Urban Sketching in Prague | Peter Jochems | Skillshare

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

19 Lessons (3h 41m)
    • 1. 01 Intro

      1:51
    • 2. 02 Materials

      4:04
    • 3. 03 Scene 1 Pencil

      8:59
    • 4. 04 Scene 1 Fine liner

      12:21
    • 5. 05 Scene 1 Watercolor

      19:18
    • 6. 06 Scene 2 Pencil

      19:41
    • 7. 07 Scene 2 Fine liner

      14:10
    • 8. 08 Scene 2 Watercolor

      19:07
    • 9. 09 Scene 3 Pencil

      20:40
    • 10. 10 Scene 3 Fine liner

      16:59
    • 11. 12 Scene 4 Pencil

      8:09
    • 12. 13 Scene 4 Fine liner

      3:29
    • 13. 14 Scene 4 Watercolor

      17:14
    • 14. 15 Scene 5 Pencil

      8:43
    • 15. 16 Scene 5 Fine liner

      8:18
    • 16. 18 Scene 6 Pencil

      12:26
    • 17. 19 Scene 6 Fine liner

      10:09
    • 18. 20 Scene 6 Watercolor

      15:14
    • 19. 21 Challenge

      0:17
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About This Class

In this class you can practice your skills with scenes from the beautiful city of Prague. In several sketches you can practice your use of textures, sketching, measuring, the use of watercolor and so on. So take your art materials and sketch along with me.

Previously I made a class about the 'basics of urban sketching'. In this class you can find dedicated tutorials about the use of linear perspective, textures, the use of watercolor and so on. If you encounter a problem doing this class you can take a look at that class, also on this site.

Meet Your Teacher

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Peter Jochems

Artist, Vlogger, Teacher

Teacher

Hello, I'm Peter. I am an artist and teacher. In the past I studied the art of the old masters extensively. From this experience and my own experience as an artist I make my classes. 

 

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Transcripts

1. 01 Intro: Hello and welcome to this class. Berman sketching and park. My name is Peter. Ya comes and I am an artist and a teacher in the arts To give you a little introduction to who I am at what I do, I will show you some examples of my work as an artist. This is a class on urban sketching in park. I wanted to choose Beautiful seems to work from You can take your art materials and go along with me. The drug process is divided into sections so you can pass and repeat certain parts whenever you like. In this class, you can practice and develop your skills in the use of perspective the measuring off proportions, the use of water color textures and many more suspects off herbal sketching. If you need more guidance on certain topics, I would like to refer you to my previous class the basics of urban sketching, which is also on this website. Here, you can find tutorials dedicated to stop ICS, like the use of linear perspective, the use of textures and more. I hope you enjoy this class, and I'm looking forward to see your results for you. Post them 2. 02 Materials: I'm going to talk about the materials that I'm using in this class for this class. For the videos. I've used this paper console, Mixed media, 300 grams per square meter. Um, it is important to have tick paper. You don't have to use exactly this paper. I mean, there are other brands also. Good, but, ah, this paper has a certain next year, which is nice on its quite tick. So when you use water color, it doesn't deform too much. So this was my paper off choice for these other colors in this class. So But there are other brands with similar paper with also take paper. So while the color paper or whatever butts, this is what I was using for these sketches. I used this. Ah, hb wooden pencil. It's just a regular pants still butts. It works nice. So, um, not much to say about it. You can use a mechanical pencil or whatever is convenience when you are on your way. It's perhaps about of the use in a mechanical pencil, something like this, for example, with so it's, uh, graph fights in its and you don't have to sharpen it. So something like this would be convenient to, but I used these I'm using. Ah, a waterproof fine liner. You need a waterproof fine liner because otherwise, if you are using fine liner and afterwards you start with what the color than your fine line Alliance will, Yeah, we'll get mixed with the water and they will disappear. Are the form or so? So you don't want that to happen. And I use these scholars about the color. And if you want to know which Carl's exactly I am using, I will give you a ah schematic display of this. So I will put it on the screen now so you can see which colors I am exactly using here. You don't have to use exactly the same colors. You can use your own colors, your own favorite colors. But if you want to know what I am using the solid colors that I'm using bands. This is very convenience. Brush with a built in container so you can put water in here. You can make this screw this open. Here you can put in water, and it's like a brush. Uh, it's like it's almost like a marker. Can you can just squeeze a little bit here than what goes to the brush, and this way you can work with it. So this is this is a very convenience way off. Using watercolor without having to use all kinds of separate containers have carry water with you and so arm. So I like this as a quick and easy solution for that. 3. 03 Scene 1 Pencil: I'm going to sketch this scene with a 10 on the clock. And how do I approach this? First, I'm going to look for little larger shapes, and I'm looking for clues for perspective. So I'm using pencil. I just sketched lightly on Let's see building on the right, see a perspective and I'm looking at this area here. It's, let's say, one TERT off this this line are tree windows. So I sketched them lightly in there and around this heights. The first window there is this time we called to him in the Netherlands. I'm not sure how this called in English. What if I say to them, I mean this feed and let's see around here less this glass this window. I can look at this diagonal. So by having this line and this line and looking at this diagonal, I can determine how far to the left the window should be more or less. And let's see, it doesn't have to be 100% accurate and everything, because when you're our urban sketching on location, you don't have time to measure everything until infinity. So you have to feel free also to just draw you can always correct later. That's also nice to know. Let's see sidewalk pavements Looking at how this Tam is built here on lights. Now here I'm looking at this diagonal to determine how brought this door off The time should be. And there's some perspective here in how this sites diminishes to the back. And here we have this clock and I'm lucky it's still on the paper. I have enough space on the paper. You can start drawing sometimes here, about time You are here. You don't have people left to get an importance detail on the on the paper. But I'm drawing this line. So here's this line off the clock and I'm looking at diagonals. So I'm looking at the angle from here, the underside off term to the underside off the clock so you can you can copy more or less the angle of the diagonals. So I know I have this point and I have this line. But at what point of this line is Thea Underside off the clock And I am looking at the angle from this to the underside of the clock, right? And I copied it. So here's photograph. You can look at this, the agonal and later on, I will also look at this diagonal to determine where this should be or this one. But you get the idea. So this is, let's say, the underside off the off the lights, looking at the structure, more or less off this. This lights us from my details that you can, That's and now I have to look at this. See, agonal this off the underside off the clock part and this or the top. So I just looked at these diagonals from here to here, and so you don't have to draw these lines. He's help Lance Butts. If you need them, do you can try them and you can even let them stay. Stay in the drawing because I didn't really bother me. So I have this clock here, more or less. And now let's look at the buildings around to him and clock. There's a building on the left of the clock. We have windows here. We're not going to draw all of those windows, but indicated little bit because my sketches centered around this clock and this time. But there are some buildings in the back. I'm looking at the height off this by looking at these Windows history windows so you can choose details which are more or less on at the same height and used those as a reference to how high or how, how low something should be. So now I have here, I should add some off this pavement here I have more or less the basic structure off this sketch on the paper. And let's see the reason why I didn't really look for the perspective line Horse online is because it's a bit behind this term. And I don't know to what extent these buildings are parallel to each other. So can be a bit deceiving, because there's this this change in direction off this building here, like me. You look at a photograph, so I decided to focus on them and to you, too, use of that that they agonal and I think this work. So I shouldn't forgets there is this above Tim, Man. Tim gets its, um, like electricity. Let's see, I should be careful with that. I drew it too much to the right here. Anyway, this is a nice set up in graphite pencil to use the fine liner late. Wrong 4. 04 Scene 1 Fine liner: after I f created makes this pencil sketch, I'm going to add fine liner on top of it. And when you make this doctor with fine line, it's a consideration to what extent you're going to make things Docker and with the fine line are all wits, Um, while the color late around. So you can also anticipate a later layer with, well, the collar. So you do not have to make everything dark, which is Doc in the in the final line of States. So that's just draw. And while there are that does already a pencils catch, I don't have to worry too much about the placement off things because I've already determined we're efforting should be more or less. And, uh, let's see the are these windows. But I'm just indicating them because I'm not going to draw them all. There's a sort of poetic, um, how do you a poetic approach. You do not have to draw everything and that you can see I I don't have really straight lines. It's all a combination of accentuation czar little lines. Let's see, I want to draw this Tim because that's quite an importance central part off the sketch the window has reflections so here, already adding some tonal value ands. I'm just improvising with Deal Stinks. What seems to be right at the moment that I am actually driving. I at some accentuation is around thesis lights, for example, but I do not really delineate them. So later on I can ads Retz while the caller pain to make everything around, toast lance a bit darker. And let's hope that I can get this lighting effects in the sketch later arm when I add while the color too. And here you see me often use dots and little Lyons is instead of straight line. So I find it more. Yeah, visual effects is in my few more beautiful than just using lights. But here I'm using last because there are ticker black riches. Or how do you columbines in the source photographs? So it's all dependent on what I'm actually drawing this thing. Well, these are metallic parts, so here I'm actually using lots you because that's closest to the effect that I want to have. But to delineate this time, for example, which is very light up yet locally there, I tend to not use straight line spots. Use those doubts, so it's a celibate intuitive as well. Um, improvising takes a little bit of creativity also to determine what kind of approach to use in that. And now this is a black area. So I can add what color to make it darker and even way later on the rails off a term sidewalk here. It's also something here, so just likely. But that's a relatively light part off the street. So I lightly adds this line here and that. See this? Ah, clock ants , my chest ants, the's AC situations and delineation sample. I do this quite quickly. I'm not really very careful. Actually, I try to keep going to keep a certain allergy ended in the drawing to not fiddle too much with all kinds of details. And maybe it's also been experienced months. Um, yeah. So I'm not saying that you shoot also do this at the same pace. I mean, I'm quite experienced, but in drawing, but just take the time that you need. But I have the tendency to keep a certain pace going in this drawing because I'm also curious to the IMF assault. Maybe I'm just elated impatience But you can also pass the the video are go back to a certain part if it goes too quickly. So I'm not saying that you have to draw at the same speeds. It's not a race, but it's at this moment. Yeah, I'm a little bit in a sort of flow, actually. So I'm going from one detail to another detail. I'm just having fun a little bit, so I'm not really fairy details working everything out. They're on these wires. It's also interesting those lines that goes through the image. I'm living in the Netherlands, so we don't really have these kind of wires in the in the streets where there are some attempt the Amsterdam, but I'm not sure they're probably have those wires as well, but I'm not sure about that. But in general, I don't see these types off wires in the streets because we don't have much city schwitz temps in an avalanche. Amsterdam. I know so, but usually electrical cables are on the ground here, but I'm not sure how situation is with tamps. I guess tamps needs electricity. So anyway, and I'm adding some detail that awesome windows in these buildings. I had some accentuation is here and there someone walking on the pavements here. Also, people walking on the pavement. And I'm not really drawing stick figures also, but on drawing volumes that are derived from this shape off the person walking and together with the knowledge that that the viewer has Oh, this is sidewalk basement, and that can be people walking there. A certain volume, which is not really detailed but rather suggestive, can already be seen as a person because, uh, someone looks at this detail at this position, this area and thinks What is that? What? What kind of volume is this or did it? It might be a person walking down. So this also the context in which certain accentuation on certain markets is foods also helps gift that Marxism, meaning in this case that this is someone walking over the pavements and in another contact , she wouldn't see it as such. So debts, perhaps a bit a little bit of psychology with how you look at drawings and how certain minimalistic detail can function in a certain area and now feel I should leave this alone. And in the next step, I will adds, uh well, the color. I want to add a little bit of texture for the stones. And then I leave this drawing alone and next step will be having a watercolor. So I'm not going to make it to half. He handed with all kinds of stuff with fire, line of shadows and so on. So this is the final hour stage off it off this sketch. 5. 05 Scene 1 Watercolor: I'm going to add color to this sketch, and first I'm going to add a little bit off bluish gray to the sky to get, uh, this this white away. Live this. It's a very light sky. Maybe that's a bit too grey with blue, so I want the suggestion that there are some clouds. But if I don't do anything here, it gives a feeling that there there is nothing here and like this, as if as if the driving give starts. How whether it's some color and so on. So and now I'm going to at some brownish grey to the buildings awash so very general wash here, whether buildings are a bit brownish like here. Maybe it's a bits bit dark, but I used that sponge, too. Make it a little lighter again. And here this building also General Wash and I can't do DIY building in the back of swell this one. He also and I tried to have a life Lee touch. In doing so, I could have had some more water, I see to make it not as dark I could still at the water. That's the nicest thing with hopes, with watercolor making a bit of a mess of it. Now. Anyone sometimes initiation that that make me the mess. And that's that's a bit off rats here. You also some rats and he was the Reds accentuation, and I see some wrath here, too. But, well, that's now that I have this threats. I can just do that as well. But first I would like to at some other washes, reforming, put into more detail. Actually, this house here and this pavements on roads used to be down to. I think I just take the same washes I used for the air for this building here on the left because it's a white building, a bit of blood, the bluish here, and I want a bit darker grey for the for the roads. I need to add some more water to make more flu. It's and let's see, there's a zebra crossing here. Try to keep that in there, and now I want to clean this Russia bits and the white off the time here. I want to add some of that bluish gray that they used for this building and its effect. Same for the air, more or less so sometimes you can use certain mixtures for the fourth difference. Details. Thank you. Let's see the windows here. Make them dark or later round at now. I want to add some rats mixture, rats on gray for the term, and I need to leave open these lights to be careful with that. - So that's two wrapped off the 10. And let's see. I need some yellow well and lights, but I I let the white of the paper Chanchu So some parts I didn't Ah, make yellow. I I just added Some AC situations should have left here a white spots open. But anyway, now I want to make the term a bit darker because it's not really rights. Total value. I need to clean my brush a bit better ants. I'm going to ads. What some gray now Because it's quite a relatively dark scene. Ants try to get a total value small in the direction off what I have in source photograph. So I try to keep things with a light touch. I don't want this to be a very happy hand. It's watercolor butts. It needs to be darkens quite lots here and there. So let's just use this gray, this light here cost of details and let's see some water. I want to have certain pass off this docker Sometimes I just used my think, too, to adjust the paint's and I just have accentuation is here and there to get it more like it's on the picture and I go from one detail to another. Okay, that scene this needs to be bluish. These are in effect whites, I think. But they reflects more or less the color. They get the color off the off the sky because it's quite dark late tow. Watch the evening. I think this picture was taken. So when everything is, let's say when you have a sunny day and you have blue blue sky than the blue sky functions as a source of flights. So when you have white shirt, it will turn blue because of the lights that shines on, it is bluish. And so it is with this. Ah, what? The caller was swell. Um, the atmosphere's grayish bluish. So you have grazed bluish lights, uh, bouncing around, so to speak, and therefore this This clock, the white of the clock is also bluish turns bluish for death because of that. Let's see some more gray areas. Darker grey areas That light can be a nice ah accent accentuation motif in front of this other car. For every dominant thing in the composition, and there are hatching is here, and at this moment I tried to paint away the hatch things a bit, so they are not very dominance. You don't really see them too much. Let's see. This is this richest brownish. Um, oops, that's too too dark. Okay, a bit too dark, going to clean my brush obits at some water here, be my brush again and make it a bit lighter in a very clumsy way. But sometimes you have to improvise. It's at some dark situations here, and this is a bit messy, but in a way I must say a thing that's a watercolor like disc and benefit from more or less messy approach. It can make it life liras. Well, so especially when you're working on location, you cannot always be too careful with everything, So sometimes you you need to know some tricks too quickly. Change something, so adding some water, putting a thing around it and resting your finger for a second and then move it away again . It removes, uh, too, too too much paint, all water with Baines in an instance, so can be very useful to do that. Let's see, that's mixed. This grade that I have on the and so with some brown to add some accentuation is here some texture well heeled on the windows that I'm accentuating. Maybe I made paint a bit too dark here. I'm not going toe mess too much. Well, darkest parts are bits lighter now, and let's see. I think he also some nice accentuation is too weak put under on the ground. I like this effect off going outside of this wash with some ex situations. Actually, it's interesting when you are you men, you are practiced with your fingers. It can actually be a technique that you can use. Um, and now I want to add some reflections off the lights on the roads, a bit of yellow and here, too. And I don't want to mess too much with this anymore. Let's see, maybe a little bit off gray. What? He s cables it in the sky? Not really. The sky butts above the roads just some accentuation to have a daintily approach to them instead off uh, thes these fine liner. So I want to get this to devote a cult of states, and I want to enhance these fine liner ah lines with some paint. Otherwise, I get the feeling that you get to kind of mediums which do not really mixed with each other then, so I try to mix the medium off. Fine line a wits. What the color, and I'm not going to add a line of water cover over. All off. That's line all of those fine line allies, because that would be very messy, antic. But some accentuation can make it more painterly. So it's not just a fine line Ben Line, but painterly line in the context off this want to color, And I think that has a nice ritual appearance so you can go back and see for yourself. Is it better to just leave it as a line in fine line as a fine line the line? Or was it better to at the Zac situations? So another, in this case, I'm not really sure. Maybe just that little line was bathroom butts. I'm not going to change it now because it's what Onley become very messy. But just leave it there. And sometimes you must not think too much about those things. Just have them on on. Ah, here. A few accentuation is for the Windows ants. Let's see. I don't want to put Gray and all all the areas, because otherwise it would be a ferry. Um, Summer said the words Very sad looking. What a color. So let's see if I can ads a nice brights runner. Brides a little bit off bright rats here in this time, Can I life in it up a little bit? And I think I leave that this because, um, I don't think that I would make it a better, uh, a better one. There's a blue reflection in this window wanting one of my things. This by the time I say I want to I want to quit. I see. I always see something to improve. Let's see, I think I leave that this Yeah, 6. 06 Scene 2 Pencil: I am going to make a sketch, and I begin with a pencil graphite pencil sketch off this scene. That's Bridge two towers, and in theory one could say This is two point perspective, but it doesn't really seem to work. I mean, if I look at the photograph, I don't know if it's this Kostas Buildings are old but thes thes seem to go in the opposite direction, then diverge in one point even. But I think that we're looking too much parallel to this building to really have working two point perspective in any way. When I look at these buildings, I just approach. It's measuring. Ah, so that's two deaths. So there's this building here on the left, and I tried to get it all on the papers. So there's I can start with this building here, So that's the dark tower. And then I want to determine the height of this. So I look at this diagonal so I have this line and this line. What do I get when I'm I think this when I dropped the Yangon off in this angle. So here's today Agonal. Then I get to diss points, so this is a large shape. That's our and let's see, we have to divide this in tree and then we have a gate here when I could. Manco. It's good Search for the middle of this gate by dropping this piece to diagonals dis cross . And then you draw this diagonal this day Econo. Then where they intersect, that's the middle. So just quickly one can do that. We have window here, just family. Scott, she this very sketchy way I add the's details. Two windows here. Let's see. That was a bridge. And on this bridge there is this this detail and I want to know where this detail is, how far I can look at this diagonal. So I get to this points. So we have this this point at the bridge. Let's see. And then we have these arches, whether they called This is this area where the left arch ends is around the middle off this gate so you can look for clues constantly where you can put something and this arches is summer in the middle of this. I mean, it doesn't go totally true. It's it's it's breaks up here, this curve so and I don't want to borrow too much with details. Not in this stage anyway. But, um, I want to get certain things right. But I want to keep fluids way off, working in my approach, because when you are urban sketching and you are on location and I see these kind off practices also as a sort off preparation fall, working locally at some points on location, then, um, you have to have this attitude this quick at the chutes off registering. Is that the right words putting on the paper? What you are observing and you want to get certain things right? But it must not become tedious. So let's see. This tower is a bit higher. Then let's say not much. It's it's about the same length. It's about the same or a little bit higher then this upper parts so and then I just see where this this it's about here where this this terrible Let me just show you this point is a bit left from this, um site. Let's ah, the corner off this tower. So it's a bit to the left of this. So here we have this this corner and this is two to the left events. And then you can just look where you where these our positions. These outer limits off. That's part of the building. And until half of this tower What, This It's solid roof. Are these smaller towers? And here's also one. It's a typical shape, this style. So when you are making a sketch off this place, when you get this title right, you can mess up the rest. But people will recognize this place in part by this style war. So they have these things on top off those. But I waas little flags, I think so. We have this tower on the left and later withs. Ah, let me see. I made this this roof a bit too white, actually. So I moved it a little bit to the left. I made it too wide, but now and there are buildings here, So let's just and we have this co ordinates my new look. It's these buildings this rich where the roof starts is a bit below this rich here so and this it's also more Ola. You can draw a line here on the top of these buildings thes houses around the middle of this window here or this state. So let's just draw a jalape line here on a help line here. Um and then I can just see. I can just relate to other places on the dropping bear I shoot draw these houses. So here's the first house. I just look at the bridge. Where was this right side of the house positions When you look at the bridge small less. Here you look at the skirt off. Well, can you can find all kinds off co ordinates which can help you? Ah, position roofs and so on and houses. So I am throwing this diagonal. So there is this house. So where's this disposition? I look at this point at the bridge that I have dropped. Look at this reactor. No. And then I get to this point. So I had this help line. I had disposition. I drove a drew dish diagonal, and I have to position off the border or other right side off the house. And then I can draw it easier when I have a few core ordinance off the house where starts and ends left and rights, I can fill in the rest quite easily. Sketchily and still are two rows of windows here, five windows and there are six Win. There are three rows off six windows in this house. So I just indicates those windows here looking at the structure of the house because it there's a space be between the windows here so you can look at those details and then you have a really nice house here, and often times when I'm looking at those windows, I just count them. So I have five windows here, visible in the in the picture, one window underneath the middle off this part off the, um yeah, off the roof or what is it? Sort off front of the house extending front of the roof anyway, So I have these houses sketched more or less here. And then I can see that there's a little tower here and just look at what is here. There's a roof here and it's underneath this rich off the off this tower and on the left. There are also some buildings. I'm not going to draw everything in detail, but just looking at some details. And then there's another tower here. So where is that tower? Well, you can just look at certain places, but it starts here at this front of this building. And then here is another. Is the left side off this tower? I just looked at thes windows and the left side off the tower off a large tower in the back is at the same position. ISS the right side off this this window. So I just extended to this line here. I just measured it. Um, from this coordinate, I just threw this and then, um let me see the tower, the actual our begins. It's hard that the half half off the upper dirt off this style. So thin style. I divide in tree. And when you look at it, the upper thirds this here take half off. This one you can go to here. You have the position where the actual tower starts off this one, and let's see. I can't defy this in half. There was a sort of whites building in front of this. No, no. One of this part of the church, I guess. Then there is a clock. He is also sort of clock. And that's our here is about a little a little lower as disposition. So it runs through here and let's see the middle. I look at the middle, so this is the position where it all needs to. I can just draw this. And then there are a few smaller towers here, so let's see. I have this style as well now. So in the next stage, I will ads, fine line off detail and salam butts while I prepare this pencil drawing. I put all the positions on the paper so I don't have to look for them in the final. I'm a stage, and if it's all goes too quickly, just click pass or go back in the video and you can catch up. And let's see. There's some liveliness in the water as well. There are these yellow boats. Not sure I just put him there. Ants. The reflection in the water is distorted because there's a vote here ants, so you don't really see the reflection of the world. Clearly, if this was really still water it, it would have been easier to see them. I forgot these details here because this house extents below the bridge that are drawn there are windows here as well, so I just suggest them quickly and just, um, go back in the video and slick bars if you need more time to catch up. Or maybe I explain something, just listen to it carefully. Ants. Maybe you can choose wanting toe practice if, for example, this is a quite complicated scene. So if you are beginning with these kind of things, um, this might be a little too much in the beginning, but you can always try. And who knows? Maybe you surprise yourself. It's always nice that sometimes you have to challenge yourself because maybe you're much better than you think you are. So this is the pencil sketch off this discussion, the next step will be fine. Diamos! 7. 07 Scene 2 Fine liner: I am going to use final now. Two aunts, uh, think Fine Line Inc to this drawing. And because I already made a pencil sketch, I don't really have to worry about positioning everything so I can concentrate more. Um, let's say the the fine line of touches. So I feel more have freedom to work on top of this pencil sketch. In a way, I'm destroying a pencil sketch month. It was made to creates, uh, urban sketch with while the color and fine lines. So what? Sometimes you have works. That's have a certain appearance, um, that you already like. I cannot say that this looks to me like any kindof finished drawing, but I actually like this strong, but it it needs further development. So I just adds now, a fine liner and I started with the towers have no particular reason why I could have started with any detail. Sometimes it's just a question off where to begin, you just begin somewhere, so I do not really draw really straight lines. As you can see, it's often times the Linus build up from multiple accentuation is, and she auto lines. Otherwise it gets something very absolute and I like to approach it in more in an optical way. So when you use real declines or plants that are ongoing, it looks more constructive, like like a construction off the drawing. But this is more like trying to approach it in a more optical way. So I'm suggesting sort off line by accentuation is, and so then really dropped that line straight from top to bottom. Sometimes they use a hatching butts. Making areas darker is also something that you can safe for the watercolor stage. Let's see, adding, finally gets its nice graphical touch, I must say, I mean, you could at watercolor to a pencil driving. It's nothing around with death, Smuts Fine line off, Um, can accentuate to dropping better writing or better. It's it's it's dependent on what kind of aesthetic that you're after, but fine Line is very much associate with urban sketching, so that's why I use a fine line. But you could also use what the color and pencil in a combination that, uh, Antal Peak is. A Dutch artist from the 20th century did that often, and its results are quite nice. So it's a very beautiful while the calls that he made. And I'm just going off for all of these buildings, adding fine line off marks everywhere, and I could make this really dark by adding all kinds off. Hatching is like I start doing this here, but I think let's leave that for the watercolor stage because otherwise it gets such a heavy hand. It's, um, approach already in the finalist station. If I have to make all kinds of areas very dark, like here and here, I think it's It gives its a nicer, lighter touch to keep things open so I can use watercolor to do that's toe. Give some light and dark tonal values to to to the sketch saved it for the watercolors stage. Sometimes I can add a texture. I think that's nice in this. Our here that was a bridge, and usually I go look for the largest ship first, so I have a solid idea off, but I'm actually drawing if I start with all kinds of little details also in this fine line of states. If I would start with what's happening here with these bricks and so arm, I would not have the feeling that I have oversight over this whole area. So I first accentuate with Final Island the largest shapes. And then I can add later, um, in the logical, um, order details after I first, um, ditty outlines properly. So I want to half site on that bridge on the paper before I add all kinds off smaller details. Otherwise, one can lose yourself in all kinds of details. And in the ends, it may not really fits the overall appearance off that area. When you look at the bridge more as a whole, so I just do the basic structure of the bridge first, has a shadow ordinance do that in the graphite stage? I think so. There's a tree here, so branches leaves so you can have attack Aziz texture off leaves. So the kind off marks that I make here because I suggest that tree are a bit, um, reminiscent off how leaves in the wind move hopefully. But I tried to think of that. So on life, Lee tree dare the least off a tree in a life leeway I'm not just at some accentuation is for the windows. Don't do not drawdown, actually at just at accentuation, So you have visual, um, impression off. What's there more or less in light and dark? Um, I'm not really drawing the the exact shape off the windows spots from from a distance in the context off this drawing, um, it serves as a yeah. It's an indication off those windows having some detail here on the need of bridge. See, I want to add some texture. Some guts and marks, too, suggests, um, Let's say this. The structure off the stones off that bridge they have that that's quite report particular aviation off light and dark stones. So I won't really be able to match it exactly with what I'm doing. But I try to interpret what I see and turn it into a texture. Debts reminiscent off. That's and then there are people here on that bridge. A lot of people, and I just at marks a sort of texture because there's all kinds of lifelessness here and a little bit in the water. A little bit. Life layers in the water. I meant to say these yellow things here. I'm not exactly drawing them totally as they are, but I'm just at an accentuation on. Let's see how it goes when I add while the cover. So I tried to keep the sketch fresh in a way by not adding too much dark areas. I mean, you can work it out with a lot off hatch ings and dark areas because a pen like this can do that. You could spend a lot of ink, but I think that the sketch now has a certain freshness to it. And, um, on top off this, I will ads. What color? I have a tendency to make this doctor now. And I think, Well, don't go too far in that. Save it for the bother color stage. Same with the clouds. You can be tempted to ads one or two lines with a fine liner in the in the air. But I think it works better if I leave that for a watercolor states to define some blue areas and some white areas for the cloud. So mm, a few dots. I can't help myself, but is it too much already? That's too much. So don't do that. Don't follow my example. I just wanted to try it. I just want to try. Cannot put a ah, fine line a line in the air to suggest clouds, and it's immediately it's too dark. So I leave it at that. And so yeah, this is the fine Linus stage off the drawing off the sketch, and the next step will be adding cholera in water color, okay? 8. 08 Scene 2 Watercolor: I'm going to add color to this sketch. Let's see. First, I'm going to add some blue to the sky. There's a blue sky with clouds so I try to at blue in such a way that they're also there. Also, clouds suggested I just leave some of the right of the paper open Had some water to the blue. I think this is quite life, Lee. So that's enough for that. Um well, that's do this tower. And first I'm going to mix green and blue and at some water to make a tener and at a wash. And I want us to be a slight as it is in the lightest parts here and later on my at darker total values. And now that I have this collar, I can do the roof off this house too, because it has roughly the same color. So that's some there. And I see it here a swell. So I'm just going over this drawing looking at the picture where red Y C parts, that's ah, have to same color. Maybe a little bit here. Thanks. Sure. And now I'm going to look at other areas going to clean the brush obits. Hands take some round. I just clean the brush by pressing here. So they're small water here at the brush it that I just clean it in this punch. But now I have some sort of brow, and I can use that for several parts in the drawing sketch. Here, these houses, Um, this tower. Also, I want to keep the that clock a bit lighter here, and I can adhere to swell. And I'm just going over the the sketch again to see where I can put this collar so going free over certain areas. And now that it's quite lights, I can do this to this house. So when there's a lot of pigment I could I could do this house. But when there was more water in its less pigment I could use I could do this lighter house as well. So let's see, um, just going over some areas. And now I want to use gray, but a little bit of yellow joker to do the tower and the bridge. That's too much yellow okra at some water. So I want us to be relatively light this gray, and now I'm going to do a wash all over this tower and bridge, and later on, I shall at darker found use as well. What's what. I don't want to make it too dark. Now, in this, uh, stage, this is fabulous light, so I don't touch it now It's but I'm using. I was too dark for debts so accrued. If added more water butts, I just use this now, and I see what what it's appropriate to use for. And where can I leave the paper whites or I use it here with a certain texture. And as I go along, you see that it becomes a lighter here. So here is it's quite dark, but I'm going to adds fresh bank now ants at some darker values here, and it's also good to just wait until this is dry and to add docker total values. Friend. The painters ride because them it can be a bit cleaner. In that respects, you can add it in a clean away. Anyway, let's see, go to see for other areas in the water, for example, that can be doctor to, and now I'm going to look for some brighter cars, bit off Retz a little bit of Grey with it. I'm going to do this roof. If it's going too fast, you can past video or you can go back or you can played at half speeds. I may sound a little weird done, but if you if you need to catch up, just click past or go back ends. Watch it again. Let's see where have I cannot put more rats? Situations? I think I have them now. So now I want to do this tower. Make it a bit docker at some darker green to its because now the the earlier painting layer has tried to wash in the first applied. Not, I can add some. Ah, darker, eternal values should out messing everything up too easily. Let's see, sometimes when I have paint on the brush, I just look where else I can put it. Um, so that tower and I'm going to had some yellow here. Not really clean the brush properly butts any what? A little bit off orange. Make it a bit daugher. So going to do this house, it's someone. Water, too. Make the cholera bits less strong. Let's see. I want to make dis a bit docker so which color skiing that brush this area. And now this is dry. Almost so. I'm going to add some darker tonal values to this tower. I think it needs its. It's quite a dominance aspect off this sketch, so it's quite important to get that rights. And I tried to keep things spontaneous to have a loose, um, freeway off adding paints to the surface. And there are stones here with certain structure. So I try to add it to the texture in how I applied faints, - bridge . - And also here you have peace stones, which provided certain which created service structure. I tried to ask paint with certain texture here, too. Handle it, see, and there's a certain texture in the water as well, because the water isn't still there's movement in the water. So let's see if I can ads some off this texture in the water. This horizontal lines and there are some yellow boats in the water. So let's ads a bit of that, too. And on the left there is a tree. I'm going to ads. I'm going to a mixing green with a little bit of yellow Oakar. Otherwise, his tool, artificial green or something like that. It's doesn't look natural. So are just make it a bit more natural by adding a bit of green. Okay, that I'm going to add a bit of the screen in the waters, too. The reflection off its ants. Let's see what I can do further, little bit of dark brown. I'm going to add some situations where I drew D Windows, but I'm reaching a point that I think, well, to what extent on, I'm going to work on this on this sketch. Am I going to do much more about it, or shall I leave it this way? Because I think it's a nice sketch as it is now. And, um, let's see if I do much more about it, it can become quite heavy handed. I feel so just doing some something's in the water. Maybe I can make debt more convincing. - Let's see. And the thing is, here I am. I made this a bit grayish. I thought, well, it needed stets, but when I look at this, for example, here you see the white of the paper coming true and in line with the photograph. I could make this a bit darker But there's also something that's something fresh about it. To leave the white of the paper open, 2 to 11 play apart at some details at some point certain areas. So while I did this, I regret it. It's a little bit because I felt that a bit of the freshness that it gave as it was here was gone all of a sudden. So when you start making this kind of decisions that you think you shouldn't have done that , then it's time to call it quits. I believe that's the term to say. Well, it's a nice sketch. Um, you know, you can do all kinds of things about it still, but it might lose its freshness after a while if you go too far with it. So I think it's nice as it is now, so I leave it at this point, okay? 9. 09 Scene 3 Pencil: I'm going to, Ah, sketch this building. I think I'll take this wellness well, this style about especially this building. And this is in two point perspective. So you have these lines which converge in a points at the Horizon line, and these are also converging in one line in anyone points at the Horizon line. So let's see. So, actually, when you look at this paper, I need to do this differently to demonstrate this better for you. So here we have the horizon line that and let's say that here is the right side of the building and let's see, that's let's say that this is one point and here's the out of points. Let's let's just take these two points. Two point perspective. Not sure if it is exactly like the photograph, but let's just say that it is for now and now I'm looking at this rich. So Dallas, just below the roof, actually, the red roof that I drew this line and there's this ridge, which is more or less, uh, at the height off the horizon. I think this rich that you can see in the building here this I mean, this is more or less at the height at which this picture was taken and that this the height off the horizon line. So see, And then, um, what's below this rich, this building? I think that small s four times this distance. So when you take this heights between this and this times four one to treat for, then you get let's say the the line, which is, uh, let's say, touching the water and, well thing the angle, it's more or less the same. So I think this is correct. And you you could draw this, but you don't see it. I will add draw other lines to dis points in the building. But first I'm going to watch. Ah, I'm going to work a little bit more on this area now. So when you look at this parts, it is four times this height, but you can divide it into treat. There are three areas in this in this largest shape, so I just nice doubts, and then, roughly I defied it into a tree. I don't really like to use rulers to do this because it's a very sketchy drawing. If I would use a ruler to get really straight lines. I feel that's not really working that way. So we have this building this side of the building defied it into different parts. And let's see, um, just measuring a little bit a serving, just Bruce Lee sketching how it is being divided. So you have these parts left and rights here and here. And let's see, here we have three windows in the middle. That's this. Have to check if I have the right spots. But here we have three windows. I just indicate them here are also tree windows and one on each side extra. So it is. I'm not really drawing every aspect off that shape off each window, but I indicate that there was something there on Let's see this here. This, um beautiful mate front here at sort of triangular shape. Almost. IHS um, justice high. I mean, this ship here, it's just asshole I as this part. So when I look at this the height of this, I can extend to this and then I have the height off this ornamental part off off the roof in front of the roof. And let's see this year's also one and some parts I deliberately measure, and some are just little bits more or less drawn into this structure that are making. So when you have basic structure, um, you can add certain details without measuring everything, because you already have a certain structure, but, uh, have to know what kind of things can be done. Very improvised and what kind of things you have to carefully, um, constructs. So the way this was being divided and set up needed some careful planning. Um, and now I'm going for Norwitz, uh, this side of the building. So I have this line, this line and this line those I have drawn. And now I want to know how wide this. So I look at it, this diagonal, this and then I get to this points and then I have the wits off that building more or less . For some reason, I feel that this is wider, but when I actually look at it, it's it's even. It's justice wife. So that can be a little bit confusing. Sometimes I thought, really, I really thought that this was water on this one, and my really look at it that it's not the case now. I want to have the middle off this site. So I have this diagonal here by adding, and at a diagonal, I can't determine the middle off this section. So I want because I want to draw this elaborate front off the roof and let's see, there was shape here that must go also in the direction off the the, uh, vanishing point here. So this this year has to go also to the finishing point into that direction. And there's another parts here swell. And then I can add some details to finish. It's And then there's the red roof, and this has to extend to dis vanishing points. Yeah, and here are some windows tree in the middle to one each side here, and this is the pencil parts. So later on, I will adds more detail. Wits. Ah, fine liners. But that's later. They're say, tree here. So now I have in general this building on the paper. That's at some more details here and there. There's another building here. Let's see. And then I look at this stage agonal to determine how white this other building is. It's It's really very loosely done now, and there's another building but I'm not going to draw every building now. But I can. At this wall, I have the feeling that this is an under a slightly other angle than this. So that's the vanishing point. Should be different at the horizon line for this part off the wall? Not totally sure, but it looks like it's on. Let's sketch Fabby loosely, that church. I'm just looking at this building to determine certain parts off. Shouldn't positions off the church. Let's see. So I wore. Let's look at this stage actor. No. So this is the tower position, the middle of the towers here and they look at this diagonal from here to here to determine how high it should be on the paper. So here this the heights and it it just fits. But you see that this vanishing point is much too close, actually, to get this church properly done, I mean, I would have to make it this way, so that's so I could have made this finishing point much more to the left. But that's just improvised a little bit. When you are drawing, you can also, um, just think of the vanishing point and not exactly draw this, uh, and detail looking at all the details, cooking at every every detail to match the vanishing point and so on boats. Anyway, I wanted to do this as an example to show you how you can use vanishing points butts. You can also use much looser approach in this there is some reflection in the water. Let's see, we have these windows here not going to draw this all. I think I just leave that this this building here waas the main part that I wanted to show you. Yeah, In another video, I used the same photograph and I drew the vanishing points. Ah, and well, that's an approach that you can use Foot's when you are on location and to our urban sketching. You don't always want to have that approach with perspective and so are you just want to draw. But suppose you want to throw that building that you see here ants well, without dropping actually the vanishing points in the horizontal line. I mean, you just sit somewhere and you're you want to have fun and not bother too much about it. You can also draw this and have the vanishing point in mind so you know, more or less that thes lines have to do converge into one points. But it can be tedious to actually draw that ants. Ah, it kills the spontaneity bits to keep on trying. That's Ah, But while you are driving this with a loose touch, you can also think off how perspective works with the vanishing points ants In the other video, I explained how this works with perspective, so I'm not going to explain it all. So you can go to the out of video in which I explain two point perspective. Or you can go to my other, uh, glass, the basis of urban sketching in which I show you. But while you are sitting somewhere and you have justice piece of paper from the few anyone to sketch this you can loosely approach this and you have in mind that's these lines confirms to one point. So, um, it's enough to think of that and to suggest that without actually drawing everything out, because that can be very tedious and boring ands. And I think that the atmosphere off what you're putting on the paper can benefit from a looser approach than to draw efforting exactly within a certain system, which, uh ah yeah, line perspective is so it's good to be aware off its toe work with it in your mind. So you know, that's when you draw these lines on the paper. You know that these have to come together somewhere here, but you don't have to draw everything in a very systematic way. You can just used that knowledge in a looser approach to give it some more, um, accuracy, but nuts in such a way that it's, um yeah, that diminishes the spontaneity off what you're doing. And I think that's when you compare Ah, my drawing that I made my other drumming with this one. That this is actually a better one, I think have a better feeling about this. So this is the pencil sketch off this one, and I'll add some fine line touches later. Accentuation send so arm. But I wanted to show you boat approaches one wits, vanishing points ands, horizon line, and so and one which is more practical. But you can use on location and we have these windows here. I don't I don't feel it's not. It's it's it's It's beautiful. It's not beautiful to draw all these windows. That just indicates some structure. And this building here is for me the most important parts off this Ah, sketch in the at. Later while I can have more detail in tow. Fine line with stage mark situations. And so But I wanted to show you boats sites off that one wits, more elaborate perspective, approach and more improvised, but with the knowledge off perspective in the backgrounds. 10. 10 Scene 3 Fine liner: I'm going to add some ink to this sketch. It's fine line up, so I want to have a free approach. So I carefully made this sketching pencil with this perspective points construction. And now that everything has been placed paper, I feel a certain freedom to to use fine line up and chest at X situations. I'm not really carefully drawing all of those windows, for example, with the exact shape. But in an optical way, I try to get let's say, the proportions, more or less right and the where they are, and the axe situations properly in this building's. So at a certain distance you feel, Hey, that that's a convincing image off the building, instead off really totally delineating everything carefully. It's more optical approach, I would say, and it's more the impression off it, then. Real careful, totally carefully constructed image. Although I tried to construct this to a certain extent industry, I try to add texture. It's also pronounce here that's finished this building before going to the rest. I would like to finish something before I go to the next building, otherwise get all kinds of things that are not done. The aunt sent you lose track off the organization off this sketch, so to speak. And sometimes it's a good thing to have it a bit chaotic, but sometimes a certain orders also goods. I'm not going to count all these windows. I feel it. If I really, um, draw all these windows is 25 that it becomes a bit of tedious and boring part of this sketch. So I tried to avoid that by suggesting that there are windows but not really dropping all of them. This tower and another tree. I try to get some texture in here. There's a wall here and the market just put some lines on the paper. But I'm not really going into detail here, but I think that most off this catch is done now. I mean, how much detail are you going to add? You don't have to draw everything. For example, I just leave this this way, go to draw all these windows so you can add it bit. But you want to and what you leave out of it. There is a reflection in the water, and the photo isn't going further than here, so I don't know what's happening here, so I'm not going to draw anything here. But I think it's nice sketch now in the fine line estates Shit. The next step will be adding water color to this. So, yeah, I'm going to add fine line of marks to this pencil sketch. So let's see. So I begin, just begin somewhere. And having done first pencil sketch, I feel certain freedom to just go around with fine line of and freely ads, all kinds off markings making things docker. And it's also consideration when you are adding fine line of marks or docker lines, so textures that you can leave certain things also for the water caller states. So, um, I would not recommend making all kinds of areas really dark and black with fine liner, large areas, maybe certain details. Let's say such a shadow under Dear Tower. It's very suitable for a fine line to do a final affair suitable should have suitable for for that, because with father color, it's it's been difficult to get this really sharp and detailed, so therefore, fine line. I can do that job quite well, but to make this as a whole docker this, um, our, um You can also leave that to the watercolor states, so you can anticipate certain effects, which are better to be achieved. Wits disorder, medium. So I'm combining, actually, three mediums, pencil sketch. Um, fine line. And while the color and certain things, uh, best to say for certain mediums. So, um, these ornamental details did, um, dropping now in this large building that's really something that's fine line can do quite nice. Quite nicely, Butts. Um, to make this all, well, a bit docker. I mean, fine line doesn't have the color anyway, but, um, to make certain areas darker, larger areas, I one can choose to reserve that for the what the caller stage at nuts use, um, fine line of finance because then you get these large black areas and maybe that's not kind of a static that you're after, but it's also personal choice, of course, but I'm just going after all kinds off details here because I want to have a quite recognisable, almost finished looking sketch in fine line off. So I want to treat toe hold sketch with fine liner butts. Um, as I said, I leave certain things for the watercolor states and Let's see. - And as you can see, I puts almost abstract markings here. I'm not going to totally draw this detail months. I look at the photograph in this case and not just at some ducts and marks. And I approached it in almost optical way. So at a certain distance, um, you see, that's building. But I think not a single Linus, really. Actually, exactly. How is this, so to speak. There are a number off accentuation, and together they created impression off this building as a whole, so you can approach things in a very linear wade. Wrong everything. But I'm more optical. So I look at something and I try to derived from That's what the Impressionists off that's in an optical way, an official way. And that's what is happening on the paper. So the eye and hand translated into markings and here's a tree, and then we have the texture off tree, which is difference than out of textures, off buildings with something. So try to, uh, adjust the kind off hand movements that are used for that. But I do not make this tree ferry dark. As you can see, I save that for the watercolor stage because I could Ads had teachings like I'm doing now, but I could feel it all with hatching until it's really dark. But I prefer to save that for the next stage, because while the collars easier to use for deaths without making it very heavy handed, there are all kinds of windows here you can count them and at them a tend to not want to draw them specifically. All those windows I find it. I don't know. It becomes tedious if I do that. I feel a bit of an ugly modern, um, not very poetic part of his drawing, and you can choose to do that properly, but I tend to suggest it more or less. Which some marks, rather than really drawing everything out, seems to be a market here. Ants. Let's see, There are some details here in the back and reflection in the water, and the reflection is not very tight. It's not. It's it's not very smooth, Walter. It's moving a bit, so I add markings around this line. Moelis. As you could see, I do not draw this very strict linear way, but around this Etch Sheehy, the the reflection of the air and the reflection off the building. I tried to put marks. It's fine line of to suggest this. Ah, this this transition from light to dark with the addition of father color later on, I can make this darker, but without really drawing this very for me. Specifically, charter suggest with the texture off markings transition between this area. This area I hope that will work when it's when I add while the color to it. So the effect this ah, incomplete as of yet So let's see. And I think it It looks nice Lau So I feel I should leave it alone for now. The next step will be what a caller. Uh, every time I say I should leave it alone and sees something that I want to do. But I really should stop in this stage, and the next step will be having watercolor 11. 12 Scene 4 Pencil: I am going to make a sketch off this scene and especially I'm going to look at the reflection in the water. That's a quite nice reflection here, and I'm going to use sketchy way off approaching this. So I'm not going to pay too much attention on except perspective with two point perspective and so arm. That's when your focus on architecture more. But I want to, uh, approached thes reflections in the water. So that's what I'm going to do now with more quick approach, quicker approach. So there are these. There's a church, I think, in two towers, so I'm just going to put it on the paper very quickly. For every sketchy. I mean, when you are ah, on location, you're not going to always do ferry careful sketches. It's also good to have a a quick handoff sketching here. I'm using some texture, and you see that the way I approach this with my hand movement is different than let's say , such a towers with a different shape anyway. But add that's just at this church style, where I think it's a church here and then there are some buildings, and I'm not going to barter by details. It's the overall shape, some trying to approach. So some accentuation is here and there. And then, let's see, there's this rich. Let's see if I can add some more accuracy to this and point this. This is three step process I'm using pencil I'm using Ah, a fine liner in the second States and I'm using while the color in the third stage. So each state's delivers some detail to this live some sort of information. So while the first sketch is perhaps very quickly done seconds layer, so to speak or seconds time you work on this, you add some more details, some more information with the five liner. And then after that, you give some more information with what the car is. So why do I opened the box? So each time you add something to it? So the first, uh, sketch does not have to be ferry detailed, depending on your approach. But you can also see this as the first, um, yeah, way off putting things on the paper, which it let really is, of course. But it is. It's the first draft, so to speak. After this, you are adding more information and the addition off more in information with subsequent, um, handling off this sketch. And I'm I'm describing its bits heavy handed, perhaps butts. It all adds up to the ant results. So, um, this can be this. This is just enough for the first. Ah, sketched the first layout. The first thing she put on the paper. And in the next step, I'm going to that's fine line if And then what a call. But, uh, to come back to the actual subject off this what? I wanted to study what this is. Ah, here is a nice reflection in the water, and I drew this sketchily and then it's good to mark certain areas. So what you see here is sort of mirror image in the water, but the water is moving, so the the surface is not smooth. So you get all kinds of distortions in the in the water. So Ah, I look at the darkest areas here and here and here, and I safe making things really darker for the fine line of stage. But you can see that I marked here this this area which which becomes darker because it's a soft shadow off the bridge. This also here a dark area and here with east trees. There's also a dark area so you can see that are the different areas which darken the water , so to speak, visually for us. I don't want to put too much, um, shadow in this stage. I want to keep things, uh, with a light touch. And so I also wanted to keep this drawing this sketch very sketchy because I can't make every dropping ferry details. But when you are, you are on location and you have, let's say, a few minutes to make something. It can be a very nice documents off the atmosphere of the moment to just for me quickly make a sketch. Do not bother too much about details or accuracy. I'm seeing here that this tower is a bit too low, but don't bother too much about Chris Accuracy. Um, because that's also part off what's being recorded with a bourbon sketch. You are on location. You don't have time to work it all out, so that's part part off the process. Part off the experience you don't always have topped work it all out, and sometimes a sketch can be better by keeping its lights, keeping it sketch. She keeping it perhaps, um, incorrect. Even you can endlessly make all kinds of adjustments and long, right? I talked longer, I much at my own catch. I start doing that. So I put down the pencil butts. This is the first drafts, and the next step will be, uh, fine line us. 12. 13 Scene 4 Fine liner: This was a very spontaneous sketch. I didn't really bother drawn all kinds of perspective lines and so arm, but just measuring a little bits where this one thing stands and the other thing. And in this vein, in this very spontaneous way off doing things, I want to add these fine line or markings. So I want to enhance this this sketch in pencil with fine line up. But I'm not going to be very detailed, and I tried to keep things fresh and spontaneous in the in the atmosphere. That's the actual first, um, set up was made because when you are sketching on location, you need to work quickly and fast. Often. Maybe you have five minutes or so to make a quick sketch ants. I think it's good to also demonstrate that one comer quickly. Ants still have a nice results, sometimes even nicer then, um, making everything very carefully, getting everything carefully dumb. So I just suggest certain, um, shapes. I try to summarized, so to speak. You just sort of Stina. Graphic is that approach. It shows short hands. I think. I think that's the English word for it. Short hands for dropping things So you get when you look through the, um when you squint your eyes, you can see the largest shapes and all the details all falling away. I think you can use that approach. Just looked through the hairs in your eyes and look at the larger ships here and there. There's a boat here and the next step, not too much in the air with fine line of because finally is immediately black. And we need to keep this airy. But, um, yeah, this is a nice, spontaneous approach, I think so. I leave that this for now, and the next step will be having watercolor. 13. 14 Scene 4 Watercolor: I'm going to adds color to this sketch. So here I have to source photograph, and first I'm going to add washes. So I I'm going to mix a lot of water with colors, and I'm going to ads costs in general, sort of green wash here and think wash here and the air and then late from I will ads docker extensive ations. So that's begin. That's first start with the largest structure structure the sky not totally blew, but it's a little bit off grey with in the mixture of swell, and there are also clouds in the sky. So I had a lot off water, and it's just to get rid off the white. It's not really very dark or anything. It has to be very airy. That's the words a little a little more blue, so I leave certain white parts open to suggest that there are clouds. I don't want this to be too dark to lower sites, so and let's see, that's enough blue for me and in the water. The reflection off the sky also blue bluish. It can be a little bit darker. I believe that's a reflection in the water is docker than the actual blue sky. So have a little bit of blue there. And let's see, that's take a little bit off brown and gray. I don't want to have bright colors, especially not in the beginning. So later arm would. That's very dark now, but the tower is quite dark, but I have to next quite some water with it. So let's see. So I'm going to do this bridge and star power with this mixture. And when I close my eyes half when I looked through the hair hairs off my ice, squinting, I believe that's the name. I see larger areas. Death can have this brownish color, even this house here. So I just use this freely now, even in these trees, I add green later, a little bit of the texture off the water, so that's a sort of basic layer. Now that's clean is little bit. Just add some water to the brush and I go through this punch, and now I want, um, a pink color pinkish for this, this building here, this church on, Let's see. Can I use this for other areas? Maybe here, sometimes you have a color, and then you look at other places in the you know what color and then this could also benefits from this scholar. So let's see. I want to keep this fresh and spontaneous, so I'm not going to adds a lot of detail. Also not in the watercolor stage. Now I want a greenish wash for her. It's our here blue, green and blue. It's a cool green. I actually like that collar. So here is a cool green, and now I need some darker green. There are actually two colors of green and the leaves of these trees. So let's see also green here and more yellowish green. Here it's a little bit brighter. Let's see now I have a basic layer off color off sort of muted version of its, um, spontaneous version. And now I want to add some darker parts and also some brighter colored parts. So I'm going to mix dark green for the leaves off the trees and I just at texture. While I, uh, put this on the paper and I also look at the reflection in the water. I try to adjust the texture to the movements in the water so the water is nuts Smoot. But they're certain. Text your minutes. Let's see more bright, yellowish green here and yeah, let's not overdo it. I want their bright tree yellow. Oh, son seems to capture debt parts. Anyway, um, now I'm going to see we find it a little bits. Now I want a dark brown color. Well, visits dark brown with very much Walter here, Doc Brown, and I'm going to accentuate this style with a loose touch. I don't want this sketch to be heavy handed butts. There are all kinds of touches that you can make here. This part's actually gray, but I'm using brown. Sometimes I'm a few free to use a color freely in a part which is close to that color, adding some accentuation on the bridge. Let's see the reflection in the water off that rich. Maybe a bit too dark, I don't know. But using this also here and let's concentrate a bit more on this building here has Gates rich here. So I tried to get some features in the building without really, um, getting into too much detail. Um, let's see. I can have here some situations yet perhaps your boats and let's add some bright Retz ex situations because there are some roofs that lend themselves quite nicely for debts. So here is a roof, and here is a roof. There was some red brown is right here, but, uh, and let's see, um, I'm going to add some dark gray to the tower on the rights. Not too dark. Let's see just a few accentuation. Nothing more than that. And here. And so I could use this gray, also in the water, trying to add a little bit off texture, too. The water So it looks more like the, let's, say, the water texture, which is not smooth. Um, let's see. I want to have this reflection off this style war here. Here's some AC situations without going into much detail, just suggesting that something is happening, that all these windows and let's see here some texture. And here's also a reflection off this building that can be dark to and graze a neutral color. It's not even a color, actually, so I can use that without distorting the image. I'm not really mixing the color here off the church. It should be a sort off, darker version off this kind off being, but it's in shadow, so I can make it very complicated. But I can just use describe a here. A swell. It's close enough that he put it that way, and there's a boat here, just some marks, and that boat has a sort off effect in the water. So after effects and, let's see, maybe a little bit off dark green accentuation and and the church taking some blue must be a cool green here. And I'm at the point that I think I shouldn't do too much about this anymore because it looks quite nice to me. I want to get some of this gray, and I had a little bit, too, that water now just some texture structure off that water, that it's moving a bit and it stopped totally smooth. So there's a certain structure in it, so I want to accentuate that a little bit butts. I don't want to overdo it and a little bit off yellow dark yellow. So I mix it with this doctor collar yellow ochre or I'm searching for the rights color. Actually now, so this is a bit messy, but you have to building here, so just some accentuation. Now I see that it has a little bit of green. Oops. Clean it. But I leave it at this because I think it's a nice quick sketch and doing more about this. What's room? Minutes? Um, so when Minister, Right down to stop. I think I stopped now. Well, little I wanted to adds a little bit off. Yeah, I stopped now because otherwise I'm ruling it ruining it. Yeah. 14. 15 Scene 5 Pencil: here. I have a picture with a lot off people, and I'm going to sketch some of these figures, some of these people, and I'm not really going to draw a whole scene. But I just want to ease, um, to use this source photograph to show you how I draw figures based on photographs. So I'm not drawing stick figures in my urban sketches. Um, the way I approach drunk people is the same as I approached buildings. I try to, um, interprets the largest shapes in such a way. The largest chefs, Yeah, the shapes off person in such a way that, um it becomes solves. Yeah, it's sketch on the paper, but I'm not going to construct a human body, so to speak, with cylinders and aunts and stick figures. But the way I derived shapes from a source photograph is similar to how I dropped buildings . So there's this male figure Ah, at the front. So I just scratch his back because that's the most typical elements. What office figure? Some AC situations. I think he's wearing glasses, but get to see. And I accentuates certain features off his body, his his arms, his hands, some faults in the fabric office T shirts and let's see, there's well, I think that this is this will be a nice figure in a open sketch. I don't have more information about its legs, so not going to try to extend them. There's a girl walking here on the right of him, and is this shape off the off the shirt that she's traveling the top that she's faring is takes, takes toe the the attention quite a lot, and she has long hair, so that's also quite a recognizable feature. Typical feature off her figure. I don't know exactly what she's wearing here, but let's see now I want to accentuate certain things. Sometimes when I made a sketch, I had to go to take a little break or something and to watch what you have sketched into at certain accentuation is too clarified this catch to make it a bit more clearer so you can see what's actually being sketched. But so I look at the most typical shapes in such a figure like this sort off 1/2 power bollock shape here. I thought that was something. Discover my eye in the beginning, so here we have two people now, let's see. Um, there is someone here lady holding a cup and I'm not too bothered with. All kinds of details are just try to look at the most typical things which catch my attention. When I look at such a figure, try to interpret those on the papers. So I tried to get the essence off a figure instead off trying to get everything anatomically, anatomically correct and and so on. I mean, it's a plus if if if it happens to be anatomically correct. But I'm not really bothered by exactly getting everything, Dr Lee writes, because it is for a quick sketch bourbon sketching. So it has to be some sort off spontaneity in it. Let's see someone here on the rights. You don't see her totally, but she's carrying a back. So when someone's carrying him back, you have this bance, or how do you call it off the back around her shoulder around her back? And it's also nice that can also be in an interesting shape, so but this is not the most recognizable person. So maybe I'm drawn this to show you what to avoid. Actually, when you are driving figure like this or this. We have very clear and easy to recognize sort of figure. But this gets more difficult. You you would have to be very accurate in the finding her shoulders and her hair and her figure to get this recognizable. You see that? I'm actually failing a bit. So I would have to be very careful to to get this right. A figure like this. You can easily get quite a convincing female figure quickly done on the paper. Um, when you have ah, very recognizable shape off a human body here and here off person, the so a figure like this or this desire easy to dry. You make yourself very different. You making that yourself difficult to does something like this, someone like this. And here this figure is also quite easily recognizable. And it's something to think about when you make quick sketches. But in the context off these people, this might actually work, by the way, so But it's just something to think about. And, uh, yeah, in the next step, I will add some fine minor and two other color 15. 16 Scene 5 Fine liner: I'm going to use the fine line to add some ink to these figures. See this girl here and I can use textures freely because I've already drum the main ships off a figure so I don't have to search for dimensions and position on paper. So as I can, we find things. And so at some detail where I didn't have detail yet, you defaults in her top or shirt, and I'm just trying to understand the shapes that I see. I'm not really, really concerns anatomically toe Get that everything right, because that's a different kind of thing. I feel that in urban sketching, figures are part of the larger hole. There are buildings and there are things. So I approach dropping human figures as I approached other aspects off the drawing because I want it to be stylistically fitting. I wanted to. It must fit in with the rest of the dropping, so I'm not going to construct ah figure anatomically or so. But I tried to understand the largest shapes, thinking off geometric shapes sometimes and gets an impression on the paper off that figure , which is a bit similar to the way that I dropped buildings. So with a loose touch with a light touch, I try to approach this, but it must be convincing. So some anatomical insight is always welcome. Although I'm not pretending that I know a lot of anatomy, but, um, just like ah, I do not draw shapes, actually. But I think of shapes in the back of my mind to help me approaches certain, ah motif certain detail. It can help to have some anatomical knowledge not to really totally construct a figure that way, but to have in the back of your mind some off that I can help to draw, figure, small, convincing, be. And but it its it's mainly ah, training your observational skills in my approach. So the eye hand coordination, that's what you're working on if you want to have some uh, yeah, some accuracy in what you're doing. So but because there's already a pencil dropping its quite relaxing, actually, to have a ah, fine liner and just freely at details without being concerned too much about have to place them because that problem is already tackled here. If I forgot the arm of this man, well, he didn't complain, but you must have an arm there? Um, he has shown in the picture, so I didn't actually notice it right away. So? So this tree have been drawn. I will add some water color later as well, so that this was two more difficult one. So and I said, Well, I would skip. That's actually, but let's see, maybe I don't find this one really convincing butts. You have always a second chance with the second or the church layer to correct things that have to have not gone very well. But this is a bits less recognizable. So when you have a person, let's say this man or this lady is instantly recognisable. If if you're another really good, if you are not really good at drawing you, you could get away with such a figure. But this figure, um, it is difficult because it's not really very clear how she has positions. Let's see, adding who Lex might health. There was another figure here in between, but I didn't draw that one, but I think it's uninterested example off choosing the figures that can help you make your dropping better and avoiding certain figures. Um, I don't think it really that bad now, butts that this is a bit more difficult one, because as a sense, this one is instantly recognizable as a girl walking here. And so, yeah, and this man to this lady, to this oneness with more more complicated. But sometimes a more complicated once can be the most interesting wants is well, so this one starts to grow on me, I think. Well, I started, like, this one. So anyway, the next step will be adding, Shall I put this figure here? No. Adding what color? So this sketch? Yes, well, that 16. 18 Scene 6 Pencil: I'm going to make a sketch with this photograph hands. You have one point perspective. That means that there was one point at the horizon. They're All these lines diverge into one point. Um, and these houses are also parallel with the's tracks and the despots, this road. So these lines also confers into one points. These buildings are under a different angle. So you have other points here. I don't want to approach this too complicated, too technical. But while I am dropping, I am aware of the fact that thesis lines converse into one point. So, um, while you are driving this, you can, um, take note off. That's you can remember that. But I tried to keep things spontaneous, so I'm not going to be very technical with all kinds off perspective lines. But it's more something that I'm aware off in the back of my minds. And Cem, while I am drawing it, doesn't have to be 100% corrector, but I try to keep that spontaneous feeling as well. So that's my approach in the next sketch. So what we do, we have this this road's but this is not not really the horizon line. This is Is this more when you're ready? Houses starts at the other side of the I wrote Yeah, at at at at the end of this spots. Put it that way. So you have these yellow brownish yellow houses here or buildings there? Quite large. I don't know if house is correct. Way to name them. There are these tram tracks and I I draw these wits the knowledge that these converge only one point somewhere. Here. I do not exactly draw that point and so on, because I find if if you are exactly driving deaths, that perspective points, that's the point at at the horizon. Um, such a driving can become very tedious and very, um perhaps too technical. You want to keep the spontaneity? Let's see, I look at this diagonal here to get the height off the house that you see here standing, and I know that this is also converging into the same point as thes lines all our that somewhere here. So that points so hands here. I also also look for a diagonal and the roof off this houses practically as high as the house itself is high. So I just look where at this. This part off the roof is, and that's a window here. I'm just improvising here, but it's more or less here. I think it's not the land here. It's so well that there is diagonal anyway. So you can just take this a diet diagonal and you have the position because it's the same height as this house, the roof. So it's more or less and in the direction off this, if you're exactly are going to measure it, maybe I'm a bit off. But I try to keep things spontaneous and not endlessly measure everything. Although it's important together, it's more or less rights. What's measuring too much to get it accurate scan also make it dropping a bit tedious and, yeah, bit boring. Perhaps so, let's see. We have this house. I was looking at these riches in the house and I waas looking at the positions, Um, compared to this building here. So there was This part is rich on the need. Let's say the ornamental triangle shapes and thats above thes windows so I could draw this here and then you have this ornamental shape Hughes shape, and he was the star war. I'm not sure if this is the same building as you see at other ah drawings, photographs that I've made off. I did not make the photographs myself by the way I find him on Picture Bay, but that I drew and but it looks very typical. So here is a tower ants. Then we have that's he buildings here. Hence here's call inner. And then there's a perspective line into that direction into it here, so very sketchily. I look at the largest shapes. Where do the larger angles go to? Where's the perspective line had it for? And ah yeah, trying not to very too much about details. But I tried to get the largest shapes on the paper. So I'm looking at these buildings here and let's see as something here, the rounds thing at attachments, I think. And let's at some more detail here and there. People are waiting for the bus here. Here are some windows. I didn't really measure the middle window. I could have done that by adding two diagonals from here to here and at the intersection. There's the middle, and now I want to clarify that this sketch a bit so when high when I have made such a sketch, I want to clarify a few things by adding accentuation so I can add accentuation studio tracks on the reels in the in the roads, maybe a little bit off texture, just some marks which are derived from the structure off those stones. There are people walking here, so I just at some marks based on these figures butts, I'm not really drawing stick figures or something, but just some almost abstract structures. That's give the impression that there is something there. And also the context gives the impression that there's that. That's a person. So I think that's a nice little trick when you are dropping about way like you side of the roads, you don't have to be very detailed, but we are drawing sort off texture almost off people. That sounds really strange. Month. Um, the minds makes a sort of course connection. I think that Hey, that's something. There must be a person because it's about way sidewalk. Someone must be walking down. And now I'm just having some mark some X situations based bomb windows and so arm and all with a very light touch because I want is drawing to be this sketch to be, ah, lights, to have a bit of an atmosphere and not be very tediously mates. So I'm not even going to count all these windows butts when there's a sort of structure here textured that's looks a bit like a number off Windows. It serves its purpose in the drawing in the sketch and to make it to details. Can I get too much attention to this? So that's also something to think about when you are working to details. We have put too much attention to certain parts. It also receives a lot of attention. And maybe it's a part of a drawing that you don't really wants to have that much attention because the focal points what you find important this for. Have something else. Let's see. Yeah, I don't want to do too much now, and the next stage will be fine, Linus, and we'll see what what the mood is them and how it will turn out. I just leave it at this in this stage 17. 19 Scene 6 Fine liner: I'm going to rework this sketch with fine line us. And because everything is already positions, I feel I can be more free, freer in adding, all kinds of accentuation is and so on. So that's just starts. And I want to stay in a let's say, spontaneous atmosphere with this. So just at all kinds off accentuation is here without actually dropping the windows. Exactly. He's a rain pipe bus station with people standing, and these are just marks AC situations. There's, of course, also already a pencil sketch on the meat, so I don't have to trace everything. But Barry. It's appropriate. I try to ads, fine line or AC situations, so I'm not really dropping every detail. And so I think that's in the anti optical impression. Benefits from that, even to not draw every every detail, everything completely. So it's safe Stein and it might be more convincing a soul of impression off what your drawing or sketching. Is there a difference between drawing and sketching? Drawing a small elaborate? I feel them that you make really an effort to um makes something as a work arts and but often times a quick sketch can be much more interesting than elaborate dropping. So I think that's Indiana. Doesn't really matter what you call it, because very spontaneous quick sketch can be very beautiful. Let's see, on every time I approach, um, a house or a building, I try to keep my eye on the total structure as well. Before I add all kinds of details months when you are driving in pencil, I try to get the roof tile suggested here. I don't think I'm doing a very good job, to be honest, but let's see. But when you are drawing in pencil first draft, you need to start with the overall structure before you add details. Ends. You have more freedom wits when you are working on the second layer, two ads, all kinds of situations because there's already a framework, so to speak. It's already been drum and positioned on the paper in the first pencil sketch, and sometimes you see certain things that you can accentuate like here, this rich off this building to get some clarity in the in the sketch, in the drawing. So sometimes, and I did that in the pencil version as well. Sometimes it's good to take a step back and look for details, which can be accentuated. So there is some sort off. Yeah, clarity, as I said in the sketch. Otherwise, you can easily end up with very homogeneous drawing all the same kind of Flynt's that you put on the paper while you were searching for the right dimensions. So you have a soul face in which you are seeking where it should stand and how you can build it up, and you have a certain stage in with face in which you can ads more. Accentuation is, too. He fell up the driving into him. Yeah, into a better, um, work better articulate. It's drawing. Was looking for that work articulated. I think that's a nice word to say that I need to look it up if I have the exact, um, meaning rights. But, um, overall, a drawing needs some situations to make things pop out to bits and get some focal points or a focal focal points. Maybe I can rest obits wet where the eyes being let's to. So these are very strong, Ah, directions like this. So this is an area where the I ends up here and let's see I don't want to overdo. It's so I think that, uh, with these additions in fine liner this sketch as nice atmosphere. Let's see if I can some texture for the stones off the pavements. Here we have some horizontal lines on. Let's see, he needs something. Something. I just added some dark, some accentuation there. But I wonder if it was better if I had left it open now Anyway, you make what What I did here at my question, Was it better when I leave it open you constantly you make that kind off. Uh uh, The did decisions during this process of drawing and there's not an undue but on, especially when you're using fine Linus. So when it's when it's done and it's on the paper, well, you just have to move on with death. But I don't want to at too much of their Audis cables here, which are interesting because I don't live in a city where we have such cables. Those are from the from the term, I think so. That's a typical elements. So desist e every time I want to wrap up drama, and I see all kinds of things that I want to accentuates so a bit off x texture here. And let's just leave this now. Ants Oh, that's a light here. Now I leave this for the next stage, which will be, uh, watercolor. And I wonder if I have to much texture in the ends because it's bits too much confetti. But in the watercolor states, I can correct that the bits by leaving this a bit open, perhaps sense accentuate this part. So it's good to think of a little bit about what you're going to do in the next step when you have finished second step with fine line of what? How you How are you going to approach the watercolor stage? I'm not going to fill it all in. Or am I going to concentrate on this? And for every sketchily add a little bit of father color here, but not too much. So those are considerations for the next stage in this, uh, sketch 18. 20 Scene 6 Watercolor: I am going to at colors to this sketch, and here is toe the big chill ants. As you can see, the cars are, all of it mutates. So there are some bright accentuation is here these red jackets a little bit of the roof, with also that is a sort of mute. It's brown. So that's my approach to use muted colors with some colorful accentuation. So that's first, uh, duty air. I'm going to do the air and and the roads because they are the lightest areas. Ants, um, the roads. It has been raining, so the road reflects the air sweats, stones, ants. It's not really some cholera or something. I just mix blue and gray, and I add Walter, and it's just to get to get rid of the white of the paper. So it's a rainy day, so let's see. Suggestion off clouds. So some parts of a leaf white. But in general, I want that to be something which takes you wait in general, the white of the paper there. Otherwise I get a feeling that's if you don't do that. Then you take Audie this disguise very light or leave it white. Then it. It looks like the watercolor or the sketch starts here as if there is not a sky part of it . So I said the skies, Bard of it of something or is like, sort of isolated image. So I just I wanted to be very light, but not totally whites off Vital. What would be a nice term for debts? And I just freely ads gray here, try to get a bit of texture at the same time. Here I can go a bit darker, although my mixture is not really dark. So this is already quite life, Lee. I think it doesn't need much more. And I keep it very simple in this watercolor with 50 scholars. I mean going to at great mixed grey and yellow okra, a bit of brown and at water. Let's see. Now, just do these houses at some water, just a general wash. Maybe this is a bit too dark here, so I add some water and I take this bunch and it is a bit like so I just leave it that way . So sometimes you have just a quick, practical solution for something like that. And, uh, yeah, I want want my approach now to be spontaneous. Um, let's add some dark, grayish accentuation. There are people walking here, and I just add some accentuation, but not too much because I don't want this. I want to call it to be too dark, but with a quick way of doing things just at some great tones here and there. And the roof here also uses some gray. Can you? Some great and here us well see, and I just It's not very detailed, but I just add some touches here and there, so I don't want this to become a very heavy hand. It's Ah, Walter color, just quick touches. And now this roof, the brownish reddish brownish, don't you? At little gray calls are all a bit broken. Let's see, that's too much gray, and I add some more water because this is a large concentration off pigments. I go to this spots, and I asked what more water here? So here is an area where it's quite diluted and let's see what happens if I ATS some of this here. This is quite lights. Let's see if I can add some docker Don's to its still wet so you see these very soft transitions Beer, which is quite nice, I think. I see. Then we have here reddish tiles, the same style, something. And then with this Ah, let's see if I can add some Accentuation is here and there in the house itself. And these trees orbits. Maybe here, but not too much. A little bit of greens. Nice. Perhaps for the trees, at least as tree here of green and brown mixed. So I don't want to broad green here, but just a little. A little bit of green. Just few touches to liven up this, uh, want to call. And now I'm going to clean his brush. And if a girl goes too fast, just click pass so you can catch up our go back in the video. If you want to see it better, you can play that half speed. I believe so. Let's see. I have bright threats. Color now Are people waiting for the bus just at some ex situations where I see bright Retz except accentuation. So now only these people here and this this here, Maybe this is a bit too right. So with my fingers, I just remove a bit of banks. And let's see, here I have some. I take some dark brown at some accentuation for the windows. Here's some detail act that I forgot. That's let's see with this Brown, if I can make this sketch a bit more complete, and I just at marks here and there at some marks here in this house can go all over this catch now to add some dots and marks here and there, too. Make it life. Lear work on some light and dark areas, but I don't want to do too much about it because otherwise I might lose you. Sort the freshness also. Let's see. I should have done that Should great I take some gray ends. I think that's this sketch will benefit from working on the roads here at the front parts. Ah, having texture those stones and so arm. I'm just adding supple marks here and there to suggest more off what's happening at four grounds, and I think that's what this sketch need. It's Ah, working on this foreground, and let's see there is a subtle reflection off these people on the pavement, so I'm not going into too much detail. But I think this catch. I needed this for some reason that sometimes you could think that this is a boring parts off a sketch because nothing's happening here, really. But um, adding accentuation is and working on the structure off this road, I think benefits quality off the sketch as a whole. I think that when I was working on this parts and not yet on this, I felt in what the color I felt it lacked something and now feel that there's something at the fall ground which creates a certain feeling off depths off space. And I don't want to overdo it because I don't want this to be happy handed. So one of the most important things to learn when you are making drawings is learning how to went to stop. Because sometimes you wish that Waas there was an undo button armor drawling some paintings . Anyway, I think I leave that this let's see, some marks are people walking on the streets and I'm not really dropping people, but I draw marks which can be interpreted when you look at the that the well, the caller, the sketch as a whole, as people going too far here. I feel that if I do more here, it gets Messi. I leave that this so a lot of spontaneity off its to me. It was interesting to add these marks and I felt that it life and up the sketch. 19. 21 Challenge: I hope you enjoy this class with sketches off black. It was fun for me to make. I'm looking forward to seeing your results when you post them here. And I wish you a lot of fun urban sketching.