The Basics of Urban Sketching | Peter Jochems | Skillshare

The Basics of Urban Sketching

Peter Jochems, Artist, Vlogger, Teacher

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87 Lessons (13h 30m)
    • 1. 01 Introduction

    • 2. 03 materials

    • 3. 04 Sketching lightly

    • 4. 05 How to see simple shapes in things

    • 5. 06 How to measure proportions

    • 6. 07 Practice to measure proportions

    • 7. 08 Textures

    • 8. 09 Textures practice video 01

    • 9. 10 Textures practice video 02

    • 10. 11Textures practice video 03

    • 11. 12 One and two point perspective

    • 12. 13 One point perspective

    • 13. 14 Two point perspective

    • 14. 15 Practice video A scene in one point perspective Salerno

    • 15. 16 Practice video Sketching a scene using perspective Rome

    • 16. 17 Practice video Sketching a scene using perspective Rome Pantheon

    • 17. 18 Different approaches regarding the use of linear perspective

    • 18. 19 Several tips for drawing people

    • 19. 20 Drawing people practise video

    • 20. 21 How to create depth in a sketch

    • 21. 22 How to approach complex structures in a drawing

    • 22. 23 How to draw reflections in the water

    • 23. 24 How to use fine liner and watercolor

    • 24. 25 How to use watercolor

    • 25. 26 Composition

    • 26. 27 Light and Shadow in different circumstances

    • 27. 28 Some art history

    • 28. 29 Introduction to the demonstration videos

    • 29. 30 Antwerp Grote markt Demo Fine liner Beginning with detail

    • 30. 31 Antwerp Grote markt Demo Starting with larger outlines Graphite pencil

    • 31. 32 Antwerp Grote markt Demo Starting with larger outlines Fine liner

    • 32. 34 Antwerp Hendrick Conscienceplein Demo Graphite pencil

    • 33. 35 Antwerp Hendrick Conscienceplein Demo Fine liner

    • 34. 36 Antwerp Hendrick Conscienceplein Demo Watercolor

    • 35. 37 Breda Park Valkenberg Demo Fine liner

    • 36. 38 Breda Park Valkenberg Demo Watercolor

    • 37. 39 Delft Behind the Nieuwe Kerk Demo Fine liner

    • 38. 40 Delft Behind the Nieuwe Kerk Demo Watercolor

    • 39. 41 Delft Hooikade Demo Fine liner

    • 40. 42 Delft Hooikade Demo Watercolor

    • 41. 43 Delft Markt Demo Fine liner

    • 42. 44 Delft Markt Demo Watercolor

    • 43. 45 Delft Oostpoort3 Demo Fine liner

    • 44. 46 Delft Oostpoort3 Demo Watercolor

    • 45. 47 Delft Trompetstraat Demo Fine liner

    • 46. 48 Delft Trompetstraat Demo Watercolor

    • 47. 49 Delft View at the Oostpoort Demo Graphite pencil

    • 48. 50 Delft View at the Oostpoort Demo Fine liner

    • 49. 51 Delft View at the Oostpoort Demo Watercolor

    • 50. 52 Delft View of Delft from Zuideinde Demo Fine liner

    • 51. 53 Dordrecht Kuipershaven Demo Fine liner

    • 52. 54 Dordrecht Kuipershaven Demo Watercolor

    • 53. 55 Dordrecht Wijnstraat Demo Fine liner

    • 54. 56 Dordrecht Wijnstraat Demo Watercolor

    • 55. 57 Introduction to the immersive practise videos

    • 56. 58 Antwerp Ernest van Dijckkaai

    • 57. 59 Antwerp Ernest van Dijckkaai

    • 58. 60 Antwerp Grote markt

    • 59. 61 Antwerp Hendrick Conscienceplein

    • 60. 62 Antwerp Steenplein

    • 61. 76 Delft Oostpoort

    • 62. 77 Delft Trompetstraat

    • 63. 63 Antwerp Wapper

    • 64. 64 Antwerp Sint Katelijnevest

    • 65. 65 Breda Park Valkenberg

    • 66. 66 Delft Behind the Nieuwe Kerk

    • 67. 67 Delft Behind the Nieuwe Kerk

    • 68. 68 Delft Hooikade Zuideinde

    • 69. 69 Delft Hooikade

    • 70. 70 Delft Interior of the Oude Kerk

    • 71. 71 Delft Kerkstraat

    • 72. 72 Delft Markt

    • 73. 73 Delft Markt

    • 74. 74 Delft Markt

    • 75. 75 Delft Oostpoort

    • 76. 76 Delft Oostpoort

    • 77. 77 Delft Trompetstraat

    • 78. 78 Delft View of Delft from Zuideinde

    • 79. 79 Dordrecht Groothoofd

    • 80. 80 Dordrecht Groothoofdspoort

    • 81. 81 Dordrecht Hofstraat

    • 82. 82 Dordrecht Kuipershaven

    • 83. 83 Dordrecht Mattenkade

    • 84. 84 Dordrecht Statenplein

    • 85. 85 Dordrecht Wijnbrug

    • 86. 86 Dordrecht Wijnstraat

    • 87. 87 Challenge

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About This Class

Urban Sketching is a fun, and enriching experience. This class teaches you the basics of sketching, linear perspective, the use of watercolor. It is designed to give you an immersive experience so you can practise and experience the thrill of urban sketching from the comfort of your home.


1. 01 Introduction: Hello. Welcome. My name is Speed for ya. Comes on and I'm an artist and this is a glass about urban sketching, and I will show you a little bit of my work. So you get an idea of who I am, What kind off drawing something. Things that I make. What is urban sketching over sketching is that you sketch the world around you and off the times it's on location. It could be anywhere. This class is made up off, Let's say three different kind of videos I've made a number of tutorials to learn from. I made a number off demonstration video so you can watch me make a sketch. You can draw along if you want, and I made immersive practice videos. So you see, for example, a fixed camera at the spot in de Lift or Answer or Dole directs, and such a video is made from a loop. So every two minutes you see the same people walking by. So it's convenient. If you are working on a sketch that you can work on a certain figure also, and you can you can hear besides the sounds of it, they don't tell minutes long so you can take the time to draw. After that 2. 03 materials: These are the materials that I'm using in this glass, I use a lot of color. This is a very small set of water cars that you can conveniently take with you anywhere you go, and I will put the lists on the screen showing dese colors that I'm using. I use a brush with a water container. I find thes very convenience. You can just you can put water in here, and when you push water comes to the brush and you can make these things wets. You can use this. It's a sort of marker, almost, but we want a color, So I found this very handy. You can also use a regular brush. This was a rush. It's just included in this set, so you can use this to and with a glass of water or two glasses of water, one for mixing colors, mixing with the colors and one for cleaning your brush. But I found this very convenient, and when I want to clean this, Russia just put some water to the brush, and I used this little sponge here, too. Wipe it clean. It sends. It's very convenience. I use a mechanical pencil. I used is in this glass in these demonstrations videos, you don't have to sharpen its. They care that you have enough graphite in them. Otherwise you're on location and you're out off graphite and you don't want to have that situation. But fantasists these types off pencils, very convenience. I also like wooden pencil smuts for this class a tart. It's nice to use this, and this is a water resistant or waterproof fine. Linus, I you speak my Mick home 0.8 millimeters, I think, and it's a very nice, fine line of, I guess, the other brands, too. But it's important that you have a water resistant or waterproof fine lines. So when you put well, the color on top of that sketch late wrong, it doesn't against mixed up with the Walter Rants ruling shall drawing. So when you use cheaper fine line off, it can happen that when you add water to call it to it, that's the lines off the fine line dissolving. Let's talk about paper that I'm using amusing 200 grams per square meter paper that's heavy relatively. Having paper on this was the package console mournful 200 grams, and I think it's important to have paper get. It's not to 10 because when you half mates sketch and fire liner and you add while the color and it is very 10 paper than it will the form quite a bit. If it's to 10 I must say you can. You can use any material to go urban sketching. You don't have to use this approach. I used the's because most urban sketching sketches that you see are typical with fine line and what a cardinal using a black fine liner creates immediately. A strong, graphic image graphical image and which some color on top of that it's It gives the Nash result easily, but as I said, you can use anything Pencil all paints one after butts for the sake off consistency. I used these materials 3. 04 Sketching lightly: When you make a sketch, try using a light touch in your drawing, so instead off using the's kind off declines. Try to approach it in such a way. So instead off putting much pressure on it and try to make that one line, uh, try to define a line with four or five lighter lines. So I am sketching out this. This lights and here I have this area and you see how lights my touches. And the point is that's while you are constantly, uh, adding the's light lines to what you are drawing. You can adjust certain directions off what you're drawing. You can correct certain things. So instead of trying to do that this way and just try to approach it in a febrile lights way, let's see we have this. So we're here. So you see that in a very light way, I can get the forms on the paper, and at a certain point I can accentuate domain direction off what I'm drawing. So I have several lines here than I can put some accentuated line snare, and this way I can build up the sketch and I've used Ben Silk, but let me use something usually in urban sketching. He used a fine line of Lucky's. You can either try to trace thes lines, but you can also, when you start drawing with fine liner, you couldn't draw in the same way in a favorable light way Here. I made a little mistake here, but it doesn't matter. Just sketch further. Maybe not a mistake here. But hey, at the certain point when you make mistakes, those are not really mistakes, but interesting echoes off your lines. It really works that way. I find sometimes a driving which took some effort to get it right more interesting and more beautiful them a drawing which ah, which work more easily to put it that ways. I mean, this is the right direction, and this is a little bit too much to the right. But I actually liked I like this you. So it's not wrong to not have it correct. The first you know, first in the first attempts. Well, so there you see, in a very sketchy way, that's light also appears on the paper here I have a photograph off a cats. I took this in Italy in Florence and this'll practice is to practice sketching with a light touch. So just we're going to sketch these cats, and I could see that the basic shapes off this kept our round. So I am sketching the head off the cats that zoom in a little bit, hands its use, and you see that every line that I put on the paper I puts on the paper treat times or so and just take a time to follow my actions So you can, For example, you can go back in the video if you need to see it again. Or you can click boss to catch shop. If if it takes some time and sometimes you see me do a little bit of this, it's almost a sort of hatching, but it's also sort off mimicking the texture off the for. So I automatically do that. But you can just draw these sketchy lines and you see that I have a very light that shone do nuts really accentuate YYeTs. I want to have this shapes properly on the paper, and this is really a practice, too, to practice the basic shapes. And now now I have to see where that rest should I put this This ball, this is like this part off the off the animal. So I'm looking at a source photograph and I'm looking at Did you know? Yeah. Cano it's more or less there. That's a shadow. Here. You can indicate a shadow, too. And now that I have Oh, wait, I want to do this for some reason. Without this, I thought this was not really recognizable as a cat. I thought, Am I making if every best sketch or what is this? But now that I've drawn this, a seat that did this makes more sense. It gets more context, and it looks more like a cat for some reason. So I have this family light sketch, and this was what the This part of the tutorial is about so and I could go arm and ATS Accentuation is that would be the next step. Harrison knows exactly it's not a very clear photograph, but I thought it was a nice one too. Start. And maybe I chose to deliberately to have a little bit off a fake photographs so you can, um, more easily concentrate on the largest shapes off this cats. So there you go. I can sketch a little bit off this what he is sitting on and I'm looking at this diagonal. So I'm really looking at What is this? So I end up here. What? You see the light touch that I'm using and just try to copy the steps that I take and try to make this deep peace kind off lights, sketchy lines sent. You put three or four lines on the paper and the average line this morning. That's what you're looking for. And you can accentuate that. So here I can put some accentuation. Hence the cat is being more clearly defines and the accentuation make it a little more accurate as well. You can see it's a more You could see more clearly that it's cats, the more I accentuate here and there. So let's say go ahead and do this yourself. So I would say Do this and tightest for yourself. Also, I took this photograph off a little burnt in Italy could be anywhere, and it's also a practice to she catch ferry lightly. So the most important thing to me now for for this practice is that you just use for me lights sketchy lines and, uh, that you try to practice these kind off lines Very if every light. And here you see 123456 lines. And somewhere, one of thesis excellence is might be the correct one. But there's sort off average, you know, do you? The line, which is sort of average line off this which is richest a one. So you use more lines to get a sense of the direction that you want a land to have placements. And so this is not about much detail, but it's just a fairy. Very little exercise to get those lines fabulously. If every lights and then you have this this basement here it was a front off the church. I believe that something court church in Florence. So there you have the outlines off this little birds, and I mean, you can draw back situations, but I don't want to go too far with this. The idea was to to practice these kind off lights lines. So, um, you can follow the steps in this video. Just click bass or, uh, play it again and just follow the steps and try to look at this photo. Look at this photograph and throughout its little bird for yourself. 4. 05 How to see simple shapes in things: when you sketch, you can try to see simple, more or less geometric shapes and the things that you see it helps to get a grip on what you are driving and to bring what you do to the essence off it. Here we see it gets, and I took this photograph in Italy once, but it could have been taken anywhere. It's a cat's a beautiful cat, but you can see this as a za number off circles to get to the essence off what you're actually drawing. It can help to to look at a certain motif like this cats and to see well, what are the basic shapes that this is build up from When you look at these two towers, some cylinders and triangular shapes can bring you to the essence off this building and some circular shapes for the for the trees around it. And here's the Duomo in Florence. I took this from Piazza Michelangelo, and you can see some simple shapes in it. And what I'm not suggesting. I'm not suggesting that you actually draw a number off circles or cylinders and delineate these together like this with what you're drawing that would give sort of cartoonish effects. It's more like a mental exercise to approach, drawing in an easier way. So when you look at a certain motif certain something that you want to draw, try to look at the main shapes and forms and when you are drawing carefully but you are sketching, it helps to have that mental exercise in the back off your hats as a sort of road map, I would almost say. 5. 06 How to measure proportions: when you want to draw this scene and you look at thes towers, I mean, you have this, I would first drop this baseline, so to speak, on the other side of the water. Then I would start with this here and then I would look at the diagonal, this here to determine how white this should be. And then I would draw this tower here. So let's do that. So first I draw the line, the other side of the water. Then I draw the right side off the tower on the rights, and then I look at let me show. That's when you look at this. You can do this and you can do this. Did you see that? I copied so to speak, angle off the diagonal and then I can draw the other tower. Do you did it on the left side and then I can look. It's the source for the graph and see well, there's a little bit of space between those towers. Then you have this particular shape, and then you can draw this more or less. But you see how I determines how white this should be. And now I need to determine how high dese that was. So you can just look at this picture and see that the east hours Let's make this a little bit larger. These these shapes destroy angles. Shapes are a bit shorter from top to bottom, then, ah, dese this part of the building from top to bottom. So if I look at it from this toe here, this that's longer than from this to here, let's say tree quarters, such a triangle shaped like this is a tree quarters off this. So will I. Look at my drawing Here, let me zoom in a little bit. I can put adults here and here, and I got the feeling that's the time on the right is slightly lower. And maybe you can first drama really a triangle shape What I before you get this typical shape of this style we're here and then you have these towers sketched on your paper. So now I am looking at thes um trees here. I'm here and I see that this is a little wider than this building. So if I had to measure this, I think that it's this is small or less and they look at the base here one and 1/4 1.5 As white as this is so and I look here, I can I see that it comes to this height off the building tree on the left. So and then this is the wit off the building and 1.5. Then I have this ship here and on the other hands on the other side. There was this here and this 1.5, I think, in size, maybe a little more Even. So when I look at this one 1.5, then I come to here. And the height of this is small is here, so I can lightly sketch this So these trees are suggested here as well. And then I could have a little detail here. And, um, I wanted to show you how I measure this building and these trees. That was very beautiful bridge here. I'm not going to draw that because I will draw that in a separate video. But for this explanation, I just wanted to show you how a measure, um, the height off thes towers here measured compared to this building underneath east And how I determined with a diagonal, the wits off this building and also just measuring just looking. Is this justice white? It's this 1.5 times it's whites and this is even wider. Even so, I have let them and see being who I am, too, to draw more and to at this bridge butts. I would only make this video more complicated. And I will add another video. You could find it in which I used the same a source material, and I will make a more complete throwing. But for now, this is enough Ah, to no deaths. This is done in such a way using diagonals and using measuring things, just looking at how why things are compared to each other. 6. 07 Practice to measure proportions: that's practice Getting the proportions rights. So here I have a photograph off tree houses in Delft. So I just start. It's one in the middle. Let's say that this is no ground level, the underside of the houses and you can copy this and from this position from this situation, I want to draw the house in the middle. So how do I do that when I first do is high. Look at this diagonal. So I do this with my hands. Then I do this here. You don't need to draw this, but it's just to show you what my thinking processes. So I from here to here I drive this diagonal like I saw in the house. Then I can draw the other wall on the other side of the house and I have it. A mensch is off the house. The paper. Now I want to draw. Let's say the rectangle shape of the other house. But how high must just be on the paper. Where right rest Should I put this house on the line? So what I do again is I look at this diagonal and then I can do this. I don't know if you can hate a pigeon's outside of the house here while I'm recording this anyway, So now I have the height of the other house, the rectangle ish part of its. So now I need to see how why it is that house. It looks to me there's a bit wider than this house in the middle, but not much about the little bits. So I could look at this because this night I could do this diagonal that would be sufficient to, and I come at the same conclusion that is here, more illness. But I thought that's measuring on this house, and seeing that it was a little bit wider was enough, actually, and then I want to have the house on the left. So the house on the left it's really wider than the house in the middle. You find it's one of the halftime. So why the right thing? So I could look at this and this is more or less how white this houses one on the half come here and then I can improvise a little bit. And at some of these details, like these riches on those houses, of course, some things are important to measure because they Arsala framework for what you're doing and other things you can adds to that framework quite easily. So now I want to look at the roofs. And when I look at the roof off the house in the middle, it looks justus high as from thes from the underside. This window toe here. But I haven't drawn yet windows, but it's 12 I think if you divide this house in 2.5, you have more or less the height of this. So what I would suggest you to do now is first, um, when you aren't Charlyne along, make this drawing up until this stage so you can boss the video or you can go back and just drop it until this stage. And, uh, then I go further now with the roof. So I said, Well, 3.5, that's a bit want to. It's this small s, I think, and its urban sketching There has to be some spontaneity. So, um, maybe I am too riches, sometimes with measuring, but it's good to to to learn this quite well. Hence you can loosen up obits when you are actually on location, but it's good to be able to do this. And now I have to this roof have to look at this roof off the house on the left. This is a bit hired, and this one is larger. So if this was just a high as if this rule for this is high is this one who we until up until here, But it's higher. So pants for some context, I extends some line, Smuts that this drawing is especially about those houses in the middle. And now I would suggest that you, um, draw these roofs that you get by until this stage, but now I'm going to add some details. So I'm looking at these houses and I want to add detail and the sea debts didn't house in the middle. Is, um has this is divided here, and this half just also defied a bit above the middle. And here you have this division in this house. So you have these the's tree things at the ground level. They are a bit different from this, these parts. But I think people live here, and these are stores and so on. So yeah, and now It's just carefully looking at squares. And he was a chimney, which is very nice detail and look it where the chimney comes and the chimney is hired on this window, but not as high as the point of this roof. So let's put the chimney here, and I see that this house extends here. These walls. You have another house from a lot of street here. I'm not a chimney here. And then it's just looking at how high certain details are. So if I go too fast, just put the video at half speed. I just go back in the video to catch up and see this also perspective slide to this. I think the perspective vanishing point is here, more or less. I was standing while I made this photograph, so it should be here, actually. So when I look at thes lunch on the grounds, but the main focus is have to get the proportions right, so I'm not going to focus too much on perspective now. But now I want to add the's details off those windows, so there are two windows here, and it's sketch it it. It must be more or less accurate but not not to the extent that it's some sort of technical drawing. So you can be more free in certain air areas in certain respects than what I'm doing now. What? I think it's important to to learn this too carefully. Copy. I draw these houses and just look at difference heights off off off windows where they are placed, Um, compared to each other. And you see that I'm filling in now all kinds off details, kinds off windows. He was a little blue thing. The upside cafe. I should try that one. Here I am having a door, and the door is on the right side, off the middle here a window and let's see dis building here, it seems, have two doors and the window in the middle. And then here we have thes two windows. They are a bit above this rich. They have a shot off round shape on top of it, top off them. So now I have in essence drum. The group's off about this. Drawn the shapes off this of these three buildings and you see that I used, um, the diagonals and measuring. So to get the heights off the how like this this one is. He used his diagonal. Um, how like this one is? I used to I I used the method off Just looking. How, like this one is times 1.5, which you could see So you have to develop a sense off. Oh, this is one of the halftime step. This is two times deaths. And, um, I could make this drawing more complicated by adding this This lights I think it's nice in this case, 40 composition to add, for example, this this light here and I'm looking merit Exactly Waas So I can make this. I could look at this diagonal from here to here and a bit below the point off this roof there is this accentuation I can draw. It's two below. I'm I'm not 100% accurate, but it's a sketch. So it has some. As I said, it has to be some kind of freedom. Then I look at the symmetry off these arms off delights. Is that right? Word arms and I ads these lights here right or left. So if I were to make a sketch and I want this to be an interesting sketch. I think this light it would be a very interesting compositional elements. While it's not the most, um, important thing in the photograph, I would be very interested in using this elements in s composition. But I'm talking ahead of myself. Uh, this this exercise is about drawing these tree houses, using the methods off, measuring and getting the proportions for right that I just showed you. So just try it and tried again later. Um, because one needs to practice and good luck with 7. 08 Textures: When you look at this sketch, you see the green of the trees, the lines of the fine line and the brush trucks off about the color suggest that these volumes are trees. But I didn't exactly copy every leaf off those trees. I looked at the video, and I mixed some colors. And then I imitated more or less to soft texture that I see in the green leaves off the trees. You can call that a certain pattern or something like that when the brush makes certain movements on the paper. Based on what you see, you can translate the impression that these leaves make on your artistic eye into something that fewer off the sketch can enjoy and interpret as leaves. It's like a sort of shorthand. 8. 09 Textures practice video 01: way, Have an image off. They left ST with very nice atmosphere. And here we have sort of bush wits, plants, Some flowers here are bicycles were in Netherlands. Here is here are walls with stones. Little stones is also plants. Another going to draw the whole scene. But I just want to show you something about texture. So if I withdraw the bush on the left, I just suggestive shapes those forms and there are some longer parts off the plants in this direction. There are leaves you can see here. So I just adds this kind off, um, lines that are derived from the shapes off that off that bush off the leaves in the bush. So I look at those leaves and you see that these leaves are more or less in this direction , and then you have dese parts off the off the bush that are in that direction. So I tried to emulate a little bit the directions off thes parts off this off this bush and them. Let's see, we have these walls here on the outer sides. So I suppose you want to draw There is this window just a quick but you have this wall here and there are a number of stones and you want to suggest these stones, but you don't want to draw them all individually. I mean, you're not going to drop these stones like this. That would be very tedious and boring. But what you can do is look at the stones and try to at a little bit off texture from the directions from these stones, how they are placed. Sometimes you accentuate a certain shape. Here you have this bicycle off course, but instead off, um, drawing every stone individually. You just at this texture off stones and just take care that you have a combination off these let's say verticals, AC situations and horizontal accentuation is and these are resentful. Accentuation are in perspective. So they are obits diagonal here in this case. But so to make it a bit clearer, what I'm doing, I had a little bit of detail in this window, and then you have this plant that's another text year. As you can see, that's a nice combination off Dexter's. You can add a little bit off hatching to make it more interesting and to at some more realism. But what this figure is about this addict textures and trying to derive the kind off accentuation is that you put into your drawing from what you are seeing. So you're not literally drawing every stone because that's that's impossible. You could do that, but it would not be a nervous sketch, but very large project. But you can instead de Rafic situations. And from what you see, this is a bit too regular, I feel, but you get the idea in this on this. 9. 10 Textures practice video 02: you can draw along with me. This is a picture majors in Florence. Butts could be anywhere, and I just want to do some textures. So you have this grass, I think, in the back. So I want to draw that. I just use short. I don't zoom in a little bit. I'm just using shorts lines. And that's so dot says short lines, because these are plants. It's very short. Yeah, very short grass, I think. And then I looked at the front and I see leaves and they're not really going to draw every individual leaf. What's I look at these leaves and I try to mimic more or less the kind off, uh, lines that you see in them. So you see here the way this curved see how these shapes are more or less so I tried to look at this structure off leaves, and sometimes there's a branch. Also, you can draw a bet. Those are different lines, of course, but you can ads these lying such curve at the certain were insert away, and sometimes you can, and the more complete off those leaves a more complete leave. So when there is something in the front somewhere Very clearly defined. You can ads Kamarck complete one, but you can see that the kind off lines, the kind of texture that I'm drawing here. It's very different than what you see here, because the grass, all this plans here is different in texture and in shape. That this is so it creates a difference structure, different texture that you have here this wall and wants off stones, another going to draw each individual stone. But I have a tendency to to do this so you put depend on the paper, but you you don't draw a straight line. But you as as you move your hands, who let a touch your paper slightly f every now and then and try to at some vertical lines as well. So you have this suggestion of a wall, and very likely I ads thes lines, just touching the paper and in a sort of rhythm, but not that to regular and adding some for it to cool lines. So you get this wall here. I didn't really very accurately copied this, but it's more or less copied from this. You can see that's the Wallabies to dis texture um, this grassy plant Lee led to this texture, and this is also different. So I didn't add Shadow or Hutchings to make a doctor. Even there. I just wanted to show you the kinds off lines off which these Texas are build up wits. But they are made off and you can try it for yourself. Just look at the that the image on the right and try to do what I do. Just go back in the video and try it for yourself and try to develop sort off light touch in this sort off touching, in which you can change the kind off mark Sichel making on the paper. 10. 11Textures practice video 03: here. I have a sculpture in the Boboli Gardens in Florence, and I'm not really I'm not going to draw the sculpture, but you see these textures here, this stone. It's interesting to practice textures, a little bits. They have grass here and a tree. So I'm just going to draw areas here on the paper, not really dropping the whole sculpture butts. Let's just have this parts two spot here, and I'm not going to exactly copy every detail. But I'm going to look at this part of the sculpture, and I tried to feel, in a sense, what kind off lines there are. So none of these lines I will zoom in a little bit. None of these lines are exact copies off what you see in in the source photograph. At that point, it's just that I mimic, so to speak, the sort off lines that I see in there. So I get a sawed off texture that's resemble small or less the kind off, uh, Dexter that you see in in the source for the graph and ah, this culture. This figure is sitting on something which has another next year. So that's two. I try to you see all those these lines here in this part. So I'm not going to draw exactly those lines. I tried to get a feeling off what kindof lines that I see and some are more pronounced and some off every faint. So I just try to mimic the sort off line and draw some of those in my texture. But I'm not for this texture, ever have not looked at the exact lines. Sometimes you can add a little bit off a line of which you at from from the example. But in general, I just try to get a feeling off the kind of lines that they are in. The example ends at those without exactly copying any particular line. So let's go to this area here. Pence. Well, to a certain extent, you can draw a little bit off how that looks, so they're certain structure that you can copy. But then I try to add salt off next to which is sparkly, copied and partly, ah, sort off feeling how certain lines are in this texture. So it's a combination off copying hands, interpreting ends, trying to create texture that is a bit similar to deaths because, uh, especially when you're urban sketching, you cannot draw everything Totally. Exactly how it is like a photograph and in sketching anyway. I mean, that sparked off the creative process to, um, re worker to something. So here's this tree and there are a lot of spots on the tree and I just look at the tree and I'm just trying to get a feel for kind off texture that is on the tree. And I tried to derive from this tree what kind of lines? And I'm putting on the paper without exactly copying. So sometimes it seems certain spots the largest spot off dark green, and I can leave that open a bit. But all these all the small details. I'm not going to copy them one by one or so, but I'm going to try to get feeling off what kind of texture with this, I try to get that in my in my drawing so and let's see. And sometimes there is a detail that I can copy more or less groups. And when you ads, for example, I mean I have this next tune I'll and when you add more contexts, it gets more meaning. So while this looks a bit abstract, if I am a little bit off hatch ings to make it darker here and there, my fine liner is getting empty ends. I must say, Empty, Fine, narrow. I really like this aesthetic right away. That's anyway. But you see that when I'm adding hatch ings that it gets more realistically it bland Switz kind of texture that I created on the paper, which was derived from the tree and source photograph. And so, uh, this tree gets certain shape or form slowly, so I'm not going to draw all of this now. But I think I think you get the idea and I would recommend to chest, um, try to do this as well, go back in the video and try to make this texture off this texture. And, uh, maybe you can find similar for the refs or make. Or maybe when you are urban sketching, you see something like this, or you can take this experience to sketch out of things. But you get the idea how you derive textures from a certain detail and, uh, yeah, incorporate that you're dropping and expandable. That's 11. 12 One and two point perspective: sketch has one vanishing point on the horizon line. Then we call this one point perspective. This image of ST in Naples is an example off one point perspective in this photograph at the Vanishing point, the parallel lines convert. As you can see here, the red line is the horizon line. I held the camera at eye level. The vanishing point is at the height off the camera. Would I have had the camera lower vanishing point in the horizon. I would have been low, too, and the people walking would appear higher than the whole rise in line. You can see that the blue lines, which are parallel all comforts into the vanishing points on the horizon. Line two point perspective is when parallel lines along the length and width off a building on a piak converge at two separate points on the horizon. This is building in Florence. The red line is the horizon line. I helped camera at the height of my eyes so that people's hats are also at the height of the horizon line. But they are roughly the same height as I am. The lines along the sides off the building converted into points at the horizon. But you know these simple, basic rules of linear perspective, you can draw certain situations much easier. First, you determine the height off the horizon line, then you determine the vanishing point or points in case of two point perspective. Then you sketched the largest structures after she got feeling the rest. 12. 13 One point perspective: When you look at this image, you can see that all these lines converts in one point. Even these trees, too, have those lines, even this bus, if you are looking close to. So there's this one vanishing points in which all these lines converge and as she will walk into the distance, she will become smaller. Also according to this, these lines this finishing point. So this'll called one point perspective, you know? So here I have a piece of paper and let's say that I draw this horizontal line just online . This is the horizon. This is de vanishing point. The vanishing point is at the height, off the eye off, the fewer so anything ATS uh, the height of my eyes is at this lines where I am 1 80 81 82 centimeters, 182 centimeters. So if I'm walking on a basement, anyone walking on the same basements Ah, their eyes are at the same hides Estes vanishing points. So let's say I'm standing in the middle of roads. This is a very classical example, but my nuts. And so let's both that this is the wrote ants. Let's suppose that there's a tree standing here Dance. Here are the leaves off the tree. And let's suppose I want to draw a similar tree with the exact same height off the trunk and leaves. So what I can do is I can draw this line from here to here, and I can draw this line from here Tohir to the vanishing points. So and here I I had drawn the position off the second tree. So what I can do is this is the heights off this trunk because it's on this line and the height off the leafs because I want to have an exact same three is here. So because I drew this line from the height off this tree to vanishing points and at this this position I draw a line from here because this is the position of the tree straight up to here. So I know that's the tree has this heights. This was the height of the trunk. So I get the same kind of tree here. Now, if I would like to draw the same tree a territory here and I want the space between the second tree, this is the 1st 3 second tree I want to have a tourist tree here. So let's draw this line from these low side off the struck's. So I need to get the position off the territory between the vanishing points and the second tree. And I want, let's say, the distance between the second and the territory to be the same as this is between the first and second tree. But there is this perspective effects. Everything gets smaller and closer for the fewer. So what do I do again? Draw a diagonal from this point to this point and then under the same angle, I draw the same kind of diagonal from this point toe this line and this is a position off the tours tree. And again I can say here is toe height off the trunk. I look at this line. I wasn't really careful, but I should take this line. This is the height off the tree, so let's draw this sturdy tree. So there you go, the territory hydro here. And if I want to have a four tree, I can do the same the height of the trunk, the height of the tree, and then you can go, uh, until the end off off what you can actually drawing at such small place. So there you have. It's supposed, uh let's let's do the same. Suppose here is a ball and I want to have this ball at this position. I can draw this. I just repeats, actually, what I did here, but so you have a better idea of what I'm doing? I tried to get straight lights, but since we're urban sketching, I tried to do everything free hands. If I would do, of course, drawing in general, maybe I would take a ruler. But it's also important to be able to do this free hands. It's the same, uh, idea. So I want to have the second ball at this position. So I draw this vertical line. So this is the lo site. This the the higher side. So this is seconds ball. Now. I want the Turk ball at the same distance, just like these trees. So I draw a line from here from the height of this ball to the low side of this wall. Do the same and it's actually a horizontal line in this case. But that's just because of the position off these balls. So here I have determined the position off the church ball because I draw this diagonal to get this is between the second and the turd ball, the same as a distance off, you know, between the first and the second ball. So here I have determines. That's by using the same angle from this to here, from the higher side of this ball to the lower side of the turd ball. This should be the position off the Turk ball. I draw vertical line here, and I determine on this line that they should be to hire side of the ball and I want control it so And if I want to have 1/4 1 I can't repeat this. So now you see these balls on these trees. I can even make fifth tree. So there you go get small, lest away that you draw that sense. And again, this is all free hands. So if you take a rule, you could make us a little more consistent and so arm. But there has to be some room for FREEHAND approach for some deviation from that. But there you go. One point perspective 13. 14 Two point perspective: I made this photograph in answer and what's really lovely square. And when you look at this part of the building, you can see that all these lines converge in the points somewhere here and the lines on the on the streets, on the pavements which are parallel to this part of the building. They are actually also converging in the same points and deuce lines are converging also in one point. So and here you have also lines on the pavements and they will also end up at the same points on the horizon line. So if you draw a horizon line ants. Let's say there's a building here and you have a vanishing point here and the vanishing point here. You can draw lines from here here, and you can draw lines here. So from this corner off a building, I drew lines to these two vanishing points. And then let's say I dropped a lot in here. Can I draw a line here? Then I have placed this building in space in this space, and if I add more detail, I can use these vanishing points. So if I would use this part of the building as an example to draw from. I can used these vanishing points who structure this drawing a little bit. And with all these lines, I can work with vanishing points. Did the two vanishing points. If I want to have the middle off this building, let's say I want to draw that Ah parabolic ship or semi circle ship in the middle. What's the right name for it Then? I quit. Do this so I If I draw too, I can do it. I assure it on this side, too. If I drop to diagonals here right across each other, that's the middle, because I cannot just take the middle from this because that would be different. Um, not much in this case, but it would be different. And if I want to have the same heights as this here but on this sides, I can draw this line from the vanishing point to the upper side of this circular shape. And here I can draw. I marked this point at Ah, this this line here, that's to score on the line and then I can draw this line to this vanishing points. Hence I make a vertical line from the middle, so I I can mark this light From what I did, I I drew a line from the vanishing points to this line here the school on the line And it was on top off this semi circular thing here. So I have disposition. Now I draw a line from this position to the vanishing point here, I determined that's the middle off. This line is when I draw vertical line from where they intersect thes two diagonals up to here and then I can draw this a swell pants. I'm not saying that you shoots, constructs everything that you do in urban sketch in the same way because it would be endlessly drawing perspective lines. But it can help you too, to get certain things right to get two main shapes, right? So in my videos, in which I demonstrate how will make sketches, you can see how I use for ah perspective to gets the main ships right. But now I see I want to at that sculpture Kant's let's see if I can at some detail and when I look at the photograph, there is, sir, bigger line. But the point is, I through this vanishing point much closer to the part of the building that I'm drawing them. It was on the photograph that I took us an example, but I just wanted to have a quick example. So, um, I just wanted to show you how two point perspective works. So you have now an idea how a certain building can be put into perspective. And I'm just sketching a bit extra now to make it look more like building that I work now. But I think you can get the I d off this how I make this into two point perspective. 14. 15 Practice video A scene in one point perspective Salerno: thing is an example gets in simple way, a sort of perspective. Construction of a scene. So here I have a photograph off. Solano wants there. Um, I took the train from Naples and I actually ended up by accident inside ahead. Oh, but it was a beautiful place and I took this picture. So first I'm going to draw the horizon line. This is the horizon line, and this is actually at the height of my own ice. I was standing, and you can see that the people on the photograph, their hats are it's more or less the same height, and that's because they are at the height of the camera. And, um, they are at the height of the horizon line. So ants Let's say that here is the vanishing points and then you have this fence on the water. So and here you have a part that's a sort off roads, another, but something with green here not really apart. And then there's some sort off part. And here you have the streets and there are some people walking here and there. Hats are at the height of the horizon line. So if I had made this photograph I was sitting down, for example, on that fence or something. Then those hats would be hired on the horizon line because the camera would be lowered and their hats. The camera. Let's say it's at the height of the horizon line here in the water. It's also sort of rich off stones. That's throughout those bits. And here are some hills or mountains, so it's relatively simple. Means you can get the basic structure on the paper off this scene. So and this is very, let's say, straight forwards one point perspective scenes. So it's a nice practice, too. Drop this photograph so you can turn back video and follow step by. Step with ideas. Draw the horizon line. Draw this line off This Rich brought this about here. You can ads, trees and so on. That was a nice Spahn tree. Here he was. Well, so this is a very basic example. Not too complicated to practice 15. 16 Practice video Sketching a scene using perspective Rome: here. I have a picture of a scene in the middle of Rome Sounds. I was standing at this pavements here on side of roads, and so I was standing here and I conceded, because all these lines are going to this point here. And another indication off where the horizon line should be is the height of their hats. Because I was standing and, um, I am 1 80 180 82 centimeters. So I'm not I'm not extremely long or something or short. So these people are more or less at the same height as I am with some differences spots. I can say that the horizon Linus at the height off their hats. And when I look at these lights, they all converge around here. But so let's put the horizon line here. And then this is the pavements. And somewhere here are these buildings. And then there are more lines from this coming to the pavement. Come, come conversion from the pavement in this point, the other side of the roads. And then these buildings control here. And then let's see, I look at this diagonal from the other side of from from the right side of the roads on the side of the buildings to do height of these. Just look at this diagonal groups on. Then I determine that here's the height of this building so I can draw these arise thes thes lines to a truly horizon to finishing point on the horizon. And then you have this. What building here and this. It's also going to watch the horizon line. So this is a way to constructs more or less on the paper. Uh, what you are seeing on the photograph. So if that's your approach, so if you want to have a perspective construction in a quick way and then you can add some more detail, there are people walking on the pavements, and when you look at their feats and their hats state that their feet are more or less at the same heights. And when you draw lines from one feet toe, one foot off to the other roughly, you could say that that line will also converge in the horizon line. But you have to take into account people of different positions on right and left that you have this lady here. You have people walking here so you can make a quick sketch off a fairly complicated scene , and then you can try to add to this car. You have a motorcyclist here, this lack on the pavements. Anyway, the main points to me too, show you in this video. WAAS too. Show how you can create sort off perspective construction off scene fairly quickly in a few lines on the paper and, uh, with some, uh, coordinates. You can get this on the paper, especially in this case. I was looking at the height off their hats, kind of looking at bodies. Lines converge, and you also have to be aware that, uh, these buildings have two parallel to each other. To be able to do that, they have some self angle, then it gets confusing. But this is a relatively simple photograph to put into sort off schematic drawing, and from this basis, you can add all kinds of details. Of course you can look. I mean, you can start with sort of careful, um, perspective construction to get main lines on the paper, and then you can fill it in with details. You can add STI scars and you can make it life flee, so you have to approach is that you can combine. Actually, you can start with relatively technical approach to get the basic structure off this scene on the paper gravity horizon line. Where do they come for us for? About all these buildings and when you have done, that's when you have that basic Ah, drawing the basic sketch on the paper. You can move more freely within that this framework and at all kinds of details. When you are looking now at what I'm doing, I'm just adding all kinds off a little details. I'm looking at these buildings that'll balconies and so arm and um so you can start with more technical approach in getting the basic structure on the paper, and you can also add some tonal values also works, but you can later arm move more freely. It doesn't have to be a technical perspective drawing, but it helps to if that's your approach to create a sort of basic structure, and then you can have fun handing all kinds of details and so but you get the idea 16. 17 Practice video Sketching a scene using perspective Rome Pantheon: this photograph was taken in Rome. And if I want to create a sort of basic perspective sketch, I'm looking at the height off the hats off these people because these are all at the same height, more or less. Most of them, um so I am 1 82 100 a two cent images. I think that you can roughly say that these are at my height. I'm wondering if I was standing on something. Maybe I was a little bit higher, but it looks to me that these are more or less at my height, so because they're all are roughly the same level. And then I look at this line here and it's converges here. When you look at this line here, you can look at this little detail here too. But here is the vanishing points. So there is a simple perspective construction to make. But I must say they have thes columns. That is the bounty on off course. And, um, when you make a sketch, you will have to rely also measuring and improvising What we going to make a sketch first by making a sort of perspective basis with these buildings here on this line here. And then, um, I'm going to draw the bounty on more or less freely into this drama. Let's say that's this is the horizon line. And when I look at the buildings on the rights, this is small, less the vanishing points, and that submits on the left off the middle, I think after Bunty only to see it here. So when I roughly sketched these buildings on the rights, then I say That's this is more or less the height of the bounty on and try to find a recognizable point here that I can locate the vanishing line. So I have these people there has that's saying that's a little left off this lady's hat. Oh, man said, I'm not sure is the vanishing point so I could work from there. For example, see how this diagonal lists this. So I have the vanishing point here that I have this diagonal and I can look that's this diagonal and it's off. Have you roughly so have this found him here, too. So I'm just sketching roughly and I want to have the middle off this. So I dropped two diagonals from here to here and from here to here. And that's the middle of its I can draw this friend sickle line and I can drop this triangular shape off the bounty on and free hands. If improvising I can dance these details. Not now. I have to divides this, um Bunty on a such a way that I have eight columns. So let's see, to treat for 567 There are seven spaces between eight columns. So in this column on the right hides behind the fountain. So let's say have to draw six columns here. I just had to guess a little bit where we stand with a think of, mate. A nice guests. So they are reasonably well placed, I think. And then you can have a little bit of detail because they have this Corentin, I think parts here anyway, So Derris panty on And just, um, I would say go slow. You can always go back in the video and try to catch up. Um, I would say Just watch the video once first without drawing, and then ah, repeated video and and do all the steps Try to make this drawing for yourself. And now more complicated thing I have to rob that fountain and I can count. This is the column behind the fountain and this column. The second column. You have this these ships off the fountain, and the second column also has something here from the fountain and the base of the fountain goes to watch the right side of the the third column off this column. So he more or less and then I just look and measure. Not really person a perspective way, but just improvise. Where do I see something? And I must say, um, this is quite difficult to get this right in the indeed drawing. I, um, struggling a little bit myself now, but I get it. But I think the most important off this practice is to gets the basic, uh, perspective lines on the paper and to fill it in with some details off bounty on ants. That's add a little bit off noise, so to speak. These people are standing here. I try to look at this. Largest shapes off. The individual people are the group of people. That's also a possibility that you look at the largest shape of a group of people and some shapes are more defines, more visible as the lady taking a picture here, Nash detail is this man. He looks like a businessman carrying a suitcase and the jackets on his arm. Maybe he's off for lunch whenever, and so we have also some people here. I just I just sketched him a little bit to get some context here, so you see that I do not really draw all these people totally individually. But as a whole, you get the feeling that it's crowd. It's the US that our people walking there, standing there, and I just like I do with dropping a texture of something. I just draw these people anyway. So now that I have this basic sketch, you can see I'm quite off with this building here. It should be closer to here, so you get all kinds off inaccuracies sometimes that you can work arm to to make them better. I'm not. I'm not saying I'm doing everything perfect either. That's at first in my first attempts months. It's terrible sketching and you have to fever sort of freedom to do things and you make mistakes. I make the state's constantly and it's the way that you improvise with them that that you work with them. It can even make a drama more interesting. T to see a a corrected line anyway, So you get this, you get the idea of how I made this and I would say Try, it's for yourself. Just follow the steps. And so, yeah, it's a nice practice, and only to a certain extent you can rely on perspective here because you have to measure this bounty on building. You have to look at diagonals where rash shoot something and and start and so on. And this fountain, I must say it's quite complicated. So I and I understand that you don't get that rights first time around. It takes some practice. I don't think I get a totally right what's I think it's OK now what I must say. It was a bit of struggle for me to 17. 18 Different approaches regarding the use of linear perspective: with the demonstration videos. I made two sketches off the same off this photograph this source material I maids One sketch in which I made the drama off these tree houses thestreet old houses and I first made a sort off framework Perspectively. I tried to determine how white each of these houses were. So first, let's say you draw this framework. So I looked at this below these triangular shapes. I looked at this square in perspective, and then I looked at at at how Brant's how white he should be. And then you can ads. Uh, you know, then you determine what the middle is and that you put there these triangular shapes and then you can ads all kinds off details and so you can build up this sketch what I'm doing very quickly now. But that this just one approach. Um, but you are very confined to a system off perspective, and when you are sketching outside's, I can imagine that this tedious at times, maybe you want to make a quick sketch because you can also at I move this to the middle, you can also just look at this house and think, Hey, I want to make a drunk off this house, and I just start with the detail. I just start with this window here and then I have another window. And then I add this rich on the Nieto's windows so you can also choose to be a bit more spontaneous and less within a certain system off perspective, because it can be very confining, too toe to toe be drawing constantly with that same perspective system. You can just draw this. Maybe it's not as accurate than when you would approach it in a more perspective, accurate way. But that's also the charm off. Let's say urban sketching. You are on your way with sketchbook somewhere and you're just having fun. And so this works as well as you can see. And this is just a very quick, uh, example to show you what I mean by death. But you can look at demo the demonstration videos to see a slightly better version off this , but I just wanted to point out that are more approaches to draw something like this. And this was the more perspective, uh, way and this more spontaneous way, without much perspective butts with that much perspective construction. But the point is, when you are aware off perspective in certain decisions that you make, you are informed about what you're doing. So when you look at this house, for example, you can see that these perspective lines go to one point. Here went on conversions, and this roof goes that way. That's in fact, two point perspective. So while you are driving in a spontaneous way, not not really for me, much ingredient of perspective construction at certain key points you can just at this line , for example, and you are aware where this should be had its to more or less. So that's gonna help you making a drawing. Ah, better. Well, while you're not really into that perspective thing, you're not really working into in that perspective motives, so to speak. But you are still informed and you know more or less where these lines have to go to, but it can get you more freedom to approach it in that way, 18. 19 Several tips for drawing people: in this video, I held the camera at the height off my waist. That means that the horizon Linus around that high, too. You can see that people who are close to the camera, their hats appear much higher than the horizon line, and when they walk away from the camera there, figures appear smaller and smaller, according to linear perspective. Then I hold the camera at eye level, your rise in line. It's at the height, off the heads off the people that someone is close to the camera. Even then, their hats appear below the horizon line, more or less. When you know that the picture is taken at eye level, you can use the height off the people as a way to determine the position off the horizon line as well. When you drop people, I would suggest wrong them. As you drop buildings or trees, look at main volumes off a figure like clothing. The position of the hat, arms and Sketchley draw them. I should draw other things in the sketch. That way, the figures blend in in your overall sketching style. You can draw someone who is doing something at a fixed position, better than someone who was walking from left to right, for example, because the person walking from left to right will be out of sight soon. When someone is walking to watch, you are from you, and it's easy to make a quick sketch because you see the figure for longer time and from the few being around location. You can also make a quick snap shelter and used. That's to take some more time to sketch a figure into your sketch. 19. 20 Drawing people practise video: uh, I'm going to sketch people. I have this photograph that I took in Rome years ago, and when I sketched people, I have a tendency to just look at the largest shapes. And I look at the clothing off this man on the rights. So that's this man. And there's a sort of triangular ship here. Rectangles ship here. Circular shape here, and I do not draw circles or rectangles are triangles, but, uh, it helps to see that kind off largest shapes in such a figure. Two, uh, get the shapes to draw that the actual ships on the papers so it helps to get a grip on what you're drawing. But I do not say that you should draw actual circles because then it becomes cartoonish and you get all kinds off, um, things that are not accurate. And he has a photo camera. And I just, uh, suggests the shape more or less. I don't want to go to detailed because, uh, figures that I draw are part off scene when you're herbal sketching. So they have to blend in with the way that you draw buildings, for example. So but you drop buildings and you look at, let's say details that you add and you look at the largest shapes of buildings. As I have explained, it only makes sense to draw people in the same way I'm actually throwing this lady here now , this one. So it did this style, or in which you drop people, has to blend in with style but India approach that you use for, um, out of things in your drawing. And I just use, uh, dots and lines, just sketching. Loosely. There's a lady with photo camera taking a photograph, and I'm not exactly copying their positions because this lady is closer to the out of to them in the actual photograph butts. I don't mind. This is just sketch, and it does not have to be photographically correct what you doing it? But you have to recognize a person, and when you adds details like this, this thing, I think it's part off the camera. It can ads some clarity to the figure because people recognize Oh, that's such a camera strap. I believe that's two words, but and well, I made a drawing off the street figures I looked more or less at the height of their hats because when I waas making this photograph, I was standing. So the heads off the people in the father where are more or less at the height of the horizon lines? Because, um, I'm 8th 1 82 centimetres 180 to 70 meats. And I was standing. So most off, the people that was standing are more or less at my height with her hats, and therefore they are at the height of the horizon line. You can't. If you want to get more explanation about that, you can go to the section off this course off this class about perspective. 20. 21 How to create depth in a sketch: here. I have a photograph off Solano. And as you can see on these in these mountains or hills that the further away such a mountainous or a hill, the less dark it iss um So the air between us and this hell forms a sort of body, and it catches lights and it takes on the color off the air. So what, you get ISS that's there's certain fail between us and this this hill, um, far away. So this seems far away you and the closer objects gets, the more contrast they show. So you seem much darker darks here and lighter lights, then compared with these houses here and especially when compared with the mountains here. And you can also use that in your drawing to create deaths. That principle. So you can, for every lightly draw these mountains with very, um, faint lines. I'm using adults and fairly lights lines, although it's a fine line. I mean, everything with a fine line is black, but to but But you can also very, very supple way use. It's to make tenor lines and use dots, for example, and and smaller parts of lines instead, off making a decline. So here we have the mountains and let's say that's here. We go a little more stronger, but what you see here, here we have some houses. I'm just very quickly sketching something. I'm not sure if it's all very accurate Butts. You can add a little more contrast, a little more stronger, um, lines. And let's create some depths by adding this boat. So this boat and there are two boats here that I'm dropping in this harbor and they have these, uh, flagpole. What's it called? Where the sales are attached. One shouldn't be afraid to put online on the paper. Ah, what can be intimidating sometimes. And it just adds strong accentuation in these boats. So these are at the front. They have a reflection in the water. I add some don't know value here, and that's had some more here. So, as you can see in this very quick sketch, um, that I've created some depths because these boats are, uh, drawn with take accentuation where they are appropriate. Of course, you can even put somewhere situations in these de stinks disposal. What are what are they called to which the sales are attached and This is just a very quick example. But you can see how how quickly you can get a feeling off depths in a drawing like this. Such sketch. I want to use this photograph also to creates depths. So I waas, uh, in, uh, Florence and that's start wits. The's hails in the back. I was in Florence at Saint John's Day that people were gathering to see the fireworks, so I was there, too. And there's a tree here. And as you can see, I made these lines ferry Not very faint, but not really. Tick me. Put it that way because you have these hills here they have here Florence. And then there's a tree. People here, people sitting here. So what I'm going to do to create depths in this sketch is to faintly drop the's health, which I have already done here, and some indication, off the city of Florence. And then I want to ask these figures at this side of the roads to get some depths in the drawing. So first I'm going to draw the street here as nice lights also. And let's see, here we have the river. I don't know. I believe, and I tried to catch a little bit off. So certain structures, ups I'm in the in the tree. Look at me. I shouldn't do that. So let's make a tree. But there you go. I make mistakes all the time, of course, as well. And I'm just adding some Horace horizontal and vertical lines to suggest city in the distance. Here are some trees on the left. There are people walking here and just look at these people. And I try to suggests with some lines that there's a group of people. I'm not really individually dropping these people, but I asked suggestive lines. So you think hang is there? Is there a figure that out? They're not very clear, Dancer wrote on which day outstanding. So this group of people here, I just adds, treat him actually as a texture. It's and I look at certain kinds of lines and curves that are in that group of people. So you get the sense off their some some group of people moving that there's some something there, but you don't really exactly know what's going on there. And then you have a group of people here and I want to get nose quite strong on the papers . So groups what? And there's someone here and there's someone here sitting, looking up with glasses on our hats and someone is here in the front. She appears for me heavy, large and on the left. As a person also sitting and its ass this line off on the roads, I asked some more context. It gets the drawing of It's clearer. But as you can see, um, with very simple means, just adding some tickle lines in the front and more faint lines in the back. You can get a sense of depths. Your sketch hence. Actually, you can make very quick sketch, and it can be quite effect ful this way. So I'm looking at things that I can improve a little bit. He was someone standing, and it's just a quick sketch, but I think you get the idea. That's some flowers here. Even you can add some more detail. He has sure that stripes here she not sure. Anyway, you get the idea that you can create a sense off depths by using more faint lines in the back. 10 aligns and two ads strong lines in front of the after drawing, and it can be quite effect ful quite fast. 21. 22 How to approach complex structures in a drawing: she would like to draw a complicated structure. So we have here Florence, uh, bolted. Vecchio. Hey, our buildings, when we look at these buildings, um, what I do is I look at the larger parts and this is a large building here, and then we have here smaller buildings. Then we have quite a big wall here, and then we have this star war. So when you look at this area, um, you can divide this into, let's say the largest structures and others talk is you can approach like textures. So here are a lot of windows. Here are some roofs, quite some roofs. So first I tried to draw the larger structure as a whole, more or less. And then I defied it into the largest parts and then certain areas I approached as Dexter's . So let's try that approach. So we have this. It's rich on the undersides. We have this Lache building here, and then we have these group off roofs, especially so when you look at this here that's here, and that's draw this side of the building here. And then here we have a lot off roof windows and here we have a bridge, so they just have the roughly. I'm measuring by these diagonal. How far this building goes to the right. You see a little bit of another building butts. It's not too May thing that I'm driving here. So now, having a little bit of detail. So we have this large building here sidewall off another building here and here we have That's a a bunch off roofs that I'm not going to drawl draw totally individually. But I suggest ease. And he was the corner off this building. You sort of angle here, that sort of corner. This building has sort off, built up a little. I don't know how to call it, but there's another roof here. Here we have some greenery off the hills behind this whole a group of buildings and let's just at some details. So we have the basic structure. Now off what we see in the picture on the rights, you can see it, and maybe it's a bit unclear at this moment because I didn't really make it's very clear this drawing yet, But let's add some details. There is this little tower. We just quite typical, quite characteristic shape. There is this dark area. So now I'm just going to add some details quickly with a light touch, because we're assuming that we are on location making quick drawing a quick sketch. So that's what the's dis approaches for to be able to capture in a quick way. Uh, a fairly complicated part off Florence in this case, hence value are in Florence. You must get some ice cream but don't know by its too much in the neighborhood off pontificate yo because my ice cream waas just as expensive as my flying ticket with Ryan Air flying from Netherlands to two piece I pates nine year olds for for some ice cream, I believe I believe that my ticket plane ticket for starting euros of something back and forth. I spent, I believe, 27 euros going to Italy from the Netherlands. Now I'm adding these windows, the five of them, and I'm just adding accentuation is here you're off six windows. I have accentuation is but not going to delineate everything. Totally individually, I hear I can add some more situations here, off for windows in this parts building pants. This roof can accentuate. Let's look at situations here and let's also draw a little bit more off that bridge on the needs, this structure. It also helps to give it more meaning, so to speak, a bit more context. And that's he going to add some more texture here with these windows not really looking exactly how it's supposed to be. That's roughly there is structure emerging on the paper, and suppose you are going to use what the color lately. You can use that to give it some more clarity as well. But I'm just using fine line of now because I don't use a lot off light and dark yet. I didn't use a lot yet, so no add a little bit off hatching to this bridge, and now I want a little bit more clarity. So I'm going to add some X situations here and there. Some hatch ing's and sometimes it's good to take a step back and see what you're doing. And it can help, for example, to take a little picture with your phone. So you see it this like, a different way. Sometimes I watch this dropping in the let's screen of the camera with which I'm recording this, but you can use your phone. It helps sometimes, and I don't want to do too much now. But as you can see, um, roughly this complicated structure off buildings emerges slowly on the paper, and you can go on and on with adding details about that at a certain moment. You have to stop with that, Um, but I want to do now. I had a little more reflection in the water just to give it a bit more contexts. Hands to make it a little more clear or what? What? Let's say the complexes off this part of Florence hence. Sometimes it's such a structure. It's nice to have surrounding areas also in the image, so it gives it mark, meaning so to speak, - comes less accentuated, rich and uneven at this. So in a relatively short amount of time, uh, a valid a fleet complex structure on the paper. And just by looking at the largest, let's say the whole area first as a whole. Then, looking at the largest parts, this launch wall, this building, this side wall and this structure off roofs, this texture, texture off windows, picture off roofs, texture windows, this style here. So you get the idea 22. 23 How to draw reflections in the water: I think a so you can see the reflection in the water. It's like a sort of mirror image. The movements of the water distorts the reflection. The calm of the water is the most perfect. The reflection ists like in the middle. The colors are a bit muted in reflection, and eternal values are a bit lower. Adult seems to look a little bit darker in the water. In this video, you see much more distortion of the forms off the buildings that are reflected in the water . The water is not a column at all. When I should catch the reflections, I think of the shapes that are reflected. But I try to incorporate a texture off ripples or waves in the water as well. Here you can also see a clear reflection in relatively calm water. When you look at the ship's masts in the reflection in the water, you can see how the image gets distorted by the movements in the water. When you sketch reflections in the water, you need to look at the original shape of what is being reflected. The original buildings here, how it has shaped in the reflection it often becomes more blurry and the ripples in the water, which often appear as horizontal marks. So you have often sort of vertical emphasis are how certain forms shapes are distorted. When you look at, for example, the windows in the reflection on the building, on the left, off the building, off on the left, you see shirt on vertical. The distortion thinks those details become longer obits. Ants on the marks you see these more or less horizontal, they seem to distort the reflection in the water in a sort of horizontal way. 23. 24 How to use fine liner and watercolor: I have to use fine line up and Walter Color combination off those two. In this sketch, I only used some quick lines, very minimalistic in the final island stage. Most of what you see in the final result is while the color, you don't really see the fine line of anymore. So here the fine line of sketch is only a quick basic start off a sketch. These are just Edie, basic outlines and everything regarding light and dark. It's coming from the water colors. What you see in the sketch in this catch off a boat. The fine line. It's used to add quite a bit off darker tonal values, the lights and darks off the reflections in the water, the background around the boats. Those have done in fine Linus because the boat had to be drawn quite precise. I decided to do that in fine liners, which is more precise than while the color in the way that I used while the collar. If I had to paint the boat this way and while the color leaving parts off the paperwhites, it could be done in what the color but one has to be very meticulous and careful in doing that. And in my approach, it's easier toe use. Fine line up to to draw that kind of finer detail and two ads a sort of wash and ends a more broad approaching while the color afterwards. I like that sketchy nature off water coral in this case. So I decided to do the more detailed boat in final. I love this in this case, and, as you can see, although a lot off the total values also come from what, The collar, the original Fine. I'm a sketch also has a lot off docker tonal values, but you didn't see in the first sketch that I showed off the bridge. This gets a sigh C. It shows a more balanced approach. Some details, like the towers, are made dark in the final stage already, but the green of the trees in the dark areas in the water were left, uh, open, so to speak, to fill it in in the watercolor stage with color's tonal values. So I had to decide what parts I would make dark. What parts I would a leaf minimalistic to in the finest steaks to add what color relate to do work in that respects to do the work, to make a certain areas darker and colorful. So when you look at a certain scene, which you want to sketch, you could think by yourself before hands to what extent you want to use fine line for details and dark areas, and to what extent you want to leave certain things open to work them up in the watercolor stage. In some of my demonstration videos, I use the graphite pencil first that that can lead to a cleaner, more detailed sketch. It's also more time consuming, so you can do that, Um, but I would advise to do that when you have more time to sit somewhere on your urban sketching. On the other hand, I like to use fine liner directly because the sketchy nets gives the dropping certain charm as well. When you use fine liner and you think, Oh, that's scary because you cannot erase it. I just think that's certain lines that you correct later can give the dropping the sketches certain charm as well. So it's it's it's okay to to make the sketch, which consists off many incorrect lights, because in my sketches There are many incorrect lines, I think. But they give, uh, the sketch. Also certain atmosphere. So it has a certain charm. Um, so when you want to spend more time on a drawing and negative cleaner in a way, you can consider making graphic pencil sketch first. This this one with the two towers is this one was done first in in graf at Dancel and, for example, this bridge I did directly with fine line off, and it leads to a different kind off sketch, actually, the one with but the bridges more sketchy also in the weather call of states, and the one with the towers is done more carefully. I found a mechanical pencil very convenient to use. You don't have to sharpen its its its just hand the It's always ready A. So long as you have enough breath fact in them 24. 25 How to use watercolor: when I'm using while the car. I often use a brush with a container with Walter. If I squeeze that container, Um, some water close to the brush, as you could see here. And often times it starts adding water. Call to a sketch. I ads, uh, some car to this water. I add the salt off wash to its So Supposed to this something for the grounds Washington Broads area. And I don't use really bright colors for this face. A start with muted colors, so to speak. And this is a bit too dark, a little bit of blue. Some thous. I have to go to another area off pallets and at more water. But for example, I can ads here spoke. This is the air off. See, I can. Abs brought area off this, and it's takes away the whiteness off the paper off that area. So often times on on a sketch of field. That's I define how far the sketch ghost, by adding bees, washes, so to speak. And then these colors are quite muted, and later on I can adds accentuation in brighter colors. So I don't know. I suppose there's something here. I'm not so really drawing a scene. But as you can see, I can ads more color. That's a little bit of green here ants. But you can see now the wash isn't right yet. So, um, the paint pigment is mixing with the wash here, so that's an approach. If you like that effects, you can also wait until the wash has rights. And as you can ATS accentuation I chose this area because this this doesn't have much paint off off the wash. So these situations stay bit as they are. Mouthpiece are really going. Yeah, Mixing themselves. What's with the wash? So when you are on painting and suppose this has already dried So this area, for example, has rights already? Something that you have to take into account is that when you ads Walzer again that made you add much. Walter, um, I think that you have already applied to the paper well again, a mix with the water. So part of what you have already done Consejo way when you adds new, uh, for example, if if I would add a new wash over this If I take this I do this then this will be Um, yeah, this will mix wits that later wash. So even if it just drives already, it will. It will mix with later layers off water paint if you don't, because if you if you aren't careful with that, I have tennis. She now, too. Go on with this because I have a tendency to make this a nice little abstract watercolor painting. I actually like this form, I regret, to a certain extent that I did so that's let's see if I can limits if I can take away some of these the's sharp lines, the the outlines off this so you can play with watercolor orbits when it's already on the paper, even when intentions rights already, Um, you can, because this this seems to have dried. These accentuation is. But if you add a little bit of Walter here, you see that it's it becomes something you can work with again. Did got wet again, and that's different with all or acrylic paint, because when acrylic paint has right, you cannot make it wet again and work with it again. But then what? The caller has dried on the paper, um, and you put water to wits again on it again. It will become wet again and your previously mates what the color will become distorted rd depending what you want to do. Maybe that's the effect that you're after, so you have to be careful with that. So these are some some of the things that I wanted to explain and my approaching while the color and what color? Two sketches. It's very simple, Um, one consideration that you can have is Do you add a rather Carlos to give it some sort of atmosphere? Do you add water cars to really try to get total values exactly as they are in nature? In the over sketching I found debts. I find that, um, adding water columns to create a certain atmosphere is small effect if it gives the sketches and more lighter and fresher appearance than trying to make it all dark. And as it the assay exactly is in in nature. I mean, we are not practicing photo realism. These are sketches, so it's nice to have a sketchy nature to keep that sketchy nature to it. 25. 26 Composition: Let's talk about composition. So when you make a sketch, it's imparted also to think about how you design, uh, the composition. So how it looks as as a sketch on the paper. So let's assume this is your paper and you're making a sketch off church somewhere, and that's put it here. And this is very symmetrical. It's very in the middle. Maybe there was a fence here, I don't know, but to me, this is quiets boring, I think. Yeah, in the middle. I don't really like this. I often puts us something just out off the middle, on the right or the left. So let's take another piece of paper. Use another, uh, chance to make a nice composition. But let's put it on the right side, off off so called paper. So here's the church tower. Here is some green. Let's say that's you. It's also something maybe some houses or whatever, but to me, this is more pleasing to the I get the feeling that my I can wander around a little bit here more than having this church straight in the middle. Um, I enjoy looking. That's dis composition, more so to speak. Another consideration is when you make a composition of sketch. Let's assume we used the whole paper now. But you can put let's assume you're drunk, the same church saying building. Let's assume he put it lo on the paper. Then we have a lot off space to draw clouds perhaps, um, so you could make more off the air above the scene. Maybe they're awesome mountains in the distance. I don't know what will be, but it's a consideration to put it quite low so you can put more emphasis on what's happening in the air. Another consideration is to put it, for example, relatively high. So let's put it the church tower here, and maybe there are fields are maybe there are interesting out of buildings, so then you have not much air. But maybe there's something else, which is interesting. So you gather, not appoint a few. Maybe you can stand on the hill and you look down and you have an interesting few on what's happening here. So that's also a consideration to think off. So those are far things to think about. Then we also have the possibility that you, for example, make drawing make a sketch off the church and you just draw. It's here and maybe you want to add some text. It's bus feel that you consider over sketching a sort of diary. So maybe you write something down me. Something about the date where you were. Maybe you want to add a little bit off contacts, a bit of information. It's possible that you draw a sort of landscape, uh, sketch here. But maybe this jurors has an interesting door, so maybe he draws something off that door. I'm just making things up now, but it's possible that you want to add some details even there. Maybe there's something else. You draw here so you can also compose the letters off your texts next to, for example, this church here. And it's also a consideration. Do you use, Let's say, the whole paper, like here and or dis composition? Or do you use a part off the paper like here? Another suggestion that I can give you is to create contrast. So maybe there is a large building. Let's say the same church, but maybe Derris Fabbri low area here, so that can be very interesting. To make your she catches more interesting creates a contrast between high and low man made structures. Nature. So that's also something to think about 26. 27 Light and Shadow in different circumstances: I want to show you the difference between the effects off light, A shadow on a cloudy day. Ants on a sunny day in direct sunlight. He was she Delft. Beautiful city of Delft Vest. You're homeless for me was born on a cloudy day. There is no direct sunlight. You don't see clearly defined shadows in this video from Florence, made in Florence, we could see people walking in an area that is largely in shadow. But they are in that shadow area between those buildings they don't cast clearly defines shadow on the ground. The light has no clear direction. It gets reflected from all sides by the basement, the buildings, the air, etcetera. This changes when they walk into the sunlit area. That's small summit area that you see the horizontal line almost. This was so much chance through the buildings, and we can see people in that sunlight casting long shadows on the ground. The sun is a point in the sky, so the shadows are fairly sharply defined. If the light source is wider like window, then the shadows are softer that the borders off the shadows are very soft. When the sky is blue, the shells are bluish in direct sun lights. He was a video that direct sunlight. There are some clouds, but you can see that people are cast and clearly find shadows on the pavement on the ground . You can also see a flag which disgusting, clearly defined shadow on one off the houses, that White house in the middle he was using and for because it had been raining. You can see some reflections on the pavements off the people walking there, but since the light comes from all sides, it's also cloudy day. You don't see clearly defined shadows, only faint soft shadows, but not much really. 27. 28 Some art history: Although urban sketching is a mother in term and a sort of movement which has gained much popularity recently, similar ways of sketching are effect. Very old. He was CIA sketch done by gambled from behind famous Graham, bound from 17th century, and it's off the West Mechanic domesticated in Amsterdam. This is a sketch off the coast port, the East gates, my younger Biscoe, Paul's from the 17th century. His gators in Delft and I also made videos for this course of this class to make sketches from off at its practice, videos oft escaped to discourse so you can try to had a similar experience as young, the physical sketching it. This is a sketch of the tower off the outer Kerik in de left by other flu conta late 19th or early 20th century. And like the Tower of Pisa in peace off course, it's leaving some What's so it's not really straight standing up. It's it's a bit tilted. This is a sketch off a castle in bed, also from the 17th century. I couldn't get it from the exact same spot, but it's still there. And but here on this photograph, you can see a part of it. So the little tower that you see here we have a sketch from Rome, and it's also from the 17th century. When you look at these sketches, especially when they're some light involved, I find that they can communicate after hundreds of years. Howdy Experience must have bean to see that building or that spot with your own eyes. A quick sketch can work better to capture. That's feeling almost an elaborate painting or even a photograph. A modern day photographed. So maybe, who knows? In hundreds of years, someone will look at your drawings, your sketches on Think. Hey, that's how it must have bean there and then to sit there and see the sun lights on the roofs off the buildings to see the trees move to see the reflection in the water. 28. 29 Introduction to the demonstration videos: e demonstration videos. You could draw along with them. Just watch me make a sketch. Some are quite carefully done with a pencil sketch first than fire line and that while the color, some are spontaneous because sometimes you want to sketch quickly. So I wanted to do that, too. So there's a bit of variety in there. Most of my demonstration videos are limited to pencil fire liner, and while the color you can use any material and urban sketching. But to create a consistent collection off videos, I limited myself in this case mostly to those three mediums and still find liner and watercolor. 29. 30 Antwerp Grote markt Demo Fine liner Beginning with detail: I'm going to make a drawing after this house. Oh, perhaps this half swell. But the point is, this is what this video also about In another video, I mates, I do the whole structure and I filled it in. And now I want to take the same, uh, source material, same building, and I want to start dropping from the details. So without making that, you know, sketching the whole structure first and filling it in, I want to just start drawing and see where it goes from from here when I start from a detail. So let's just se I start with this rich ants I am directly using fine line. And now So I'm not first making a sketch in pencil and another rich here. Then you have this ornamental Ah, level here on top because there are different ways in which you can approach a building like this. Hands there are these windows and there are three windows at this level, so you can very the methods which you use. You can first start with the larger, uh, structure and filled in with details. But sometimes it's also interesting to just directly start with details immediately. in the house and book debts. Central Center states in your approach. So now I'm going toe adds little details that I see in this house because when you else always make a sort off, uh, basic perspective structure, it can also become a bit tedious. I must say, sometimes it's nice to just start drawing and not be to methodically working on these things because you are having fun on location and different ways to approach drawing something like this ants. I'm going to add some more details. How do these riches look with a shadow on the meat? There are thes iron things on the wall here in the middle. There's something. It's short off dots, if you can see it so you can add all kinds off little details, and I shoot at some texture. Off stones are people on the grounds, and I just at some figure us. But they are. They are just volumes that are derived from people there. It's not really I'm not drawn all these people individually. What I derive ships in this area from what I see on the picture, and I want to keep this House central, so I want to add a little bit off context on this side with this house, but I'm not going to draw this whole house very detailed. But a little bit of detail is appropriate, - and here are also some windows that I can at off this house just to give it some context. But I want to focus on this house in the middle so this could have a little more. There's this roof it does. It has tiles, so ash yesto styles. And when you look at this house, for example, and this roof, you can think off two point perspective. So it's good to be aware off some basic rules of perspective, so it helps you to draw something like this, be informed about it. But I want to focus on this house. So go to at some Hutchings some crosshatch ings to make peace windows dark, and this part off these windows is a bit lie to. You can see that here it's lighter than the lower part, so I try to take care of. That's a swell. There's a light standing here. She's in a nice touch and adjusts. That's some more detail here and there. Some pronounce here a little bit of hatching here. And let's at some total value on this lower side. And there's Nash Balcony here off this other house, so I can add that as well. - And there's this dark area here. I think you make it quick sketch. This is a level of detail that is nice to have, and I just want it to make this drawing in another way. Then the other version, which I made from that more or less perspective, construction. Although I I approach perspective in the quite basic way, but it can give more freedom and you are aware off both approaches. So in another approach, I do first this square, so to speak. And I divided that into this tree houses. And then I added detail off the tree houses. And now I just started with this one, and I add its details as I went along. And, um, that's another approach. So both are all right to use. But, uh, I'm not saying that one is better than the odd arose. So 30. 31 Antwerp Grote markt Demo Starting with larger outlines Graphite pencil: I'm going to make a sketch of Antwerp. This is the video that I will be using. And I found it interesting. You have these olds houses here in the middle. And you have these modern houses here. Some traffic and it's quite complicated at first sight. So what I'm going to do is I'm going to find a certain logical structure. So you have this block, which you can divide into three parts. I have here also a block, also in three parts. Treehouses here. Tree houses are buildings here and some stuff going on here. But it's especially how to get this properly on the paper. And first I'm going to use pencil, graph, a mechanical graphite pencil. And then I use fine liner, and then I will use watercolor. So let's begin. So let's first draw the right sides of the old houses. And let's see, sort of basic shape. I actually drew this line and this and this, and now I want to determine. So I see this as a sort of square in perspective, just under these triangular shapes. Now, I want to look at the diagonal from here to here. This. So if I do this, I come here. And I have to look at perspective. So this lower line goes a bit up. And here it goes down. So this is all converging here somewhere. So if I would look at the place where the perspective lines converge more or less than it would be here. So when you look at this, these houses, the width of these houses, how wide this is? 12. More or less, twice. How wide it is, 12. Then you get to the point more or less 1-2 where they come together. And it's it comes together, let's say at this height. So I was standing while I was making this video. So at the height of, let's say, where these people are standing. I mean, I heights of these people. You could say that that's more or less where the weather a vanishing point is. But I was holding the camera in my hand. So sometimes it's moves a little bit. Let's just say that's 12. This is where the lion smaller, less, Go to the perspective lines. And now I want to divide this area into tree, because I have treehouses. And with the perspective, this seems smaller. Maybe, maybe this house here is in fact smaller than the one on the right. So but just I don't want to be too, too, too, too, too much busy with perspective and so on. I want to feel free to drop actually. So, so I use perspective to guide, guide this process a little bit. So let's see where the middle is of. For example, this building. Make this cross. Ok, so here. So to get to the middle of this building, I went too fast. So I drew a little line from here to here. And I drew a little line from here to here, sketchy line. So this is the middle of this house. And then I draw a vertical line so I can get the middle of this triangle, a shape of this house. This disappoints. Maybe I could have done that just by free hand, just by guessing. But this is a way to do that. I want to get rid of some of these lines, don't have up lines. But I just wanted to show you how to get that. And now I want to divide this house into sections. You get when you look at this building. There is this is Rachel. What is it? Here? Here you have some Sean OFF AND gate. And you have three windows. And here also fee windows. So just counting, measuring a little bit. And then this area there is this distinct here. So you have this, there is a certain rectangular shape here. You have this. And then you have this ornaments or this particular shape of this. And I must say I want to, I want to be more or less accurate but not. It shouldn't be. It's not a technical drawing, it's a sketch. So and while using perspective to help and try not to be too much involved with perspective. So here you have these typical buildup of this. I'm not going to particularly counter model. It's more or less at now I have to divide this building into sections. Because you have these windows here. I'm going to zoom in a little bit. You have these windows here. Let's see, I can add some detail here. I made this a little bit too high, but it's a sketch. So you have to have some freedom. So here I'm adding these windows of this house, also Tree windows at each height. And then we have here this and this is a bit lower. So and then I also look at where to place the windows and I just to relate them to the windows of the houses on the right. Also tree. I was a bit clumsy here. And here's also a section of tree windows. And here's a darker area. So this is a quite complicated section, so to speak, with tree old houses and with some logical thinking and some measuring. I have it more or less here, in essence in pencil on the paper now. So later on I can use fine liner to go over this. And when you have this pencil sketch, if feel more free, more free to work on this. And width, fine liner. Now it feels easier to work on this. A little bit of this and the rights. And this has also has some windows that's also indicate them a little bit here. And I want to focus on especially those old houses because I think that beautiful. So I want to have some context on the right side of this block, but I'm not going to draw all of this here. And now I want to have this second block. And it's, I think it's more or less the same size as the old houses. When you look at this block? I think it's more or less the same as this. So if I use the same diagonal, if I extend this line and I use the same diagonal, I get a more or less same width. Just as wide. And maybe I add a little bit of, it seems to me it's a little bit wider. So I extend this line to the perspective, to the vanishing point. And this diagonal I copy here. So this, this and I get a, get a little extra. So this is the second block. I measured it from the, from, from this square here. But it's actually higher. So it extends to this, this height here, this lines. So this is the block. What I actually did was look at this square here. And I extended this line to the vanishing point. And I just wanted to have the, the, the width of this block. So I did this trick, width. The diagonal a, c Where turned out. And then I extended that. Now I can work on some of these details. I just do this free hand. And let's see. I just look at the houses on the rights to see where these windows are to be positioned more or less. Just extend some lines. And there are four windows here. So I'll just draw them. It's very sketchy. I won't my drawing not to be to exact two. And it won't be yeah. And at more or less the same height, this building has windows and then just make them very sketchy. And this building has two windows at each, at each height. And I have to do the roofs. And tears. A house here which adds, what's the main folks to me are these old houses. So I have this area is to me the most important. And I once some contexts and little bit of noise on the grounds are these umbrellas tied up. So let's sketch them here. People here standing. And that just tried to indicate them and I'm not going to draw all of it, but it's just some noise actually hit the ground. So I want to have this impression of having a crowded area. There's this car on the grounds and try to draw that. Here. Awesome people were walking. And let's see if I can indicator wrote a little bit better. But I don't have much information on this. So there's this bush here. Anyway. I tried to focus, especially on the houses here. There are some unbalance here. 31. 32 Antwerp Grote markt Demo Starting with larger outlines Fine liner: I'm going to use this now. It's the water resistance black file liners. And now that I've already drome the pencil sketch, I feel free to draw on top off. That's with my fine line. So I try to have a free, sketchy way off drawing. I can look at AC situations, and hatching is here and there. I don't want to make my fine line the drawing too dark because I feel that there must be room for the watercolor later, too. Uh, have areas to darken so I can use watercolor for certain areas to make a darker. And I don't have to make everything. Blackwood Fine line off counts here. I often use dots to indicate something which I can fill in later. It's a rich hi, uh, accentuated to get some clarity in the in the sketch. Oh, there's a nice lights identity and see, that's so that's trotted in. This is nice detail. And then there is this round semi rounds part here, and thou second house. Oh, going to accentuate this rich, manic Cellmark situations to you find this house a little better. Nada. Second house, having some accentuation is in those windows and I totally forgot to drop these windows, but doesn't matter. Well, Adam, with fine line up Chart house And so I accentuates all kinds of details were not really drawing them exactly. Yes, they are. But when you have the rough after lines in pencil and you can accentuate them, then it's really nice way of sketching, I think here Disa fan box here There are these people standing and I just I'm not going to draw individual people. I just want certain life in it. A certain noise off movement off people. Sometimes you can define a hat or single figure these umbrellas here. It's also nice to have some details. That's a little bit of detail here. Just sketchy this window and I just enhanced some lines which are there in pencil, and sometimes I have a little bit off hatching. But in general there is this sketch now off thes tree old houses, with some uh, noise here on the graft off, people on and cars going by so it doesn't have to be accurately, totally defined, but it can given a sort off atmosphere, and I'm indicating here where I add some bright blue and green accentuation is later city lights, and now I'm going to accentuate thes buildings, this modern buildings roof and I just add some AC situations. I'm not even totally dropping off this windows, but some dark areas here and there within the framework, so to speak, off the rhythm that I f drawn in. Pencil off how these windows are placed and I have the 10 and see that further, I move away from the focal point off my sketched Unless, um, the last details I wanted to be and I draw little lighter. The accentuation is over, little bits, more sparse. So not this dense. Perhaps that's would be in the middle off my drawing here. So just add some dots here and there, and this is just too. Give the impression that's the streets extents in this direction. But I'm not going to draw all of these details. There is this Bush so having a detail here, closer to the fewer gifted more space, it is the most special impression. This is a nice detail to give it some more space. So now I'm having for the moment that just stop drawing with fine line of a swell and you see that while I have been working with pencil toe get all the proportion small, less rights, I say more or less because it must be a sketch. Must have. That's freedom. Um, with fire liner, I feel more freedom to just, uh, that's AC situations. And I don't have to mastery anymore because I've already done that in the in pencil. So now I'm just adding some more situations. Human there. I don't want to drawing to be too happy, and I'm going to work on this. Wits. Watercolors. So this is the Bensel stage off the sketch. 32. 34 Antwerp Hendrick Conscienceplein Demo Graphite pencil: I'm going to make a sketch off this video in Antwerp. Very nice square. You see here, an old building and so other buildings here. There's dispatch. Turn on the basement And these lines seem to convert all around here. There's a symmetry in this building. So you have this door with this monumental art show it is it. And there are some people walking here, so this is actually video loop off two minutes or every two minutes. You see this man taking photo again? So I'm going to start is dropping by dropping this line and this and I will roughly, um, use perspective to create the sketch. So that's what I'm going to do first and Vancil, then black. I want to resistant fine line off and then with watercolor. So that's let's start with this vertical line left side off debts Lache building on the rights and then this ground level. And when I look at this, the lines come first here somewhere. This is the perspective point the vanishing point. And let's say that this is the upper sides and then I should actually look at this diagonal Here is this monumental arch. This is not a diagonal. I am deliberately showing you these diagonals so you see what my method of measuring is. And then I have to get this here because there's certain symmetry left and rights off this Ah gate. If this door, I should say. And then at two shirts we have this door here and I want to measure with use of perspective the main, you know, domain shapes. But I don't want to rely on perspective for every details. So that has something has to be some sort of freedom as well. There is this biller using the same diagonal. Hear us on the right. So So I'm really using. As you can see diagonals to measure more or less where I shoot, put certain details and I must say, I don't want to be too detailed in my pencil sketch because there has to be room for debts . I mean that when I used a fine line or I came use more detail, but I want to have this main structure on the paper. So I have this old building more or less. We have these this window here, and if I'm going too fast to follow just balls. Video hunts take a little while to copy certain things that I'm doing. If if you're if that's your approach, or just watch carefully or just go back in the video and we re watch certain parts of if that's necessary. And there is, I will put this video as a separate failure to to to to practice with on this website so you can use deaths. So now we have the main structure off this building on the rights, this monumental building, and I can use fine line to at more detail later on. Not sure if I have everything straight up for tickle. What's obits, anyway? That's shirt. It has to have set of freedom as well, so I'm not going to be bothered too much by too much inaccuracies. I wanted to be more or less accurate butts. It has to You must not lose to fund. It mustn't become some sort of technical drawing. So and now I'm adding thes houses on the left, and I'm just looking at this building here, and I'm just dropping. I'm looking at where certain where the height of a certain building is related to this building on the right. So have this monumental white building here. Um and there's a sort off curvature in the road. I think so. In the sense you you would think this is two point perspective. And when you look at, for example, this square, when you look at this square, you can think of two point perspective ants. But these houses are There's a sort of turn in the road here. I think so. Here you have to improvise a bit and there's this triangle ship here. I went to bed too high with this, So let's first draw in the windows. There are three windows at each right, - and let's see these windows here at this heights on the lower side of these windows. There's is rich off this house so I can draw these tree windows here and those other windows. And that's just a matter off counting. And just carefully watching the other house read off windows are and just see where they at at what level they are. And there is this man here taking a picture and that just draw him very she gets she. So you come click pass. If if you need that to gets him correctly in the in the image. If if you want to study him a bit better on these lands on the pavement, they should come from the perspective points. And I'm partly just improvising, partly measuring, because the lines on the pavements are from the other sides. Let's say these lines here are also converging in a perspective point. But that's so far from from the right. So I just look at photograph and I try to more or less get that right. Let's. It's more suggestive than accurate, perhaps, and that's a tree here, just a little bit off texture here. And there are some people standing here, and I'm not going to draw them all individually. But there was, let's say, a group here, and I just want some noise here that you think Are there something going on there? But I'm not going to draw them all individually. Let's see. I think this is detailed enough to, uh, work further later on with fine line of. So I think this is a nice basic sketch in pencil to work to work from later on with fire liner and after death, with what color 33. 35 Antwerp Hendrick Conscienceplein Demo Fine liner: I'm going to use a fine line of to, uh, make this drawing the next stage. This sketch, and using a fine liner after I have made a pencil sketch gives it a certain freedom because she don't not really have to measure everything. Because I've already done that. The work is done. Um, at this moment, this man is here, so let's draw him. I'm left handed butts always. So Danny is in the fine line and I use a lot of accentuation is and short Hutchings. I tend to not want to make large areas dark wits, fine liner in this stage. Because I know that I'm going to use watercolor ous well after this so I can leave that to the watercolor face, so to speak. So if I would only make you know Ah, fine line sketch. If that would be my main medium from for 40 sketch, I would feel more freedom to at more extensive hatching, so to speak. But now I want to leave space or leave room for the stage in which I am using watercolor to do that. So if you're also anticipating the next step off the sketching process and so I don't want to make things too complicated with that, But that's just something then I automatically think about now and it saves work. Actually, you don't have to do everything in in one stage. The pencil stages sketchy and rough, but that's okay, doesn't have to be a finished drawing, and then you can add fine Linus. Accentuation is later, but that doesn't all also doesn't have to be a finished drawing. And then you have Walter collar and those three mediums combined can give really rich and results. I think so. I'm just adding all kinds of accentuation is here and there, trying to get a structure off that building nationally defined. I see that there's a fence and this old buildings quite complicated, I must say. So I'm trying to add some lines to suggest it's ornamentation here, and I have to watch out because I am collecting graphite on my hands and making an imprint on the rest of the drawing, so I should have thought of that before. But I'm just using this piece of paper to avoid that, and while I'm doing that, I feel more freedom to actually move my hands on this paper so you wouldn't be able to rebuild this building on basis off my sketch here because it's too vague and too messy. But I like the sketchy nous of this. I think it's gifts in general. Nice impression later on, when? When it is finished and it has that what the colors. Also, I think it can give a really nice impression off this building. What's It's not inaccurate technical drawing or something. There has to be some sort of freedom to at something here at something there and to have fun with making this. I found making this so roughly there is this building now that's a go to the other buildings, and there's this white building here that's quite dominant. So let's start by adding deaths. I think from from that one I can do the rest easily if that's what it defines having the rest off these buildings here. Adding some doc accentuation into each window are not going to delineate each window exactly as a rectangular shape or something, because I think that's then it becomes tedious. I think it's more beautiful to suggest shape just by adding some accentuation is we didn't that's framework off, um, off windows. So got a little bit closer here. Now I'm doing this Sparks. This is a darker area, so I want some indication off. That's But as I said, I leave it up to the watercolor to really make a docker. There was this house with this these shapes industry angle ship, another going to counties exactly are not going to count every horizontal and vertical line here, but a suggestion off it. It's nice. I do count toe windows when I draw them in, because that's that's quite easy. It makes it's actually easier to do that, and I just add some accentuation. As I said, I do not delineate every window as a rectangular shape, but within the shape off the window. I just at some dark ah, accentuation your tree. I'm going to show, you know, have a little bit again and there are these lines on the pavements. I don't think I've been really accurate. This one should be more Well, I don't know it. This one is okay. More or less. I really like the kind off Freedom T to maintain a certain freedom. I like to do that because when you are, for example, using a ruler to exactly draw this life every straight. I mean that that that would be not. That would not be in accordance with the rest of the drawing. So to have this free hand line is small in line with the rest off the drawing. So it and um yeah, it has to have that atmosphere, so to speak. So when you look at all kinds of individual details, I don't think anything is exactly as it shoots stance. When you think about in those kind of firms, it's not totally accurate. But in general, as a as an impression, that's something that you can make relatively quick. I think this is a really nice approach to do that. The looseness off it's, I think it's important to maintain that freedom. So the next step will be using watercolor to make this come a life a bit more. Even more 34. 36 Antwerp Hendrick Conscienceplein Demo Watercolor: I'm going to adds water color to this sketch. And when I look at the the video, there's a sort of grayish brownish stone over all of it, perhaps except this white building. Some the areas whites. I'm going to add a wash or roughly something like a wash. Typical watercolour terminal wash. And my background is all dates. So let's try this. I add a little bit of black and I mix a little bit of black and yellow ochre and quite a lot of water. And I want to have grayish, brownish. Don'ts. So this house here, let's make this brownish. And I'm going to use the same color here. In this larger building is same mixture. And higher up disk. This build is quite wide, so I'm not going to do that, but the lower half of it, I make brownish and just adding it. And I want to more grayish tone for the ground. But let's first add some more of this here and there. And these houses here are bit more reddish. So just a little bit of, I think it's burnt sienna. Some accentuation. Hence. Maybe I can add a little bit here. Already. Because that's Wall of those walls of the building on not one uniform Brown is collared. They have a sort of fair, fair abbreviation of brownish stones. And let's see here, forgot this part here. And these roofs are bit more reddish, so let's add a little bit more red here. And here. And now I want more grayish stones. Cos, oops, that's very dark. I don't want it to be that. But let's add some water. And I don't want it to be really only black, so I add a little bit of ochre here. I don't want to be like this. Oops. And let's add some more water here. And I'm going to add color. But I tried to leave these lines open a little bit. So let's see if I can add some accentuate patients. Maybe try to get a little bit of the texture of those stones. Are they called cobblestones? I'm not sure, but stones anyway. Not D stones. Let's just add some here. And this area is very dark, so I can get this darker gray here. And let's use this to make these parts darker. And I just go over all of these details to see if I can use this gray in these things is going to also use gray. This area with the door. I actually like it when when you have, let's say a pen drawing with a fine liner. And you have this area here in which I extent. The water color a bit beyond the actual pen drawing or the actual angle of the final ILO. So when its logical extension, I mean, this building is higher than this. Then what some of the videos so you can extend it a little bit. But I don't, I don't know what, how does building actually looks like from memory. So I cannot go to foreign debt. Just a little accentuation above the actual drawing works quite nicely, I think to make it more sketchy and freer, I'm using a green now and I added some brownish. Think. You can use brown and yellow ochre and this green, I don't know exactly which green this is, but it is too bright to just use it in this rainy atmosphere. So I add some brown colors to this green so it fits smarter atmosphere of the of the scene. And I'm looking at places where I could use this green, but I don't really see it. So let's not go overboard with this. And now that I have added color all through the sketch, I want to see where I can add accentuation or F color. So let's make this brown is stent here. And see if I can add a little bit of texture to this house. Just some accentuation human there. And I'm using this here too. Maybe it's a bit bright. This oops. That's very dark. Sometimes when you have a mixture, you can try it at certain dark areas where it doesn't hurt. But here, I just add some accentuation to make it lifelong. And as I go along, I can, I can make certain shapes more accurate. And let's use this also in this larger building. And let's see. At this moment on my screen there is this man who's making a photograph. Here you can see em. So I'm going to make this part read, which is nice accentuation. And he has blue trousers. So let's add some blue there as well. Think is wearing jeans. And there's also a bit of radish tone here. These people give it some atmosphere. At C. I'm going to add some more accentuation, 2D stones. This is little bit darker gray. I think that works nicely. And I just tried to enhance the bathroom. Let's let's try to close the wide areas a little bit here and there. And now I want to add some color to these lines in between. Without going overboard. Just some situations here and there. So as my hand moves along this line, I just have this rhythm of adding accentuation on the paper. Whoops. By accident. I touched the paper a bit too much there. But accidents do happen. So be prepared when you are urban sketching to, to have accidents happen and try to treat them as interesting additions to what you're doing. On trying to. If this white house a little bit of definition by using this yellow ochre. So I'm not sure which really, if it's really works, but let's see. And now I want, I'm, I'm cleaning my brush a little bit with this this here, the sponge. And I wanted to have a little bit of light grey to just to have this house a little bit off white or et cetera, et cetera, right? Expression, but it's not totally white anymore. Just a little bit of definition there. This can be a little bit darker. And this two. And now I want to look at certain darker parts. I add a little brown here so I find to make water column to use large parts of only black. It's a bit gloomy or I think maybe it would fit the atmosphere bit, but attempt to make slit widths brown or something to make it softer or bit's a bit richer. I think, I think that's a nice term for it. And I'm just adding accentuation human there to make this area a bit darker, but not just in one go. I tried to have some sort of meaningful yeah. Texture or a pattern. I can enhance the sleeves as well. And what I didn't do, but what I want to do, I forgot actually these windows. I can add accentuation to these windows, which makes them a bit more interesting situations in watercolor. But I don't have to do it everywhere because the fine line or does its work to and let's see. I'm looking at sketch over all because I don't want to do too much about it anymore. I feel like I would ruin it if I go on for too long, but I want to have some more clarity in this watercolor. So I add some situations where I can to make certain parts Docker, where it fits. Let's make this house a little bit darker. It's two lights, so and this can be dark or two after tendency now to use a broad brush Broadway of rushing. Now, I want to have more clarity in this and this one. And I'm think I'm reaching a point that I shouldn't do too much about it anymore. I think it's it really needed what I did the last few minutes to have some sort of, you know, I made this house darker and I added some more darker brushstrokes here and there, which really needed that to get more clarity, to get more. But I think it's okay now. So let's do nothing anymore and leave it as it is now. 35. 37 Breda Park Valkenberg Demo Fine liner: this'd is a nice scene for a quick sketch. There are fountains in the water and there's a lot of trees in the back and you have the reflection in the water, the streets, reflections. I just keep it very simple in this case, just long lines. That's parts here, and it's I just leave this way, and this doesn't look pretty impressive, but I'm going to add water color on this basis. 36. 38 Breda Park Valkenberg Demo Watercolor: I'm going to add color to this quickly made sketch that I made before. And fine line of this is the bark and the Hadar which I have drawn. And it's actually quite simple. Seen green, blue reflections in the water, these fountains. So I want to leave some white of the paper untouched when I am adding this green. So I want to be careful in that. That will first add a wash for the sky. Then green. So let's just begin. And I need some dark green. And take some of that gray here around. It's all bits are taken off the colored that I'm seeing on the screen. And then I'll just look here. Start mixing colors. And then I see all these little bit too bright and color. Add a little brown. And in Brown to Queen is nice. I must say. So. Now I'm doing this. I've take, well maybe I should have started with a watch for the sky, but hey, sometimes you're spontaneous and just don't do the things that maybe are the best way you think about it, but it adds a bit to the sketchy nature of basalt. And so when I look at the video, these are large areas of color. Anyway, so it's not really that much of a problem. But now I want to add some blue. So I'm going to clean this brush too. And let's see, there are clouds here and here a bit. At some nice water. A lot of water. I mean, it's just flew here. Needs some more brighter blue. And let's add here little bit of blue to I'm here because that's the reflection in the water. So I just add some bluish stones in the water here. And I add a little bit of gray with blue. And then we can add little bit grayish, cool grey for the road. Here, we're older pathway. And now I want to work with a little more green. And let's do the reflections in the water as well. Let's see here. And I'm just looking at the different areas where I see reflections and dark passages, passages that dark areas. And now I'm going to add some texture as well. A lot of leaves. And I'm just gone from one area to the other. And the mixture of brown and a little bit of an array is to make mixture for my tweets. Now, sometimes I close my eyes halfway bits. I think squinting is two words in English too. To look through the eyes of my 2D hairs of my eyes. And then I see more or less a tonal values instead of all the details. So you can do that too. So I'm adding textures now, folded trees. And I'm working a little bit more on the reflections in the water. I live a bit brighter green. There was this green area along this path. And now that I've done that, I need to extend the OK, that's too much brown. I need to extent the reflection in the water a bit dark here. And now I want to carefully you find a scene a little bit better. See if I can actually make it look like a scene in a parlor. Quit three fountains. When you are making a sketch of houses, you can easily see all that's door and that's your window. And it's a house that's, let's say, more characteristic, more recognizable nouns. This is actually more sort of abstract structure almost if you don't know what's there. So let's just go on with this one. But when you have made the drowning of houses which are fine line there and it's pretty detailed. You can add watercolor in a way that gives it more atmosphere. But in this case, because I made it really quick sketch with the fine liner, the watercolor needs to do the work in a way to make it recognizable and yeah, to define what's actually there. So I'm not finished yet. I'm not ready yet. And sometimes you can make a sketch which is barely recognizable, but which might have certain atmosphere in it. At maybe if you know what, what it is actually, it can be a nice record of that day. So you don't always have to be very realistic and everything. But I tried to make this photo realistic because that's my age now. But you can also have quick sketches which shall bordering on the abstracts. And those can be fun to. So now I'm looking at those fountains. And I'm adding x situations here and there. If there would be a building here, a tower or a castle, this would be easier to finish in a way as to make it into a recognizable seeing. Now I have these structures like a fat tree fountains. That's, it's difficult to make it really recognizable because what does a fatter look like? Well, everybody knows sort of found Tunis. But when you're menu, see a house or a castle with few towers. It's, let's say, quicker to make it recognizable. Track to give some, a little bit of texture to the pathway. It was a bit too dark here. So sometimes I use my fingers as well. Something I don't like to do if it's driving smith, Hey. And there are some reddish situations to be made here that she wrote. Some leaves lying here, lambda spots. So it's nice to add some accentuation here. And while I have this yellow we colored There are some leaves in the tree left, ultimately leaves, but still hanging in a tree. It yellow. So I can add a little bit of yellow to these trees as well. I want to find this a little bit more. The border between the bat in concrete or what is it enter green of the grass. And now on to do the last thinks about water. And this sketch, general because otherwise if fi luck, I'm working too long on this. And I think I'll leave it at this. It's a bit abstract almost. But if I go further with this, it becomes heavy handed rights. And I think it's a nice spontaneous sketch. It's not the most recognizable sketch, but obtained that the kind of a scene that's this is leads to that as well. But I had fun doing it and that's also important. 37. 39 Delft Behind the Nieuwe Kerk Demo Fine liner: I think, just behind the new mechanic. The new church has called not really new because it's 300 years old but has a nice bridge in the distance. Some trees and you can spaz the video if you want to catch up. Um, these are just some quick sketches to show you very loose way of approaching it. So in some of my sketches that I show you in this course in this class, you can see very carefully, uh, constructed perspective. Well, I'm not saying it's really, really technically very carefully, but in a way it's carefully done to to have a dollar with a sort of perspective construction. But I try not to think too much, just draw, and that's that hand go over the favorites. So I observe, uh, what I am drumming. I try to get textures in them pants. I tried to get things and more or less rights, but you also have to, besides learning certain things about perspective and texture, it's also important to get certain looseness in its a certain, um, freedom. I think freedom is an important work in this. Hence one dropping will turn out better than the other But that's always the case and sometimes very carefully made drawing. It's pleasing, but sometimes a very quick sketch capture something off the moods more than the ferry. Elaborate trawling. See this trees dark could save that for the water college stage mints. A nice hatching is also nice, and I just add some more darkness. You so you can see these leaves from the tree on the left ends. Let's now were carefully, a little bit more on this bridge, because that's quite a recognizable feature and because the water there was some wind and there was some green stuff from the plants on the water. So you don't really see you good reflection off this bridge on the water at some windows here. So after very loose starts, um, having some dust for texture of the stones in the church, I am adding actually some more detailed some more lines that are carefully place to get a little bit off definition in this sketch a little bit more without losing the spontaneity. There is this line in the church sort of rich, which goes around the church. - That's that's some more definition and detail in this. This area here, that's to me is it's the most important area focal points stance. I think that by adding color, it can be ritual drawing actually, like these lines from the street here on the left. 38. 40 Delft Behind the Nieuwe Kerk Demo Watercolor: I'm going to add a lot of color off to to this sketch. It is a church. This is water. This is a tree. And I made this sketch very quickly. So it is a bit abstract. Almost so let's see what we can do. First, I'm going to at some washes for the largest areas. This brownie off the church here. And ah, maybe these buildings here and then the green. What we see here and then we have these dark areas of the trees. So let's begin. First, I want to do this brownish color for the church. A little bit of rats, that a bit of gray here and quite some water. And I put some here so I can dilute it a bit more with water once I get this family, doc, water. Uh, we were watching paint here and let's just Well, it could have some talk Waltz of paint. That's just as a wash for this whole church area here. And let's make this a bit darker, even for a reflection, because then we can do that one. Go. We haven't done that as well, and green rush a little bit, and then I think some of this and I can do this house years Well, and I take some orange radish. I called her full. The roofs off these houses shall nicely brought in color. And then I want to at some blue for the water here, not too dark. That's also bits in the air. And it's it was a quick sketch. Try to have, let's say, a spontaneous quick approach in my applying off while the column swell. Let's see this area year. It's quite dark. This is a quite dark scene, and in some water cars or the color sketches. Try to leave things a bit on the larger sides. But this here needs these dark areas. It's just five, this scene, and let's he these ranches off the tree. I thought those were interesting to draw to sketch. And let's use this for other areas. A swell here I'm going from one part of the other. And so, yeah, there are seat with this dark brush where I can have some dark tones. It needs deaths. Let's do some horizontal. Accentuation is in the water. First, it's a bit too dark. This rich and some accentuation is in this church. I'm moving very quickly now from one part of the other. Just adds ex situations. Now I want to add some green accentuation is here and there upstairs, green here and there. In this video, it's a bit of a mess, but in this case I like that I'm going outside off what I see on my video screen here. But I guess that's tree extends beyond that's area on the left. And that's at some green here and here in the water that's also there. Waas something in the water, which was green shirt off. I don't know. From the trees, perhaps, or another plants. I'm not sure what it wa spots. The water was discovered with something greenish. I think it was really natural. I don't think it was something chemical salting like That's, uh oh, and I'm just affects situations. Not with a lot of green. He was a bike standing, - the reflection of Walter's favorite dark here in the video. Hence, let's not go too dark with everything because I watched against a bit of a gloomy atmosphere ends. It's not really what I want, so that's at some yellow. Here are geese, sunscreens. I think I don't know exactly what I see there that I'm looking for. Areas where I can have a little bit off Bracho yellow so and here, Also mixing the yellow on paper with this color off the church here. - And let's see, I don't want to make this sketch too heavy handed. It's a fabulous you sketch hands. Um, maybe not the most recognizable. But sometimes you have these loose catches, which can be a little bit abstract extent. There's a little bit beyond the video screen. Let's see if I can add some more accentuation. So sometimes when you are sketching and you are busy making sketches trying to get everything right, perspective wise, that twice proportion wise. It's fun to have illusion approaches well, to make something like this. And I'm not saying this is the best sketch that I make of all of these that I make for this class. Um, but I like a shorten looseness of it, not caring too much sometimes. So just watching what you have in front a few ends, it's possible that something like this it's more a reflection off the moods that you have on a certain day when you are sketching them a very meticulously made sketch, and it can both be fun to make. But sometimes it's just fun to make something like this and what you know, where this sauce made. You often recognize it in its and some someone who doesn't know where this was made wouldn't know where this food is. Recognize it? Perhaps if that person was living in de left months. Um, sometimes it's good to leave the perfectionism that's home and have fun and maybe deaths toe a little. Yeah, a little lesson, I don't know. But that's why I keep. That's why I add this sketch shouting to this glasses. Well, just have fun with it. And don't worry too much about the end results. You can make another attempt at the next sketch to make very recognizable see, but I like the looseness off. It's different textures in the trees. So it was fun to do this. And I think if I proceed with this sketch becomes heavy handed, maybe it is already butts. I think that's nice about this approach. Just letting go. And, uh, yeah, I have to see afterwards. Um, what is my preference? Very carefully. made sketch are very loose sketch a thing that's rueful. Boats approaches, even from the same artist at the same day. And I leave it at this groups. Yeah, when I started correct my home, um, sketches at the ends and I want to get rid of something that I Perhaps now I must leave this long. Yeah. 39. 41 Delft Hooikade Demo Fine liner: To make a drawing, a sketch of a place in Delft. And there are some reflections in the water here. So you see, let's say a sort of distorted mirror image, I would almost say, to put it simply of these boats. There's a road here with bicycles right after those boats and some buildings. So yeah, and I wanted to freely sketch. I'm going to start a take with this boats and we see how it goes from there. So let's just sketch that boat in the middle. And let's see. I just start directly with its fine line or some of my sketches. I start with pencil bots for this course, but I actually like, let's say to Sketch units and freedom of just directly starting with this final Anna. And I tried to get the characteristics of the boats. It must sketch. And as a bowl of something here with a wide parts and as another boats. And they are lined up f to each other. So the boats are more or less just as high when you look at this part here. And those windows, if its character, in a way, there's a door here. And this side is also such a poll. I don't know what the correct name would be for death, but at a white thing on top, a see you part of another boat here. And I just try to sketch, really draw these boats heavy likely I put them on the paper. And this road is here. It looks a little chaotic. You have a fence here. Sometimes in the video loop you see someone walking in front of the camera. And let's just adds a little bit of this fencing these at a certain rhythm. I'm not sure I put them all at the right place, but let's just try to put them at the same length from each other. And you have some sort of Staircase, some, something like that here. And I just suggest that more or less that shape I put in there. And then you have these buildings. The part that I'm looking forward to is actually the water. So this is more or less sort of background noise. I would almost say. Let's see, I'm not going to to totally draw that. I don't think so. Because you don't have to exactly draw the whole image of, of, of this video. You can choose a certain area which you like. Sometimes you end up quite dropping it off. But now I'm going to at reflections in the water. So I'm going to carefully look. Where are the darker areas? What do they correspond with? You have this window here. You have this dark area here, and you have this lighter area here. And it corresponds with this such constantly looking what's underneath the boats and where does it correspond to it? And let's say the mirror image seems to be broken here in the water. There is some sort of other current, i think something the water moves a bit. So if the water was perfectly still, I think that you would see an almost perfect reflection, NACA mirror image. But the water is moving us all kinds of movement in the water soda, the reflection gets distorted and here it, it, it actually stops being reflected at this point. And as I said, is if this was perfectly still water, you would see that totally reflected, I think, with some with some lesser saturated colors and so on. But in general, you would see them reflected, but that's not really the case now. And I'm just looking at the darker areas under needs, these boats to see where I can gets the goods. Referred. Reflection in the water drawn on the paper. Quite sharp line here. And if you want to follow this drawing, just stop at the right moment that you think, well, I need to catch up or just go back in the video and follow it step by step. I am adding some hatchlings. Make it a bit darker here and there. And if you are using watercolor later, you can think ahead and think by itself. Will I make this dark by using watercolor, or will I make this dark by using hatchlings with Ben? So let's see what am I doing here? And there is a sort of there are these, let's say horizontal lines, the washroom. You could column that as a sort of texture, the, the waves in the water. You get these relatively horizontal lines. And Shall I draw that the rope, that yellow rope that you see? Not sure. Let's, let's draw that as well. So it gives a certain idea of depths. But since that roped as no contexts almost it's, you can wonder shell up, put it in or not. And I just wanted to try it. Let me put it that way. I see a little duck floating by. At some point in the video, you can see a duck here. So that gives a nice touch. And I'm going to add some more dark hatchlings behind those boats because I did that here. So it's nice to finish. There's a fence here. I forgot. It's very easy to forget things in such a complicated scene, but maybe forgetting something is also an indication of it's a sort of filter. So when you are making a sketch, you look at the things that interest you. So it's also part of making a quick sketch that you filter out what you find important and you find interesting. And it doesn't have to be a bad thing to actually forget about something. And you got your quick sketch, it's part of what you are doing, their part, part of your experience. And let's see. I'm going to make certain areas a bit dark or now I think I'm going to make this bow to focal points. So I'm going to work a bit more on this one boat here. Oops, and tried to keep the head ships in the water in the same direction of those lines in the water which are quite horizontal. If you start adding, let's say vertical lines. I'm not saying that it can't work, but a feel that it's better now to use horizontal head shakes like the same one. Main direction. And you can cross hatch in a subtle way by changing the direction of those had shrinks? A little bit. I do not even have the habit of having such such a change in this way, in this horizontal way in one direction, but feel that this is better now in the water, I mean, at the TNC above the water to cross hatch in every direction that I feel like in the water, it's nicer acting to keep them in one that horizontal direction. And especially in this area, it has a nice dark reflection actually. So it's nice to work a little bit more on that. And let's not think, Oh, well, I'm urban sketching with history. I have to be fast, but because in reality you can sit down for an hour and work, we'll sketch. So I'm not going to take an hour, but I want to make a nice sketch for you to look at. This mode is quite the auger. And this needs to be dark or two. And I think that's a shouldn't put too much effort in making everything doc who it? Cross hatching around here. A little bits. And now what I want to do, I want to finish this stage of the sketch show. I think I'm going to add some water color later, but I want to make the sketch a little bit clearer. Little some accentuation human there. So there is an interesting dark spot here. So at a certain point when you're making a sketch like this, it gets quite chaotic. And now that I'm making these kind of sketches, I am finding that out. This face that in the, in, in working on a sketch that I've found that towards finishing this stage of the sketch, I want to look for accentuation set I can place around a central theme, central motif that makes this clearer, that gives this sketch more directions, so to speak. So this boat, to me is the most important motif of this sketch. And I want to make this sketch is such a way that this boat is focal points. And that's there's some sort of harmony in this sketch that is not too chaotic. So I add some darker areas here in there just to give the sketch mock clarity. That's, that's derived expression, I think give more clarity and I think I'm finished now with this stage of the sketch. So this boats is center stage in the sketch. While I'm going to do next is, oops, I forgot that. But I'm going to do next is at some water color to give it more sphere. And I try not to be too perfectionist and it's because you can add endlessly all kinds of things. Let's just leave it at this for now. 40. 42 Delft Hooikade Demo Watercolor: that's at some color to do sketch ants that see where to begin. When I look at this video, the costs in general seem a bit muted. It was a cloudy day, but rainy and gray shawl. You have some reddish situations here and there, so I'm just going to add to mix. I mean, I'm using this while the color rush with a container of water. I'm going to make some black and blue with each other at some water. Here it more blue, and I just start adding some axe situations accentuation of starting to at the color in the water. That's the first thing I want to country toe water. And let's see, I want to have a dark clear. So let's just stick black M brow for the background behind to it behind the boats. I don't want to make debts to bluish, just that's sort of dark brown here. I just extended to the background here, not going to make it too complicated for myself. So it's just a brownish color Doc Brown, black and Brown, and I think care that I leave those for whites CD two poles here with this, these two white accentuation is between the boat. I leave them white. Take care not to make them dark, using watercolor on just loosely at some groups. That's a bit too dark at some water color here and there at some color. If sometimes I have the have a tendency to use my dump off fingers to a guest, a few things here and there, and I need some larger brown. But it must not be too bright because it's a grey and dull day. Let's let's see if I can, at some color to the building. It is this very Sketchley. Of course, I don't want this background to be too detailed because the main focus is in the front, and I have a tendency to that's some brownish tents here in the water, too brownish, not really brownish, but compare to the previous collar that I used for the water. A little bit of brownish ah color or more in the direction of Brown. I should say so, but not to Brown hopes want to have blue and black again here and in the water. I used these horizontal accentuation all the time, and I tried to think of what my main focus is that both in the middle. So I need to think off. That's not going to put too much detail around everything else. Smuts. I wanted boats to be the focal points, and that rope here is yellow. So that's a nice nice one, too. Think of that. Just some accentuation even there, Um, I just used the same color for these windows, and now I'm going to carefully look around this boat. So I want this boat to be well defined within the context off my what color And their this boat seems to have some rats lines. So that's adds a little bit of red here and there in pride in this up this water collar, I think, to add some rats. Also in the backgrounds there was rats. See if we can use abroad to rats here and there. I see something here a little darker Red. Now what? This door a little bit in the water down. I makes it a little bit with the blue here, the dark blue to get the reds a little less saturated in the water. So not really physical, So I may be exaggerating here now. I want to clean my brush and I want to have this dark blue hands I diluted with much water . Let's see if that works and I just want to. That's Sarnoff, bluish stone to all of that water, like a wash. Even start with that butts. I feel like doing that now. I'm not the most disciplines, a lot of color person, and it's at a little more brighter blue here to add some to the air. Let's see if I can have a little bit to this building ants. This reflection. It must be a little off white, so it must be wide but not too two rights. So looking at the reflections in the water here and there, and I want to add some yellow for the rope on their needs, but it must be a little bit. It must not be too bright, brownish yellow. I think it livens up the sketch to add a little bit of color here, and let's continued this rope a little bit outside of this area. It gives it some extra sketchy nous. I'm going to clean this brush again. Just put some water on Dishpan Shin's to Dante and let's see where I can refined. It's dropping now because I want to finish this sketch, but I want to improve its a little bit still. So let's have this dark, bluish, a bit of brownish tents here. And since this boats is the focal point, I add some, um, total value with this watercolor around. It's carefully now. So Dad's a stage in which you can freely at color ends. Now I'm at stage that I want to finish this sketch in there once to create some clarity in its and I add some AC situations here and there to get this picture clearer and try to use my fingers to get this to get some water. Call here away here, so this gets a bit of light toe. It's easy to go too dark in some areas, so but I'm going to try next is to make this area a little bit lighter if I have finished using this this collar. But I would like to have this area off the boat lightest and to have a little bit of a wash here. Yet you see, that's it's a bit darker now. Must not be too lighter, so and what I now want to do get this brush a little bit cleaner, and now we go to try. Try to makes some areas in the reflection lighter because when you adds water to dried water paint, it gets wet again. It can remove a little bit off it, but not too much. - That's at some finishing touches. Here is some green, which is nice green window here, and I think I leave that this 41. 43 Delft Markt Demo Fine liner: Of course, I made careful and driving off these houses. Let's see if I can make very quick sketch. These have that just at quick lines here. And these windows provided Nash rhythm that at this house too. I didn't do that in my example in the class when I was measuring here also. And then there are these lines on the pavements. Let's add some doubts to suggest stones on the pavements. Yes, quite nice perspective effect here. So I have roughly on the paper. Now these houses, that's at that church in the back as well. And now I'm just going to handsome Accentuation is here and there. The point is, when you make driving off one house, uh, you have to get it more or less correct, because you only have that one house with 17 details, so to speak, to recognize this area upon. But when you have multiple houses, does this largest structure which is more dominance for the whole impression off the drumming, then the look off one house. So the exact details one house are less defining for drawing them what you're drawing as a whole, and I'm adding more situations and I have a tendency to not want to be to detail because I don't want to lose certain, um, at the Chu Deny. Have a certain looseness that I have in actually drawing this so you can make very elaborate, careful, drawling. But you can also fuel more freedom to just put something on the paper, which is he arrived from much in front of you, and that's kind of work as well. And this may be a more truthful can lead to coma. Truthful impression off How you experienced that afternoon that you were there drawing. I can make it life flee. Or even so, I think this is a nice sketch. I don't think a single detail is correct, but as a whole, it's It's I it I like, it's it's really wobbly, but I think I make this with the intention off. And while the color later. And so that's also the addition off. While the color that I will make its I'm it rich or having some total value, there's a bitchin walking around. Not sure if you can recognize it. That's a beach in, but and sometimes as cyclist going, so I'm going to church where that lady is. Where is the cyclist? - Years of cyclist and I want to ads for machine. You see this one? So it's this house, but you can move that bit if you want, but let's make some strong situations to get that. I'm on the paper in this scene. It has to blend in. So I want the same dropping style in cyclist as 1/2. In other details, I think you look at this, you can recognize a cyclist which gives us a bit more life Penis. So this is the drawing off these houses Very loose and quick weight. A little more texture here, Yeah. 42. 44 Delft Markt Demo Watercolor: that's that's a little bit off color to this. This sketch. It's all quite dark, very lights air. But this is a direct sunlight here, very sharp shadows, but you don't really see that to too good so clearly. But most of the colors are dark. That's a nice speech, you know. So I'm first going to make a color off. Oops, that's a bit too much black, black and brown and going to diluted with water. And I'm just going to a wash over these dark houses and try to avoid the White House's, but especially the darker areas. I try to give them a wash. The church can be darker, and this is just brown and black. And when I have completed this wash and I I applied it in a very sketchy way, I must say so let's just do this and then I adds accentuation. So uhm, I'm going to add some reddish accentuation is for the roofs. He was. A roof can have some ex situations. Um, this is nice, too. Add a little bit. It's actually too bright Retz, but I want to try this. Um, sometimes you can exaggerate a little bit and It's kind of work, and now I want to add some darker color. This is a bit too black. I had a little little bit of blue, so it becomes grayish and certain roofs. I'm going to add some great to him. So I'm just adding accentuation. When you look at the kind off image that this is with all those windows, it's very difficult to, um, make it quick catch ins. Do that's Frieri accurate. But I think this image gives a very nice opportunity to have a life Lee sketch with lots of accentuation situations coming from those windows from the towers here from the church and I just Eustis dark gray and I go here and there, adding something here, something down something of a window. It's that little bits. There's a whole pattern off doors and windows. So that's just at some AC situations derived from those elements that maybe there are some right houses acquit if editor light greys wash to them. But I didn't do that. Let's see, I actually like it this way, but let's see if I could That's too dark. But hey, now that it's there, that's also a possibility, and Let's see. Basement needs apps. That's really too dark. I'm going to dilute it with more water. So I want this basement that the whiteness is a way of it. The dance is certain tone, every lights tone but the white. This must be a little bit away. I try to add a little bit off texture now, but I have to wait until this is smart. Try. That's half a little bit to the dry parts, certain texture. It's just some dots to accentuates to suggest stones in the basement. He was a nice opportunity for some rats accentuation, but I must say, I'm starting to like this one. So and in the spirit off making a quick sketch I want to do something with that air, but I have to deluded too much water just to get the whiteness off the paper away. Um, it's I had this. It's not much on Let's have a little bit off accentuation here with this. The street lights and there is that wash from the air. So you see that toe Walters that the ink spreads off the the bench sprouts a bit, but I don't really mind. That's nice effect and there's two speech in. That's a funny pigeon. Not sure if it's recognizable as such. I just leave it at this awaits. There's an opportunity to have a little bit of a yellow accentuation, which camp right in this scene, up a little bit. That's here. And already more areas Shrek and Antz, some colorful like situations. He was nice, and you? I leave that this. I think it's a nice, quick sketch. 43. 45 Delft Oostpoort3 Demo Fine liner: I think this is a very symmetrical composition, and I'm really catching quickly. Tim. Two wides without just correct. So let's shoe. I am on location and I want to really quick sketch. Then I can have this fabulous news wave drawing every times its charm. So that's he. If I could add some lines and nuts, um, pavements, suggesting pavements. There is a sign here on the rights. It's also nice D to you have some cyclists Good bye. And let's see if I can add a little bit of detail here and there as this building in front of these towers sometimes terrace the fan walk driving here. So that's that's this vehicle, and I think it's really nice, very quick set up. I can add water color later, just a very quick sketch. And if you want to make the similar sketch, you can try to make it very quick sketch like I did, and sometimes she could boss video if you want to follow this. But you can also try to make a more elaborate sketch like out of sketches that I've also made as an example in this class. But I like to gets a sketch for every video that I'm putting up here, and I like to have different approaches. So when you are on location, you won't always, um, dispensed 45 minutes to carefully draw everything. You also want to be able to have a fairly quick impression off something on your paper, and it's also a bit of attitudes not to worry too much. Just put it there. And if it's not directly correct, like I put this tower too much to the right at first just Drover, it's not very too much. By the time you have finished your sketch, there are so many lines on the paper that this is a nice echo off this line sort of halo almost off this, which can be a nice effect. 44. 46 Delft Oostpoort3 Demo Watercolor: I'm going to add some color to this sketch, just the video that I made there so half this Eastgate in their left Coast ports. And this is brownish, reddish, brownish, greenish. All the cars are quite muted, so let's begin a bit off water. Start with Brown a bit off black to make it more grayish. Oops, a lot of black there, a little bit of blue and at some water. And let's give it a certain watch wash, not a watch wash. And I'm not feeling everything. I like this little whites area steps are still untouched. Basement. It's a bit different in color. Some water here, that's he. Maybe it's a bit too bright and collar this. So I as a more grayish tones here. So and now I'm going to do the green off the leaves. It's all crashed. All these scholars, so I use quite a lot of black. Actually, some people might not. I want to use black butts. I actually like to use it, the brownish, sometimes the green straight from the pigments off to bank that you buy in the stores of it to green, and I asked just a little bit off brown to its and I try to. I had a little bit off texture to within the way I handle this. Thanks. So you see these brush strokes a little bit off a different mixture, a little bit more greenish now, so I just add some situations. It's very difficult when you try to mix a little bit more of the same color to get exactly that Scholar again should try to use that to your advantage and make it a bit more diverse tree. That's also a way to approach it here on the left us also green. There was a car passing in the video that I have drawn here. Not sure. Oh, I think I've seen it now. Although I think I make it a blue. Them not sure if it was actually blue. I don't think so, really. But hey, it's my sketch. So if you read nuts for the lights or something like that, just a suggestion. I I don't know what's what was really the color off debts. I could watch the whole video again, but you can also improvised a little bit. Um, I'm going to add some dark situations to this gates, and there is effective Weitz fence here. I don't have what quashed, so just leave it like this. But otherwise you can add. Some white situations are try to leave its open, so to speak. Let's see if I make this docker and just leave the gates open, so to speak, I don't think the gate. So I just add a little bit off brownish cover to the east gates, the whole building here. But this fence, I mean, I call this a gates. This fence. I just leave it open. So and when you have for White Wash, you can accentuated the little bit sports. I don't f debts at this moment of hands. That's that's, um, ex situations on the basements and a little bit off bluish gray for the towers. I think that's nice, but first I would like to have a little bit of a wash in the air. So, uh, let's just make it a little. It's diluted bits. I just want to have se the likeness off the paper a bit broken. So if some suggestion off a blue sky or something in the sky that was by accident butts, let's just keep it that way. And let's see if I can add a little bit off. Thank you. I I was afraid that it would, uh, go into the air because that's water that just apply their butts. It's going okay. And a bit off activity here behind this, even a little bit of green. And I'm looking just a little hint off the air and I just leave that this I think it's nice sketch. Oh, I want to break this ship a little bit. Anyway, I like it as it is now. A quick sketch. Eastgate in de lift. 45. 47 Delft Trompetstraat Demo Fine liner: have a nice street with bicycles and plants and just it was too white. I just start sketching and you can. I started drawing very carefully, but you can also just starts bang and adjust thinks later. I mean, don't be afraid to to correct something because, um if you are not afraid to correct something, you feel more at ease. Just starting. Sketch. He was a bike, and I want to have an indication off that bike that you think, Hey, that's back there. But I don't want to be too detailed in this because that would capture too much attention to this one. Deed must blend in with the rest off. The drawing style just fried me loose. In this case not are like here. And let's see there are Windows must taken into account perspective. Missed. Watch that little bits. But I'm not even drawing all of the windows with all details butts. Just indicating them can be enough to suggest that there there is a bunch of houses there, which windows, etcetera. And here here is a bush, so I can't really see what's happening here with house system. What's slowly, this streets. It's common on the paper here. Try to get a texture based on this plants. There's a flower. It was very low few point that are used here. Let's see if I can add some detail here. There's a street lights That's a nice elements and I'm not going to. You are all off the stones in the street, but I tried to at some that's true based on those stones based on the SOF battering off stones in there. And let's add some texture, too. The green plants on this wall and also here I add some doubts and little's little hatching . You're not really hatching, but texture off little lines. So you little lines that are vertical and richer, directed to the vanishing points more or less in a quick way. And now I get to the point that I want some more clarity in this very quick sketch. So I'm going toe, adds accentuation and see if I can also take into account. That's like situations that are closer to me more to the front when I make them take her. So I gather a sense off deaths in this sketch, but especially some clarity. So you look at this drama, and immediately you get a sense off space and direction off certain shapes. And later on I can add some water color. So I have to leave some green for watercolor, too. Define things, make things docker. So if if this would only be a pencil sketch or let's say Ben, a fine line of sketch Kevin ink sketch, then it would probably be more detailed in this stage. And that's at some more detail. I want his bicycle really to blend in with the rest of this walls, so lose a little bit of definition. But when you look at this, you see the shapes off those wheels, and that can be just enough to suggest that there's a bicycle. It's also some plumbing here, so let's and some situations here, too. Show that this actually streets. I think it wasn't clear enough up until now, and I can add some cholera later 46. 48 Delft Trompetstraat Demo Watercolor: I'm going to add some color to this, uh, sketch. Here. I have the video and lots off muted colors here and some greenish colors, which are a bit brighter. So I think the first start with the wash a little bit of blue in the background for the for the sky and here this these loss areas off brownish reddish colors tried to leave a little bit open for the windows. A little bit of Weitz and I tried to get a life Lee expressive feeling to these green areas . So let's go first. I'm going to makes a little bit off Gray started gray and blue and a little bit more blue for for the sky. That's two grayish. So I come to this You Well, I just take ruin out. I think the point is a started mixing taking this great with this wall of minds. And now I want to start it with debts sky after all. So I add a little bit of blue here in the backgrounds, too much. And now I'm going to mix for the wall. A little bit of Retz brown a little bit off. She had a Oakar, and that's a nice color. So let's just at here and a chart. You look carefully. Where to ads this because and the windows are whites. I want to leave a little bit off whiteness over for the windows, and I try to half a sketchy way off. Applying this so on. The one hand is awash, but I'm not just making everything of discolor. That's let's see. A Toronto, I will add, selects situations in other colors here and there. And I can use it as well a little bit here, just some accentuation. Let's do the ground now. Here I want to ground to be a little more brownish. Oops, I used this. I could use this. I think this is a nice color, little bit of threats, which that's too much or not. Well, it's It's okay. So just adds a lot of this here, and I think it's a little bit too brownish mint that's at a little bit off. It's rats off the wall here, too. I try not to think too much, actually, about what I'm doing, because it has to be something spontaneous in it as well. This needs a little more here. I see some blue here, blue building or whatever, and now I think that's it. Has a certain basic wash over it. So this is a nice starting point for the rest off the if the X situations, because what comes next is a lot of green. I made quite a dark mixture green now, and, uh, I'm just going to that's all kinds off. Accentuation is here and there with this dark green, and I try to gets a certain texture in how I applied these accentuation. So you see me interpreting this shape softer leaves, hands in my hand movements. I try to translate that into a certain texture, which IHS like what I'm seeing in the video. It's not an exact copy, but it's in the vein off the kind of texture that you see in the video in believes that you see. Now I need a brighter green that's a little bit off yellow joker and green hands. I can add a little more. Accentuation is here and there. I didn't make this green with the earlier accentuation Zoff the the earlier mixture, but now I can because this is a little lighter. I'm going a little bit outside of the off the image that you see in the video here. But try to, uh, get out of this two rectangular ship. Otherwise, it's too much like a video screen that dumb, jobbing, and let's take the darker green again. And it's a consideration when you make something like this. Do you want to make this very heavy handed, really dark in certain areas? Do you want to keep it lights? I have a tendency to not want to go to dark with this so I could add lots off dark situations here. But I feel a bit uncomfortable doing that. I like it better to keep it fresh, but why should get very happy hand? It's sketch, after all, while the way this was approached in the beginning was very loose, very spontaneous. And let's see, there is a so some flowers here, red flowers. So those are nice accentuation zai Think, uh, here I can add some rats here, too, and there's a blue bicycle here and a yellow bicycle here, so I need to clean my brush. It would also be convenient to have two off these brushes or tree, but I just cleaned this one, because one is enough to work with one. And let's add some color here, some blue, just some work situations. Not really sure, if you can really see, it's a bike butts in your whole atmosphere on like this and a little bit of yellow now for the bike here. And that's enough almost too much. But they're not going to mess with that too much. And let's have a little bit off texture to the wall. So I have here's bit of brown brownish color and let's see, I make a little bit darker, quite dark, and let's see if I could add some ex situations here in this area and again, I don't want to make this too heavy handed, So I want to keep this quite a spontaneous wealth color sketch that was too heavy accentuation for my test. And that's evident a bit of rats here, groups I don't I don't want it to be to writing color, so we have this in the basement here that's at your some accentuation is here, and I'm going outside of this wash bit. But I think that's fun gives it more life flee approach. I couldn't do that here, too, By the way, so one has to watch have not to be incorrect. But I think I think it's too much. Anyway, Um, I was thinking about having a little bit off yellowish green, so take some yellow and green to make this little bit more life lier. But I have the feeling that I must must leave the low now. So I think it has a nice and not skull. Or now it's a life. We sketch as I see it. 47. 49 Delft View at the Oostpoort Demo Graphite pencil: I'm going to make a sketch off this scene in de Lift. I'm going to use, uh then so, mechanical pants. So this fine line off. Um, what the resistance. Fine. Line up. And this, uh, what the color sets. So that's first make cuts, rowing. And for now, look at this. Let's first sketch the larger outlines. You can also start with showers months, but I'm doing now. So first the right side off the right tower. Then I look at the diagonal, so I just look at what kind of diagonal this is. And here, too. So now I have these hours, more or less on the paper. I also look at this diagonal to see right this little roof should be And to get those style straits, I just draw a vertical line here, and I look at how hard Heidi stars should be today. Our, the towers themselves, those triangles shapes on top of these buildings. Uh, no, this long not as high as thes, as far from the bottom toe, this part. So from here to here, it's not as high as from here to here. So let's see. I think this is a nice more or less the height. And then we have these wishes here. I'm looking roughly at how white this building is that try to measure more or less how like these bushes should be. So this is 1.5 times this, I think, roughly. And then there was this bridge which starts small s here. Bridge is quite complicated, actually. So if that doesn't work immediately, if maybe you can try it now. And if you have had some practice, you can try again later. Hands. I'm drawing this line on my side of the canal and there is this and I want to maintain a certain looseness. So to what extent are going to measure everything, I mean, it must have some sort of spontaneity as well. So let's just see this as the basic, uh, sketch. There is this thing here in the water. So this my basic sketch in Pennsville, um, you can also skip the pencil faces, start directly and fine line, or if if you want to. But this is, let's say, the pencil sketch to start with 48. 50 Delft View at the Oostpoort Demo Fine liner: now I'm going to use fine line off. So this is mostly visible. Also in the end results. I think what I did in pencil will be, uh, not as visible as other elements. Like the water color I'm using later, Aunt, This black fine line off hands. This black fine liner gives it a strong graphical character immediately. So that's just work on the basic on the basis that I've already drawn in pencil. So I do not have to measure everything now. I have done that already, so I could just that's hatch ings and accentuation more freely. You can experiment by first using fine liner off first using Bensel and well, you are making certain areas, Doctor. It's also good to consider that you can also leave certain areas open to add watercolor later. So, to what extent are you making certain areas dark? Um oh, what will you leave for a while? The color to do. And it's also good to see what the effect is our final ill and while the collar toe just study that a little bit. Now a manic textures off this off this lee off these leaves off the trees so it gets another thing. So I adds little, uh, Catchings and dots. Not really a hatching, but I try to create a structure. But she is similar to what you see in the trees around this building. And now I have to watch out. I want to be careful. I want to draw this bridge, and around this rich shall make it a bit darker. And in the video, you can watch this video in this, uh, in this in this course and used this video to draw from you also see all kinds of birds flying. So I want to do something with that as well. And I'm adding ex situations and texture to these trees here. Also, a little bit of detail work in the buildings in this building, and there's also reflection in the water that's also very interesting. So I don't want to make these trees not too dark because I want to leave that also to the water collar to do I'm going to use while the color from dad swell that soon I have a little bit. - There are this piece Bella straits, or what do you call them? These white things that prevent you from falling in the water. I can't think of the words right now. What's I need to draw them? Indicate him as well. And I just tried to get something off the structure in the drawing. I'm not. I'm not very detailed. And everything in that respects. Let's try to get something off the structure off that metal Bella straight or what is its into this sketch defenses The worth. I looked it up. I could not think of off the right words for fence. And now it's interesting. What is the composition off this on the paper? I mean, this is this is what I have on the video and supposed to just I mean, this is a video could be a photo. So am I going to drop this well or I'm going to drop this totally as a rectangular ship on the paper. Or but I feel for us not to drop this ship. The stream or less ants drawn its fence, too, here, but And there is this part of the sort of low lower wall on my side of the canal. So I'm going to draw. That's well, a little bit. So get some depths. You must sketch. We will make a little mistake. You doesn't matter when you make such a mistake. You conceded I made a mistake here, so I was drumming this detail. You can see this, this detail here and you see, that's that low wall is on the need this dark area off this detail and I drew this line and it's it's touching this, this rights part. You can either just go along with this or just correct it and proceed with your drawing and often times when you just proceed with your drawing. It's this also bits in the in the details off how it later turns out. So, um, it could make the drawing even more interesting when you make sure, Tom, you know, But not everything is going directly rights. So leave room for mistakes. That's it's okay. Just draw further in your drawing and at a certain point, it it can even make it more interesting. So I think I make it's a matter of how you approach it butts. I make mistakes all the time. I was looking at this fancy. Is that correct? Not 100% it doesn't have to be 100% correct in everything or precise must have the freedom to have fun drawing novel, adding these, uh, reflections in the water. So that's give it a little bit off total value. But I want what sharp to not do too much with fine line because I want to leave space open , so to speak, to work with with watercolor ends. I want to keep a certain openness in the sketch, and you can add a little bit off texture here because there's Darryl Stones here. I'm not going to draw every stone, but what can suggest little bits off that groups should be lower. Let's see if I can add some, uh, AC situations that make the drawing a bit more interesting in this face. Hence certain areas need some accentuation, so the dropping speaks a bit more and becomes less chaotic. That you have sums areas. Very I can focus a bomb because at a certain points ah, you can go back in this video, you saw that the dropping was a little bit chaotic and by adding accentuation is you can bring some clarity in the drawing again. So now I think I will leave this face For what? Of this hands I have to force myself sometimes to get stuff and just, uh, proceed with this drawing in the next face which is adding color to its. 49. 51 Delft View at the Oostpoort Demo Watercolor: I'm going to That's color to this sketch. So what? I'm using its this brush with a container. You could also use a brush with some water butts. I really like this for its convenience. When you're somewhere on your way, it's very easy to use this. So first I'm going to look at these. Uh, the style was this building just some Brownlie scholars? A little bit of black, a little bit off aretz. And I'm also just improvising that I go with longs. Sometimes I will correct myself a bit there. I like that. That's at a little bit off green to the Let's say, the the trees, but I don't want to green Toby to brights. This is a bit too bright at this moment for me, so I add a little bit off brown. I need some extra water, often times the green. It's a bit muted. It's not really fairy bright green. This this looks quite nice as a color, and I also try to I think off the texture. So I'm not just making all off this greenish. You can't do that as a sort of wash, but at this moment, that just adds AC situations and brushstrokes to life. Flee the make it life Lee off with color and I tried to keep this bridge white. I'm not a real watercolor dangerous, so I don't even know what the actual approach would be like. An official approach. What what a good water colorist would do. But I enhanced my sketches. Now with color and thats face, it's everything that works is fine with me. So ants I want to add some off this color in the water because in the water that's also this, uh, you have this reflection in the water and the colors off the reflection are a bit darker and the bits, I would say, less saturated. But it's also a little bit off. You have to improvise what you see, but I add some a little black, little brown, a little dark blue, some extra water, and that's just had Semak situations in the water. And because I this green is a bit different than this one just makes you the little bits, and I use some of its green also here. So just to give a bit more unity and I used this first green also in the water, So it's all obits. It's not the most pure way to approach it, but you improvise as should go along. So I think it's turning out quite nicely. And with these reflections, I then to make thes brushstrokes like here horizontal because you have these harbors until , uh, lines also in the water it gets a bit distorted in the horizontal way. They reflected image. So that's something I do and let's see. I want to make a dark, brownish color. I just had a little black, too. This brown here, I think it's burnt sienna and it's too dark for me. Yes, some. So that's a little bit more burnt Sienna in the mix. Oops, this is to brownish. So I had a little bit of blue, and I think, actually that adding blue to brownish, more beautiful than adding black attend to avoid black mixtures to make this darker too pence. Now I have more blueish brownish color. I can. That's some darker tones to the styles. I have two tendency to not just fill them in totally butts two at axe situations, so I leave some parts a little bit open, so gives me the feeling that the sketches breeding a little bit, so to speak here, a little bit off definition. And let's see if we can add a little bit off caller here. This too. Two rights. Well, now I want to dock. Yes, and let's see. This area could be a bit darker here and now. I just tried to carefully work with what I have on the paper already, and it's sometimes just by adding a little bit of water. I can work with the water cone that's already on the paper. Try to make this a little more accurate. It's That's he just adding accentuation is here and there. I actually didn't draw any birds in this one. See if I can make this a bit more accurate. It's but more tight. Inform. - So now I'm just adding details. Have to do something here. Let's see, that's not color. It's more of a wash here, not really totally covering everything. And I would like to have a little bit great to the sky. Let's see, before I had a little bit of blue and brown in the Knicks and just have a lot of water and just do this. It's a good idea to do something with the sky before you do the rest. Sometimes all the wash. It might distort the image, she bits, but it's an almost white sky, so only clouds. So I just want to have some. A little bit of detection is a little hair here just to get the white of the paper a little bit broken. And I actually think this is quite a nice sketch already. So went to stop, so adding a little more color. Now I'm adding some brownish stones to the greenish, reflecting reflected colors. I think it makes it richer here and there, and sometimes you can use the color at several places, and I think I leave that this I think it's a nice middle sketch. 50. 52 Delft View of Delft from Zuideinde Demo Fine liner: this'd is the spot where you're harmless for me once paint it famous view off de Left. So let's see. This is the other sides. Decide off the harbour. There's a boat here that's just draw the boat. This very interesting flag. Dutch flag it should be. And I'm just freely sketching not thinking too much. And let's see, Here's the church. So I I had a few ex situations there from here. Also painted that church and these two towers, uh, off the Maria von Yes, It Church, which is built on the place where from here has lived. So for me, a lift here in my drawing. I ads the tree here, some houses and let's draw this boat properly. A measured is diagonal to see where I shoot draw this cabin. There are windows door, just a quick sketch, far windows. I'm not even bottled if it's really accurate, but it's more or less accurate, but I'm having fun trialing this and some drawings. I think it's good to to draw them very carefully, and in some cases it's good to have a quicker, looser touch. Um, there's not much reflection in the water. I think they want this quiets life, Lee. It's moving and there are geese chess here. Let's draw them to typical shape Here. Also, such shares. I don't really like to shake off these nuts. They are really recognizable, if you know the spot that think I just didn't just add a little bit off to shape there. Hands ferry, faint indication off flouts. And now I want to make this a little bit Cleaver. This drawing so I had some accentuation to this shoreline is such a words. I can make this boat docker and so flag I can later at some color in watercolor. It has a sort of sign if it's receded back here. And let's see if I can, at some more definition, to what's happening on the other side of the water. Try to be a bit more careful now, so this a bit more accurate than just a few quick lines. But I don't want to give it too much detail because I want to leave. Let's say some space for the water call of stage. There are people walking by, so let's see if I can see someone walking by that I can draw. No since I do have this, uh, this video. Let's see. I can have this and I false. It's at the nice moments and I can add a cyclist, for example. So here is uh, let's put it this way. I'm going to add this cyclist. I just draw true all kinds of other areas. So I have this indication off cyclists in my drawing. He's almost bumped into this, but I think it's a nice addition gives it to human touch to have figure here in this landscape. So now this is, uh, Ben, drawing our later at some water color to make it richer. 51. 53 Dordrecht Kuipershaven Demo Fine liner: This is a nice video to practice water. There's a bridge, so I'm just drawing this rich. It has difficult shape. Hands seems quite dark. So makes it also fairly simple to to draw this in any way. And I just draw the main structure off this on the paper. You're awesome, Warden. Things in the water on poll. So what are they called? And I think I want to get the most effect from the water column. So I just made the basic sketch. Now and later on, I'm going to add water color to this one and see how it turns out. 52. 54 Dordrecht Kuipershaven Demo Watercolor: I think this is a very dark image video, so it will mainly be and only a few callers grayish tones. First, I want to make a sort of wash up in the air a little bit more blue. I'm a bit off yellow, ochre, yellow on this area and a bit of bluish intent for these polls. I think I do that first. I didn't really draw them here on this, but now I'm going to use mostly Dark doc Tense. Dark is you blue. That's because it's quite late. And, uh, let's see Shot of ca. Now this indulge objects. Hence, here is the water. So I tried to get a certain texture in my handling off the brush, so it suggests a reflection off what's above, uh, above the water. So these are trees, but I don't see much green with kind of lighting now, so maybe I have a little bit of green later, but I don't see much if it's so. I tried to keep it realistic more or less now, and it's just in one color, mainly, and the hero tried to get a little bit off texture in the the trees. Here is light or buildings, so I leave to white of the paper visible to a certain extent. Let's work a bit more on the water. Are these waves or should I call them in the water? Add a little bit more blue at the front here, and let's see if I can at some more texture to the water and the rest off the sketch. I think that the main attraction, the most interesting aspect off this one, is Ah, practicing water. How you get these textures in in the water and to creates. Uh, that said, uh, the impression that's the water is moving a bit. So you have. That's a reflections off what's above the water. But you also have the texture off the movements off the water, which distorts, Let's say, the mirror image that you otherwise would get if it was a perfectly still part of the water robots. It is not perfectly still, of course, and I kissed. Look, that's video and see if there are expects off, but off details that I can use to ethics situations and try to keep this horizontal slightly curved here to slightly curved because the water is moving here and here it's a bit different. If I can't keep, that's and in the in the sketch I have. Let's he There was this bridge and I just use accentuation and I can use this for auto parts. Well, I don't want to make it too dark Now I can adds a little bit of color on the left us on houses that really color about the big brownish tense here. I think that's it's there is this little rep accentuation here in the back. So let's just do that's to clean the brush now. Little bits. Let's see what I have to do now That's some more dark tense here. I can have a little bit off yellow okra here, just a little bit off tip of the brush. That's, I mean in a mostly monochrome, a one color sketch. It's Nash to look for places where I could have just a little bit off color, too, writing it up a little bit. I see just adding smaller situations here and there, and I must say, I think I shoot nuts, do too much. It's a nice quick sketch, and I think there's a nice effect of water in it. And, uh, let's leave that this before I ruin it. Or wait a minute, just a little bit of greed and that's it. 53. 55 Dordrecht Wijnstraat Demo Fine liner: I'm going to make a sketch off Sonny scene. They should have doled acts and let's just starts. There are buildings. There's sort of perspective distortion a little bit. And oops, three windows here, not a house here. I'm not really looking too much. That's vanishing point and so on. And I'm just measuring a bit and comparing there something should be. And just sometimes it's nice to not be too bothered about perspective, correct perspective and so on That's truly here on the left branches. It is also nice to draw that seat as son here in this window, so you don't have to always half everything in perspective. I mean, it helps to have some sort off idea where everything should be more or less, but sometimes just It's also nice to let it go a little bit and just draw and something. She can make some decisions because you know a little bit about perspective, although my knowledge, my perspective, is not really advanced. One and two point perspective ists always handy to know about aunt's. Let's see also windows here, too. - Sometimes that's a car passing by in the video. As you can see no sign here, and this needs a little more, uh, detail. Although I'm very sketchy in my details here. I just want to have a nice quick sketch. So a suggestion off something is daring in a certain rhythm is enough for me. I'm not going to draw all of these windows totally. But that's for everyone different. Maybe you can take this video, make very elaborates. Sketch. I decided to make a more, uh, quick, quick sketch now, but you can choose to, uh, used these videos in a different way than I am. So I like to sometimes make a quick scan each sometimes more elaborates. So that's personal choice sense in this course off class. In these videos, I want to show difference, kinds off approaches. So this is a quick approach without much accurate, careful measuring with perspective. But I just go along, I draw something and the drive something next to it that the small less, um derived from comparison to to one another. So I just looked aware. How should this house be? I'm not totally accurate, I see. But you cannot be totally 100% accurate in everything when you are urban sketching. That's if you want to capture something with certain spontaneity. So it's not the photographic reproduction before being too much involved with perspectives may be also limiting in what you want to do. So that's why I also try to show quicker waste to sketch something on the paper. Have fun with this approach in drawing, and I think this is a nice, uh, sketch. Already I'm looking for some accentuation is to get some more hilarity in the sketch. Now I have this face, which I build up the sketch from from nothing looking at video in this case, or you can do that when you are actually outside. But we have thes videos to practice with and later on in the sketch I tried to at X situations, so dropping becomes a bit more clear or two to read, so deceit to see where everything is standing, a small direction. Well, let's let's draw this. It was a car, sure, this outside of video, I just leave it at this. I think it's a nice not basis, for I want the color later. Also 54. 56 Dordrecht Wijnstraat Demo Watercolor: Let's add some power to this sketch. Yes, quite some orange and light green. There's sunlight here. Some darker areas. Bluish air at take all got to start with the air. Give it a wash and proceed from there. Oops. Some blue, black. I don't need much color. I just want the whiteness of the paper to be changed into a certain kind of blue. So otherwise, if I leave the sky wide, I have the feeling that my drawing ends in the middle of the drawing, so to speak, as SFS, as FETS being left wide. So that's enough to get a little bit of definition. Let's see if I can add a little bit more blue. That's a bit much. Take the sponge. Maybe it was blue, but hey, let's just proceed. I'm going to add some orange, orange and brown. And this building here as a lot of it, so have color here. And this is a bit darker. Blue to brown, which is also making it darker. You can also use black, but sometimes I like to use bluish blue color to make a brownish color. A bit darker. Shadow there. Yellow ochre Hall, a building of this building. So I'd just go from, I just add some yellow all go to the previous mixture. And I go from one building to another. The fairly free approach. And there's sunlight on this window. It lights up in the sun's, so be careful with that one. And let's clean the brush a little bit. Because I want to add some green into that tower. I had a little bit of blue to green, a lot of water. And let's just give it a wash. first, so I, in this case, I just add green to the whole tower at later on, but this is dry. I can add some darker color here. Let's see if I can do that by Y. So it just dilute with water. Sure. Trying to get the dark area a bit below. And let us see for this building along to get some of the yellow ochre again. First I am going to clean that brush. I'm just using one brush. Very easy with this. I'm going to use that here too. And so bit darker. And this has this very dark, so that's got a very dark color. Blue and bow a little bit of black. And just I just make it very dark. Tried to carefully get that profile. This is typical shape. And this SRY and thus branches and the tree with this dark brown first, and I'll add a little bit of green because otherwise it looks so dark bits onto a freshman it up a little bit. So now I have in essence a sort of general the idea of color in this. And it's going to add more dogs now to get more definition in this sketch. And it says strides enough I think, to ads accentuation. So now I have a relatively dark brown. And I'm going to adds situations that are derived from the details of the windows, all with very loose touch, almost say. So I tried to keep the spontaneous character of this sketch in this and try not to think too much. But first, I made a general wash, so to speak, fairly roughly with a lot of white snow visible of the paper. But I like the sort of transparency of the sketch. And I just adds all kinds of details. Now, windows gives a certain rhythm to the sketch. And here we have roofs. So let's do those as well. It looks like it's brownish, reddish. And there is a tree here. And whether it looks very dark, brownish in my video here. So I add some, a little bit of green later, but just use Brown now. And just looking at all kinds of details to derive some exaggerations from them. Let's make this blue car recognizable. I want to add a little bit more detail to the screen. And let's see. This can be darker. So I'm not up just going all for certain details. I don't want to do too much about destroying. Now. Let's see if I could add some more details with relatively dark color. Gets a bit of clarity in this one. And I want to add a little yellow here on their desktop. Warm glow bits, just Adam, orange to it's yellow. I think it needed that. And now I just leave it as this. I think it's a nice sketch. 55. 57 Introduction to the immersive practise videos: with a good camera and a microphone on external microphone. I went to several places. Antwerp Dalton checked on Delft, and I create it video footage, and you can see them here in Tel if and 1/2 minute videos. So you just see one spots with a fixed camera on when you put on your headphones. It's fun to hear the sound, and it gives them more or less immersive experience. So from the conference off your home, you can practice things that you learn in this class watching your screen on. You can see a bit off the city's in my neighborhoods because I left near the Belgian border . So I live relatively close to Antwerp, Dordrecht and Delft, and I can go there to make some of these videos, So have fun, practice your skills and just have fun with it. 56. 58 Antwerp Ernest van Dijckkaai: 57. 59 Antwerp Ernest van Dijckkaai: I'm sorry. No, - no , - no , - no , - no Study. 58. 60 Antwerp Grote markt: okay? 59. 61 Antwerp Hendrick Conscienceplein: 60. 62 Antwerp Steenplein: - Yeah ! Oh, oh, oh, - yeah Oh, - yeah Oh! 61. 76 Delft Oostpoort: 62. 77 Delft Trompetstraat: Okay. That's okay. Yeah. Okay. Okay. That's okay. Okay. That's okay. - Okay . - Okay . Yeah, that's okay. Okay. 63. 63 Antwerp Wapper: 64. 64 Antwerp Sint Katelijnevest: Okay. - Okay . No. 65. 65 Breda Park Valkenberg: 66. 66 Delft Behind the Nieuwe Kerk: 67. 67 Delft Behind the Nieuwe Kerk: - okay , - that 68. 68 Delft Hooikade Zuideinde: Okay, - okay . 69. 69 Delft Hooikade: - I I good. Yeah. Yeah. - Uh , all right. No. Yeah. - Uh , I no good. Yeah. - All right. Yeah. - Uh good. Yeah. Yeah, - good . Yeah. 70. 70 Delft Interior of the Oude Kerk: 71. 71 Delft Kerkstraat: I mean, hold it. Yeah. Okay. - Yeah . I mean, thank you. Yeah. Okay. - I need okay. Yeah. Okay. - I need Yeah. Okay. Yeah. Okay. - I need Yeah, okay. - I mean, yeah, okay. - I mean, I go 72. 72 Delft Markt: - Okay . - Okay , Okay, okay. 73. 73 Delft Markt: couple. - Okay , - get yeah. 74. 74 Delft Markt: - Yeah . - Okay , but okay. Yeah. - Yeah . Okay. - Okay . 75. 75 Delft Oostpoort: 76. 76 Delft Oostpoort: 77. 77 Delft Trompetstraat: Okay. That's okay. Yeah. Okay. Okay. That's okay. Okay. That's okay. - Okay . - Okay . Yeah, that's okay. Okay. 78. 78 Delft View of Delft from Zuideinde: a major, - a major no major. 79. 79 Dordrecht Groothoofd: well posted over us with a lot, but well overtook us. Okay, well over us. God Well overtook us with a lot. 80. 80 Dordrecht Groothoofdspoort: 81. 81 Dordrecht Hofstraat: Okay, - okay . 82. 82 Dordrecht Kuipershaven: 83. 83 Dordrecht Mattenkade: 84. 84 Dordrecht Statenplein: 85. 85 Dordrecht Wijnbrug: 86. 86 Dordrecht Wijnstraat: - mystery ST ST . 87. 87 Challenge: what kind off urban sketches are you going to make? Using the things that you have learned in this class? Maybe you used the immersive practice videos that I created. Or maybe you go on location, bust your results here. I'm really looking forward to seeing them. And thank you very much for watching this glass. I really appreciate that. You took the time to look at my videos.