I want to avoid. I like the idea of keeping this the's table legs white, but up to you, it's been painting around them. I might even go over them with it over them with pen. But, um, for now I'm not painting through them. I've extended the ground a little tiny bit out to the side here. That's up to you. If you do that and then I'm gonna let that dry just a tiny bit before I add some shadow underneath the tables. I'm adding just a tiny bit of pigment because too much will just take over the whole area. And I didn't really wait for this to be dry. I'm just kind of letting the wedding what happen 11. Paris Vacation: Café Part 3: All right, We're ready. Toe. Add some wonderful pen and ink to our little Paris scene. I will be working with my favorite because it is affordable, and I don't I can't really afford other fountain pens at this time. The Lammy Safari. I have to and I keep a black ink in this one part of darkness. Nublar Zinc and I keep Ah, Lexington Gray in this white one, and this is a permanent gray. And so when I draw with it, I can add Inc. After it's dry, I can add some water color overtop, which is a really nice feature. Another pen, if you don't have a fountain pen that you might like is the micron. This is a little worn out here, but these are great permanent ink pens so that you can draw a little bit. And if you want, you can add water color back in, and you're not going to have a big mess on your hands for this size. Sketchbook. In the kind of detail we're adding today, Ah, three would do you find a 03 Um, the prince's earlier five is going to be really Danny, Danny, Danny and Tiny So that's not what I'd recommend for that. So you can use a micron that works really well and another pen that draws beautifully. You don't have as much control with this because it's gel pen and it just sort of, you know, flows from flows freely from the neb. But it is, Ah, this is a 0.5 point seven would be too large, I believe. For the most part, I use 70.5. It doesn't have a roller ball. It has this other kind of tip. And so it has a really smooth drawing line. Very fun for gesture. Just beware. This is not at all waterproof. So if I drawn here, I am not going back in there with watercolor unless I'm ready for it to bleed everywhere. So those your options for some options for pens and I also have the to gel pins, the white ink tell tens that I can use. So even though the resource has low Cafe Goemon in white, I'm going to write mine out in black because the red isn't really dark enough to make that white stand out. So this will make it more legible. Don't forget your accent on the not the best handwriting, but who's judging? So I'm just going to do this whole drawing for now in the black ink. I'm having a hard time remembering if the new dealers, um, heart of darkness is water Priefer nonce. We might conduct an experimental bit later here, the little sort of crease marks in the awning here. I'm trying not to, you know, make my drawing to sort of chicken scratch back and forth, back and forth. Just commit to the line. It will be wonky and wobbly. We're not using rulers here, but I went from left all the way to the right rather than stopping and starting. Because often if you're just new to drawing when you're trying to make your line perfect, it actually ends up looking very overworked. Lots of back and force. And it looks a lot like the line looks a lot more uncertain. So I would say Just commit and your drawings will get better in time. You could do these details of the wood in the graying if you wanted. You wanted to keep a variety of ink value happening. Go ahead and do these plants. Since there in the foreground. Try not to overthink it. You can see I am not following the paint lines very closely. I'm just kind of keeping it gestural. And that's a nice look. You don't have to have the, uh, water color match the lines of the ink perfectly. This one under that being looks like it's closer rather than set farther back, just based on where the bases. That's okay. So I'm outlining these windowpanes up to you, whether you give them a frame I don't really have a ton of. It's not really a large drawing for that kind of detail, so I might just outline the windowpanes and call it the ski. At that stage, this is adding a crispness, even though, as we already discussed it is wonky. My line is not perfect. Um, it is adding a kind of crispness and not confidence, but sort of ah, definitive feel to the drawing. Not as tentative as the watercolor, that sort of just pooling around. It's like here's my window line, do you with it? All right, we've worked away sort of top to bottom here and next. We're going to go over our little tables here and our little stands or legs rather. And if you're under drawing, If the pencil wasn't perfect, you didn't love it. You do not have to follow those lines. This is your chance to sort of redraw it. Better make those corrections in your ink drawing if you want to. Now I'm adding in those wire chairs. Um, kind of loosely. They're not going to be perfect, but, um, it's nice to add some pen details over water color. Get lens it and I sharpness. It would have been a lot harder to paint in these chairs. Trust me on that one. With these little rungs and such, that's just detail. You'd need to. You need to make a much larger painting to get that detail in and just watercolor. Maybe you could use a masking fluid of some kind to block out the areas you wanted to to keep white. It's a useful method and watercolor. My chairs are not symmetrical. They are rough, and I'm okay with that. So now that I've put in the tables, I can go back into the background and add the remainder of the wood detail doesn't have to be super perfect like I don't have to really? You know, make sure my lines back here a complete taken, just suggest what's behind there. Bring these down a little more I'm going to had in the where the building meets the sidewalk. Um, you can draw right through these wire chairs if you want to. They are indeed see through. And I'm looking. I'm looking. I'm looking for any other details. I might want to adhere. You could add more framing around the tops here. I just don't want to over clog it on this sandwich board. If you did do a bigger sketch, you could write one of the meals that you had or wish you had on a trip. Um, that could be a fun detail. You could draw a little line coming away from the sandwich board and do a close up of some menu items I find, you know, food is so much a part of travel. That's a really fun way to record what one of your men use. One of your dinners or lunches were without necessarily just pasting in a photograph of that menu 12. Paris Vacation: Eiffel Tower: except the Eiffel Tower. So for this monument, let's I'm going to pop this in a frame, and that is just a visual organization element that's kind of fun in trouble, sketching or just in your sketchbook in general, the kind of frames and sizes Thea thing we're about to add. So let's begin at the base. We got some tree coverage here, and here's the top Put us dead center in this little frame and it is actually at an angle here. I think we need to zoom in a lot for this little Eiffel Tower, and we can add the of it here. It's coming out of the frame, which I kind of like that effect. And let's just mark where the base is going to stretch out to and then draw a sloping line . This is a bit tricky, this part because it's it's easy to make it to thinner to ah wide. So here's the general shape and see this corner right here. We're going to draw that down to sort of 1/3 of the way across. See, this is or almost, yeah, but 1/3 of the way across and these are our three main sides, three main poles and we've got two sides visible here. So the perspective of the Eiffel Tower from looking at it from below, we're going to draw a little box. And so these little lines are angling up to the right and we're going to go down on this side, and we're going to repeat that here. Then here, we'll do the same thing below. Uh, the Eiffel Tower actually has some restaurants and things on it. Um, just pretty amazing have all that built into the monuments. So same thing angled up a bit and then angled down on the side, Then under here, we've got this arch. You can take it close up to that bar there, and we're going to do another arch here for that side in the center. We're going to sort of bring these polls up, So give it this this amount of space and bring these bars up together appear There's not a whole lot of, um, a gap in between here. It's kind of it all just comes together, so you don't really have to show the separate areas quite as much as you do on the sides down here. So let's Ah, this is a very over simplified way to head the bars here. I'm just doing some X is kind of matching them up, keeping it super simple. All right, I am going to do a whole bunch of little hatch marks down here, sort of suggesting the different architectural elements, the different beams they have going on. So these are our main sides right here. This is the sky on the other side. I'm going to add a little line down here. This is the back side of the Eiffel Tower, and similarly, I'm going to show a bit of an arch here. This is behind. So you could make that paylor will probably, um, shaded or painted a little lighter when we do that. But that's the backside, and you can see through to this one as well. So that just helps it look a little more three dimensional by showing these other bars coming through like this and try and think of what other details you might give a little bit of interest affair to that might emphasize this angle and add some crossbars up here. I'm just letting them kind of melt together. E I want to make this one little area more solid. All right, there you have a pretty simplified version of the Eiffel Tower, complete with some of the part components showing through from the back side of it. And I'm gonna add some clouds that expand beyond the frame for fun. Emphasize that looking up at the sky at this tower. I'm going to start with pretty dark green for our tree line, and that's just because it's sort of silhouetted against the sky. It's going to be tucked behind the coffee shop here cafe when in Paris it's only called Get your terminology right? You can see have already altered the color just a little bit. Added some extra yellow. You get out of touch of brown, always a very your Hughes there. We have some uneven foliage here, didn't nitpick over, just dropped it in, and I'm going to do the sky with a bigger brush. I just did the tree With the six boom, you could use a larger a round brush or even a wash brush before the sky. This is, ah, Filbert shape, but, um, wash brush would be a flat, and it would work well as well. I'm getting pink on my brush, not blue. You might notice. And that's because I love this sunset. Look, I am painting the bottom of the clouds. A very pale pink. I'm going to drag this one out a little farther even than the top cloud. And while it's still but what I'm going to add in a tiny bit of purple just along the bottom of the pink Just dropping it in there and letting it bleed up Going right through here. I forgot to go right through. Just go right through the Eiffel Tower. There it is. Okay. To get crazy, you don't have to keep things realistic. It's OK to, um, have fun with your color. So I'm going to be a bit bolder with my purple here and maybe drop a few brighter hits of pink in here for fun. Gonna let that dry a little bit before I go in with some blue sky cleaning off a little area of my palette because you don't want a dirty blue for sky will end up looking It'll frustrate you probably frustrates me some colors I don't mind leading at all but I like a clear blue sky not around buddy Sky again painting right through the Eiffel Tower and touching the blue to the wet cloud here and there for a little bit of lead because we might as well have a little bit of fun here. Reminds will be a little bit adventurous. I'm not going to touch the top of the cloud. I was gonna touch the bottom sort of gave up on my border altogether here. I didn't really mean to do that. I wanted the clouds to extend a little bit beyond its OK for this guy to do that a little here, too. I might as well might as well have the tree come out a little bit as well Look a little less weird. All right, we're going to start with the actual tower itself and work my way down. Remember what I said about correcting your drawing? If there's some awkward lines here, you could always try to tidy them up a little bit. The lines that are going to stand out are the pen ones, not the pencil ones. So now is your chance to commit. We've taken some liberties with some of the details on this tower, and I think that's perfectly fine. We're trying to simplify it, often in drawing. We need to simplify. We need to distill what we're seeing. Otherwise it it's just not possible to capture all those details. Unless we're sitting at home with hours ahead of us detailed photographs to work from then you can get into that kind of detail. But I say, Why not just take a picture? Drawings are supposed to be our sort of vision of life. So let them be that with, um, have those, um, modifications of simplifications and such. We're gonna do that here. I can't even really see that gap over here. I worked my exes up this side down here. You can see that the one row of excess just sort of took over at the top. Here has to happen. At some point. There has to be a converging of thes beans rather than taking both rose all the way up to the top in getting those X's tinier and tinier and tinier, that's not really doable. Now remember, we can see through to the other areas, so you may get a couple cross beams going on the bottom here. And the detail of this structure actually has, um ah, bunch of little lines kind of going out like this. You blow that up for you. So the arch, if you were drawing a closer version this arch underneath actually has this kind of action happening. We don't have space for that kind of detail here, but, um, just giving you the idea that you can add that detail. And if your version of the Eiffel Tower's bigger going to extend this part out beyond the main frame here and you know the same down here just has been a bit of an overhang happening. And the other side, this is the back side we can see through it. I'm going to add just some loose line work happening and under their it complicates things you could just do that just shaded in. I don't want to complicate the drawing, make that his darker shaded in a bit. I'm going to add same thing up here, and then don't forget, you're very loose tree line. I'm making mine. Really, Jaggi. And you could switch to a lighter pen, the gray one, Maybe to outline, I'm gonna just stick with the bold one black and I'm going Teoh loosely say, Hey, here's my frame. We're gonna bring this tree out here and let it come out of the frame and let the cat clouds kind of intersect a frame, my pens skipping a little bit there. I don't like when that happens, just ink drawing a little bit in the nip there. All right, so we have this little ink drawing on top of our watercolor that doesn't have a frame. The image itself kind of creates the outline and the base. This watercolors just left to kind of create a little bass and have it float there. I'm not outlining it or anything, and then this section has a much more definitive frame. But the drawing itself is kind of coming out of the frame, which is a nice look 13. Paris Vacation: Window View Part 1: let's draw the view from the hotel that we may be staying at. So we're gonna start with a simple tall rectangle. Now that I've established sort of the size of that, I'm zooming in a little bit more to give you as close of you as possible. Ah, you want your windows open? So let's angle the's windows towards us. And we do that simply by this lines parallel to this one simply by pulling the angle out like that and the slyness parallel to that one as well. So there we have the look of an open window you can add. Give it a little frame. I'm not sure how many windows you've drawn, but my the easiest one to draw a window or a frame. The easiest thing to do is pull a line out from the corner, and then that forms a nice, murdered edge. They're nice connection. So that's all I'm doing here is pulling these lines out from the corner and running a line parallel to the outside of the window from the corner from the corner parallel to this angle. So it may look like it's complicated perspective, but we're just doing a quick, quick and dirty version. Now, 1/3 of the way up, we're going to have the top of our beautiful railing. So lay that in there. Take a center point. And from here, we're gonna have these beautiful wavelike shapes coming out of that smiley. Tricky. But if you just start lightly, you'll get the hang of it. Basically, the front curve goes all the way up to the top, and then the back one rests in the middle to make room for the next one That goes all the way. It about top back one rests in the middle all the way at the top, back when rest in the middle. So just do that and then do the opposite side. This is a brain trick is switching on and sort of mirroring something. I believe I have done it incorrectly. Talking and drawing is a challenge for me. All right. Ah, we want to go this way. There we go. That is a good exercise for the mind coming up halfway between these two bars and then a big wave halfway between these two bars and a big wave. So it's not perfect. You can tweak it a little bit if you want, but it's just meant to be sort of quirky. And once you add in all the other details to this, um, railing while words, once we add all the other details to this railing, it will come together. Promise. So again, from the center point, you're gonna make sort of a little leaf shape splay out on either sides, think of like a corn calm, and then I'm just going to do a little zigzag down, and that's a very quick way to make. Basically, the shape that's in the picture I'm looking at has all these little, um shapes. And I'm just making it with a line. Basically, I'm going to draw a bar coming out here in a bar coming out here. They're sort of equal distance from the top and bottom of the railing. This is the bottom of the railing here, and I'm looking up here to where the bottom of these waves are, and I'm coming down with a big oval. Now, the this is a kind of hard shape to make its resting directly on the bottom. You could put a little something there if you want, and right here. From this next low point in this next wave, I'm going to come down with another one of the's corncob shapes. It's okay for your lines to cross over this a little. That's sort of where they're welded together. Come in all the way down to the bottom, drawing over here From this low point, I'm kind squishing it over cause I'm not kind of running out of room for my over here Big oval attached like So let's do the other side now. I think this shape right here is a beautiful one. I want a railing with that shape so not perfectly centered. The oval over here, you're just going to see a little bit of it, and that's okay. Here we have a little railing action and let's pop in a tree. So start sort of middle of the window here and make on uneven sort of, uh, tree shaped foliage. So uneven is the key. I'm really just kind of making a funky shape there, and you can redo it as many times as you want. You could be very, very light and just, you know, define it with paint in a moment. Then I want the top of the building on the other side of the street to come down in a very slight angle, and that will just sort of suggests in perspective. So it's not perfectly in line with the window, and the tops of these buildings have every manner of chimneys, so you can just add a whole bunch of chimneys wherever you want. It's fun. Heaven add Lhasa, Jimmy's. It's a chimney party. Okay, then this is the edge of the roof where the roof changes angle and this is still the roof right here. It's a very interesting architecture where the roof is coming out and then down. Um, that's not a line you need to drop. So this is all the roof and below that is the next sort of the next story, and below that the next. And I'm not going to really draw that one in yet, So from here you can make some evenly ish, spaced windows, thes air the tops of the windows. So I have done for, and I'm going to take some lines down at a slight angle from that. And these are basically a little little balconies that air sticking out. So this these lines right here, I'm drawing the window frames and they're going straight up and down. They're not matching the angle of the roof there. So these air coming straight down there are two there to panelled windows. And then we're going to just go cross like this and give them a little railing. You could add more bars there if you wanted to. Um later, when we're painting it, you could add pops of color there as if there are a little window window boxes for plants. So then you can draw a bigger. Maybe I'll leave another little line here, and that just is the sort of the gutter there. And I'm going to give this whole second floor. I'm not halfway up there. I'm just sort of close to the bottom here, and I'm going to give that whole story a long joined balcony and below each four of these windows, I'm going to draw two more panelled windows, and these ones are just straight up and down not being too specific. Same thing below that maybe make it given the other lip there a lot of just rectangles upon rectangles, and we can probably see the edge of another balcony here. So there we have just a really quick window seen. I'm going to add one more detail and that is this line down here and a little edge up here . And this is just the edge of the window frame here. So we have our view with very typical French architecture ready to paint. I want to also draw your attention to annoy alternative for this component of the railing. I I found it slightly difficult, but I But mainly I just don't know if I love the the wave shape. So another option is to just do these s curves that face each other, and you just sort of pair them off and you might prefer that look to this one. 14. Paris Vacation: Window View Part 2: So we're going to paint this Parisian or French window view. I've got my size eight around, and I'm going to start with the lighter things in the background and then add the more darker elements, like the tree afterwards. So I've just mixed a bit of, ah, pale blue grey for the roof over here. I'm going to avoid those little window wells from its very pale. It's just meant to not take too much attention, just sort of recede into the background. I'm going to make the line right here, the sort of the gutter a little bit darker. And it is bleeding up into the rest, which is fine. Mixing a pale yellow really pale. We're talking tons of water, tiny bit of pigment. Remember, you can swatch along the side if you hate that. Just keep a little piece of paper next to you. Um, that you contest the colors before you lay it down. Course you can be bold and just test him while you paint and have a paper towel, uh, kitchen towel close at hand in case you want a lift. Anything off? There's the risk from painting that next to that that this will bleed together, but I'm kind of leaving a little bit of a line, and it also really wouldn't. I really wouldn't mind if they did mix. Just enjoying some of that watercolor effect, having a little less control, adding a bit of brown to my yellow for the next layer. And these aren't necessarily different colors. It's just like on the house. It's just just doing it for fun. I've pulled that color right down to the base of the window, and I'm going to mix a nice light green for this tree in the foreground. Oops, I'm going to take a bit of a darker mix of green and drop it in here and there and letting it just bloom and spread into the rest of the light tree. It's looking a bit too yellow wheat for my taste. It looks kind of autonomy. That's a word auto me and I might even darken it just a little bit with some blue over here just to create some variety. I'm switching from my eight to my four. I'm mixing a bit of ah clay color here for these little chimneys. Little orangish red chimneys dropping, not in there. I'm going to grab some of the green. And I wanted to be paler than the tree. Just so it sits back farther and I'm gonna dab it in here, sort of to make it look like there are these window boxes of plants and I'm going to add some color to those window boxes. How about some pink and maybe some yellow just gives it some interest. I'm not worrying about the railings. I'm not going to do any of the detail of the wire were of wire, sort of cast iron or anything like that in paint. I'm just going to do that pen later. Uh, we do kind of want to create a silhouetted effect so you might mix a darker color for the interior of the room. And I don't actually want to paint the, um, the walls of the room or anything. I'm just going to use this for the frame and I'll do the bottom the same. Then I will make this mix a little paler and paint in the rest of the window frame. More light is hitting its That's why making a paler and I don't know if you saw that it's but I used my pinky as stability on this paper here as I'm dragging it down. And it just helped me create, you know, a slightly straighter line, I say slightly because it is still nice and wonky, and that's fine by me. But this is a trick when you're working on oil paintings or big acrylic paintings, and you wanted to do some fine detail. Sometimes you would use a long stick much longer than this, and you would set it on the side of the canvas so that you weren't messing with the paint. And that provides a little edge for you to rest your hand on and helps you create finer details without, you know, having to touch your hand to the actual painting and also to touch it to the painting. Or, um, we're just go without stabilizing and creating sort of a shaky line, because even even the you know most still of hands still has a tremor with small details. So that's just a little trick. So you could be doing that here. You could use a ruler, maybe, and set it on side. This isn't super super strong, but does the trick That's if you want to get really particular. You just need some help with, um, creating more study brushstrokes. So the pay list of all the lines in terms of the frame is right here on these two, and the ones on top and bottom can be a little darker. They're catching just slightly less light. I'm going to let that dry a little bit and come back in with a sky color and some reflections just before I go. I want a dark in that tree even more. This isn't quite the wet on wet that I was doing a second go dropping the color in this. The green has dried a little bit, so this is a bit of what on dry. And that just means I can get some more detail brush strokes in there, that it all just completely bleeding out. And it gives it a bit more texture clean, damp, fresh blending in some of the harsher areas. All right, now, by now, this area is dry enough that we can lay in a soft blue sky. Just got made brush here. I'm not being too specific with it. Didn't need to be really just to go around there that got some white bits in there. I think that's absolutely fine. I'm going to bring that blue sky color into the tops of the windows. At least this one. This one's reflecting more of what's outside that this one is darker. It's reflecting less, and we can just be sort of ambiguous with what it's reflecting. We can lay in a light blue you could dark in it and make it really dark and black totally up to you. I don't want this little area being really dark to take away from the nice contrast happening in other areas of the page. So I might just leave it like this, um, mixing a tiny bit of this gray color as if maybe over here it's reflecting a bit of the roof and then taking it into a cream would help. If I didn't Ah, change this. If you have a bigger mixing area, you wouldn't have had. You wouldn't have to remix everything right now because we just mixed them for for that area. Maybe you could lay this, and at the same time, if you so desire, but based on the angles, I don't see any tree reflected in the window. I just see the building. So that's all I really need to do in terms of laying in the different colors really lightly . Um, if you so desire, you can take it into more detail, but it's not necessary. Let's get some pen into this painting. 15. Paris Vacation: Window View Part 3: all right. We have a window with the Parisian view here, and I'm going Teoh, start at the top Here, work my way down. If I started down here, I just risk smudging the drawing with my own hand here. Now you could use a gray or different colored ink for this detail in the background here if you wanted to keep it. Ah, paler and sitting back instead of using a dark black, which is quite stark. That's one option. We lost this detail in the painting. This is the top of each window frame has this little detail here diagonal lines all the way down. And then her little balcony runs. They're not all the same. I am really not worried about this. I'm not gonna outline the flowers. I'm just gonna let them sit there like little blobs. I am going to draw in these little dark windowpanes. That's the most noticeable noticeable part of these buildings in this French architecture. I see it. Are these mere these matching sets of Tom windowpanes? And let's do that down below as well. Here's our balcony and our windows. French doors. They're not perfect. You see, I'm not really filling in the shading perfectly. I'm just kind of scribbling it in there, keeping a quick and lose I'm separating. The different stories with one or two lines toe suggest sort of the molding of the building there the structure, the overhang, the lips and the gutters. And I'm going to add the outline of this tree. No, and then I'm not going to bother with any interior detail of this tree. I think that will detract from the the railing itself. So here's the top of my railing. I'm trying to make it parallel to the bottom of the window instead of on an angle like the houses. It's not ideal that I did this detail back here. I could have just ignored the Slayer right here of that building. Um, so that the railing would, you know, become more of, ah, focal point. But I think I don't think it matters. Once we add in Thea actual railing, I think it'll it'll settle back there behind it just fine. I'm having a hard time seeing the pencil, um, of the original drawing under here. You might go over it if you need. If you're not feeling confident with this railing. That's an option for you. My brain always has a hard time reversing these shapes. I'm trying to mirror it. Barely succeeded at that. Oh, my goodness. You would take my own advice, Grab a pencil, hurting my brain. All right, here's the center. - It's not perfect. I'm okay with that. All right, there we have our little window scene drawing in those corners, - and I'm going to switch to my great pen migrating to draw the reflection happening here. It'll just make it slightly less intense. - I could draw another story in there, but what I see is theory reflection of this railing when I'm drawing all these things. Noticed that the angle, rather than leaning down, is leaning up so that it's it's showing that this pain of glasses, you know, the angle is it's changing. We're not gonna bother with any windows up there and then down here was gonna shade that in . All right, I'm satisfied with this little, uh, drawing right here. 16. Paris Vacation: Coffee and Croissant Part 1: All right, so I'm going to start low on the page. Otherwise, this table that I want to draw later will end up taking up too much space on Dwight. Overlap other parts, which could be a good effect. But, um, I just want to keep mine low here, and I'm starting with this ellipse, and I'm the coffee inside is basically just parallel to this line. So occurs in the same way you just see a top of the top of it. They're coming straight down on the sides of this mug. It's a very short, cute little French mug and curving to the bottom, which is semi flat. We're going to have they handle off to the side. It starts out thick, and then it gets thin. That's the edge. And underneath is the inside of that handle. Then, for the question, I would suggest maybe starting right here at the top, you could have an overlap a little bit. Doesn't matter. He could have just beside it. And so I'm starting with this main Ah, the largest portion, largest section of the crescent. And it basically just you could make this little arch. You could just keep it flat. Um, but I'm going to have 12345 sections to this. So here are my little bumps. And in between, we have kind of a lighter just the way the ah, the pastries folded. So there's going to be a value change in these little creases here. Then you're going to want this is slightly trickier just to get the circle of the plate right. But you can just do it lightly. You've seen me do it before. Um, just getting ellipse ellipses right is take some light handiwork. So add the plate behind and you can even add the little rim of the plate in here if you feel so inclined. So the next thing is the same as this plate. Basically, you're going to want to show the whole spread so that you can try to make this arch as smooth as possible. And I just started from behind the mug. I didn't want this line to be way up here. I love the overlap effect. It just really emphasizes the sort of the space. And it creates more space when you have things that overlap other things. So hopefully that's enough to just get you going on this. If you choose Teoh, go that route, it is finally time to paint 17. Paris Vacation: Coffee and Croissant Part 2: the lightest of lights on. Going to kind of makes this same roof color over here. This really pale blue. Um, it has a bit of gray in it from doing those windows, which is fine, just a neutral. It could be a cream color, too, and I'm going to paint this white Cup going to pay the shadows on the White Cup. So that's the places where there is less light hitting like that curve underneath the handle. I'm leaving kind of a white gap at the top of this mug from trying to anyway you do, and I'm even going to paint the inside here not right up to the top, but just next to the coffee. I'm leaving that white lip of the mug. This is a lighter mix that I'm laying in next to this slightly darker mixed. We're talking super subtleties here, so not a huge, huge deal. If there's a slightly darker or lighter and mixing something slightly darker for the base here and the inside of this ledge at the plate here, stabbing a little of the paint out from the middle and just letting the shadow collect around the outsides more sometimes you just drop your fresh In which case, just dab it with that paper towel you have ready weighing in that pale blue shadow all around this plate on leaving the coffee and the course Sants Quite for now. Next, I will mix the paler, uh, or knee brown, paler yellow for the Cristante. And I see the paler Hughes kind of in the creases, maybe, but on the top here, around the bottom Here, basically the tops of all these big folds are what got more toasted. So let's bring in some brown into this and maybe even a little bit of orange to create a redder, brighter color. Then just adding brown. Kind of just mixing that brown making a bit more complex. It is bleeding into the yellow we just laid down. And I don't mind that effect. If you want to keep yours crisper, just let it dry a little bit between a little bit more between players. I'm gonna have a deeper shadow below this side of the crescent. It's up to you. How intense to make that. And I'm taking that same orangy dark brown and I'm painting the edge of the top of this coffee looks a tiny bit lighter, where it touches the glass and mixing a much darker brown toe look like maybe black coffee , adding in a darker brown to make it look like black coffee. You could make a much paler brown or cream color for a lot A or a cappuccino. Should you wish to do that? I did not leave a highlight on the coffee. Uhm, I'm going to hit this Parisians sketch with some pen afterwards, so I am going to bring in some more highlights that way, yet another layer just to intensify the color up here. All the lines and even the shading I'm making is following the contour of this Cristante. So it's has around top. So I'm slightly curving all these little marks and making it it just It just, um reinforces the shape helps that make helps make it look more three d dropping in a tiny bit of brown here and there for the most toasted parts. This is our full Paris spread, and I'd like to before you move on at a little bit of table color here, so up to you what you color you choose. It will help Thai in things depending. If you need a more read somewhere else, I'm just going to make mine a neutral. I don't want it to take away too much from the other elements in this. Ah, spread. Make sure you use lots of water when you're covering big areas like this Just so that, um, a nice wash develops instead of seeing each brushstroke. Don't forget the little but of table showing through your handle that you might have and you can darken it around the plate. Give it more shadow. Kind of went over the edge of my plate there a little bit very hot. 18. Paris Vacation: Coffee and Croissant Part 3: so the lip here touches the coffee on the bottom, but not on the top. And you could outline that coffee if you want to. You don't have to. I'm making my cross on outline. More wobbly, Supposed to look crusty. I had a couple of contour lines, but not at lining every single thing that Ah keeping it simple. Think I will. But why not? Circus of the coffee there. And there was one last line we need to dio and that is the edge of the table. Even it's sketchy. You can turn the book if you need Teoh. I just turned my hand here. You have your large two page spread of a Paris vacation. Lots of space in here to journal. You could do a little wash. You could add your, um, collage components, your title or your dates and small details. Perhaps down here, maybe what you're planning for the next day or your highlights. And I hope you have a lot of fun personalizing this. You can switch out some elements and do share with the class. I'm sure we're all very interested on your own take of your imaginary vacation and this is just another style with some framing happening. It's a little less fluid than this, but it's less crowded as well. This has three sort of components combined loosely on one page, leaving you lots of room to journal if you're OK going over top of some of your drone elements. Whereas this gives you journal space with very little overlap, there's no need to be writing on top of your drawings, so just two different styles for you. 19. Paris Vacation: Journaling: - and there you have it. We've got our Paris travel spread, and I reused Easton Soul on a gel pen. I used my stamp. I used some Jane Davenport, um, kind of stickers, just got stickers and washing tape sheets. They used the same brush marker that is a Penn Tell yes, a pen tell sign pen, and it's a great brush tip. I find it easier to journal with that, and right with that than almost any other brush marker I've tried, I glued in an actual bus ticket from Paris that I somehow managed to keep for 15 years. This is an actual black and white photograph from good old fashioned film that I still had , and I wrote a little memory down there. Here is Ah, marker today. Use their I used the Tom Bo Twin tones like a pastel blue. Always fun, always fun. And then I used some foil stickers and smother funky stickers from a planner sticker pack that I had, Um, I believe the happy planner was the brand, so there you have it 20. In Closing...: all right, we're done. A tropical vacation and a vacation to Paris, and now it's time for you to post your project or one little element of your project. Maybe you just like the beverage or you just like the landscape. Hopefully, you can take what you learn from this class and go on a ton of imaginary vacations from your own home and used the Internet books around the house or memorabilia from past trips to inspire and get these pages done. Please share any of your sketch sketching efforts in the project gallery, even if it's just one of the elements recover. You don't have to do the whole spread, but please share with us. We'd love to see it, and please also share with us any imaginary vacations you take somewhere else so you can inspire each other and keep the momentum going. Keep the inspiration flowing. Thank you so much for joining me. I hope you had a lot of fun. I hope you learned a lot and just got some practice and some inspiration for your sketchbooks and hopefully a little bit of an escape from reality and join me again soon in another skill chair class. Bye. For now, the