Urban sketching with soft pastels | Jekaterina Kotelnikova | Skillshare

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Urban sketching with soft pastels

teacher avatar Jekaterina Kotelnikova, Artist & Language Tutor

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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

4 Lessons (53m)
    • 1. Intro to urban sketching with soft pastels

      0:31
    • 2. Sketching the tower

      26:14
    • 3. Drawing the sky

      7:29
    • 4. Adding color to the tower

      18:36
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About This Class

Learn to sketch with soft pastels! 

In this class, I will show you how to easily sketch an urban detail in soft pastels. We will take a look at perspective and construction of a tower and then add color to our sketch with soft pastels.

Often urban sketching is done in watercolor. In this class, I want to show you that you can sketch beautiful artwork with soft pastels and charcoal.

Meet Your Teacher

Teacher Profile Image

Jekaterina Kotelnikova

Artist & Language Tutor

Teacher

Hi there! I'm Kate and I am an artist and an illustrator (and a mom of a wonderful 5-year-old). I live and work in Jelgava, Latvia. 

When I was very young I went to art school but did not finish it as I got really tired of everyone telling me what 'the right way' to do things is. I believe that in art there is no right or wrong :)

I returned to drawing and then painting after I started having problems with my health. Right after I gave birth to my daughter I was in pain 24/7 for over a year and a half when I was finally diagnozed with fibromyalgia (for those of you who are lucky enough not to know what that is, it's an illness that makes your nerves transmit paint which is not there). 

I run my YouTube art channel, Patreon, my little online art school... See full profile

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Transcripts

1. Intro to urban sketching with soft pastels: Hi everyone. My name is Kate them Adele, I am professional self-taught artists and I have been teaching soft pastels for a couple of years now. In this glass, I wanted to show you how to sketch an urban setting with soft pastels. We will be doing a sketch of a tower and we will be building perspective and then adding color with soft pastels. I created this glass because I wanted to show you that he can sketch things not only with watercolor, but soft pastels are an amazing medium for it. So join me in the class. 2. Sketching the tower: Hi everyone. So today we will be doing some urban sketching and I have prepared the reference photo. It's a church that I took a photo of our recent walk. So and I'm using gentlemen TOM paper. This is the smooth side because when you're doing, when you need to do small details that are important when you're doing sketches of cities. It's very important that you have a smooth surface so that you are able to actually add those details. Otherwise you won't be able to do that on the textured surface. So this is a flannel Gray. I like this color the most, you know that already right now. I think this is the church. And what I want to focus on is the steeple. So I don't want to do all of it. I just want to do this detail that is on top of this tower. So very important things when you are doing sketches of cities and buildings, you have to pay attention to the perspective. I'm using dark brown console and I have it sharpened to a sharp point. And in this sketch we will be using this kind of more graphic approach. So the lines that we will be doing will have accents of the tips and they will get lost kind of in the middle. So we're going to be working in these lines that give this kind of more live field to our sketch. So I will start by approximately measuring. We're, I want my, the tip of my ball that is somewhere here. There's going to be this bowl on top of my tower. And then I think I'm going to finish off somewhere around here. So you can do this in two ways. A more economical way which does not involve these lifelines. And there you draw out perfectly according to the perspective or you can add a bit more life to it. And even if you have some minor errors, Perspective wise, if you don't get the line exactly where you need it, it will look still more pleasing, more alive. So let's start. So here I'm measuring, now looking at my reference image who was measuring and they moved the camera. So on an outstretched hand, I'm measuring with my pencil on operands image how high up this little ball on top is going to be. So it's basically going to be the same as the width from the top, the same distance as the width of the tower itself. So if I say that this is the distance, actually this is too few. Let's take it just a bit larger. So this is the distance between the top of this ball that is on top. We're not looking at the cross on top there, but between the top of this ball and the corner that is closest to us, it's going to be the same as the width of our tower. So here I will start by pinpointing that. Coordinator. And then we have to pay attention that it kind of goes slightly inwards this area, it's going to curve a bit. So this is one. And then we go all the way down for now. So barely touching the paper. I'm creating this plane that is closest to us. So then I see that I have this width now, which is going to be approximately like so. So the tower is going to be approximately this thick. And as I took a photo from this, it's called the first position, I think, in the squares when you're drawing squares. So basically the sides are equal. So the tower itself is square and both of these sides should be equal. So I think if we make it this large, it's going to work. And I am looking at the angle. If we put a straight line here, I'm looking at these angles. Weird. The tip of this tower of the square is. So just to get the perspective right. And here I'm going to, well really draw out the top square of my tower very lightly. Then from here, I'm looking that just slightly taller than it is wide is this part of the tower that creates kind of a square. So here were the windows are, and I'm looking at, at almost as tall as it is wide. So I'm measuring it that way. So I'm making it just a bit taller because it's not a complete square. And the same way here as I'm going to the perspective, I'm drawing the perspective. Goals just a bit more horizontal. So basically there's this role when you're drawing that any line that is closest to the horizon, closer to the horizon becomes more horizontal. So this is just the rule of perspective. So I'm creating this second area. Now. I see that here. This area here comes out a bit. Because as we said, this part here is kind of curved. So we have to show that. So we're showing this curved area like so. And then going down. So now we have this cube. You can measure from the side of your paper to make sure that your lines are vertical. If your lines are not vertical, it's going to look as if the towers leaning. This is what we're gonna do when we are going to drop pisa tower, by the way, help photos of that one. So we're gonna be doing that one as well. I think if you would like that, let me know. So now, now we have this area here, which also steps out a bit. So we're going from this point. And we're taking just lately it stops out less than that one. So just a bit, we move it out. So this is very important when you are drawing buildings, all these tiny details. You have to pay close attention to them because when you are drawing a building, the silhouette and all the details that are on this building are, it's portrait basically treated like a portrait of a person. And here, again, we're going in words. I'm eyeballing how thick this part actually is. Like. So then we have this area that goes down and also this one goes down straight. And here already, I don't care about this bottom area because I want to focus the attention on this upper part. So now what do we do now? Now we need to create, There is another detail here. So we need to connect these parts that are the bottom of this curvature. And we see these kind of squares on each corner. Like so. Now, this inner part of these stop square of our tower has this area slightly kind of dented inwards. So what I'm doing is I'm slightly creating this little indentation, so it's lower than the corners. Another important thing to pay attention that I'm focusing my strongest accents on the areas where the lines meet. So our eyes are built in such a way that we connect the line. Even if it's not connected, if we have two dots, our eye is going to try to create that connection. So very important to accentuate those areas. Next, I see that under there, there is another level of this square going around that kind of jumps out. So this is the other level. And I'm sketching it in the same way. So it's right under our first part. So I'm going to sketch that money in. And now here at the corners where we see that this actually fits into the wall. It goes. So here we have this jumps out. And here it has also kind of a thicker wall and then it kind of dense inwards like so. So it goes like so. Then there's the curved part here. So this is what we need to show. Now, I'm going to Take my pencil again and just put a vertical line down. And immediately that gives us a feeling of this thickness. The same goes here, but we don't see it doesn't much. What we do see is the connection between these two walls, this one and that one. So we will need to show that one to just separate these two a bit like So. Next we have this part, the juts out more here. And we do the same thing over here as well. So just by adding this vertical line, we're showing already with the pencil, we're showing kind of thickness to our wall. I washed my hands because I was drawing in pastels before it started to record the tutorial, but still 13 to clean them good. So now we have this part. Let's continue with our tower further on. Just gonna intensifying this area here. And I see that this line continues here as well. But there is another kinda square shaping here. It starts from not from underneath the spark, jumps out. Slightly curvy. But there's kind of a square shaping Here. We're going down like so. The same way, I'm pressing more, whereas here there's a shadow. So here I'm barely adding this line, did the same thing here. Barely adding this line because it's quite light. And here is it's in the shadow. We can press a bit harder. So already by the thickness of my lines, I am creating the illusion of depth. Okay? So now we go with this one down again. And here we can show approximately where our Windows art. And in my mind, I'm continuing this line up until this point. And then in the same perspective, I'm creating this line also on this side. So always pay attention to the perspective. Now. Now we have to do the windows. So how do we do that? For the windows? They are kind of with a curve on top, but basically they are a square with a curved side. So for that square, we still need to put it into perspective. So I see that there's this kind of thing jutting out right before the window starts to curve. So we can treat first hour window as a square and not look at that curve. And what I'm gonna do is I'm gonna approximately see where that part is jutting out. It's approximately here. I'm continuing ITS until here. Then do the same thing in the same perspective that I drew these lines in. In these lines, everything has to. Coincide and I'm adding it here. Here I just put this line so you can see it, but I'm just going to remove it now. So we don't need it. And this is the part that actually jumped out. Like so. Now we can continue creating our window. So this Windows court TO actually, I think I took it to toe, but it's fine. And here I'm looking how wide it is. So this is going to be approximately my window end here already. We can carve it, doing the same thing here. And we can Kermit. So then the windows have a thickness. So that's very important here. And also there is that's jutting out here as well. So like so. So the windows themselves have a thickness and here we can clearly see this thickness. The walls are quite thick. So this is the thickness of my window. And here this thing, it kind of goes inwards. The thing that jumps out. Like so. And we do the same thing over here. We're looking at that thickness and we're adding that. So one more thing that we have here is the balcony. So I'm deciding that I want my balcony to be approximately at this level. And I'm pulling my line. And there it is, this is the top edge of my balcony. And then here we can create them. Those lines in between. The same way in the perspective drawing of my balcony. The same way here we have those darker dots that can shape in between those parts of the balcony. Now you can already. And the darker edge, the darker inside of Windows, sorry. Now we have the windows, the top windows. We do the same thing based on the perspective for the bottom windows. So here I see that there is quite a shadow. I'm gonna intensify this lines a bit. And the windows go approximately at this level. And then creating those lines where my windows are going to be. And I have two windows, but I'm going to treat them as one at the moment. I'm working on the windows on both sides. But very important. Again, perspective, I cannot stress this enough. You have to put your lines, all of them in perspective. So here we have a central kind of division line. And this Windows can VT slightly a milimeter larger than this one because it's closer joins again perspective. And here we can add that curve. Intensifying these corners again. And the same thing we do here in these, we almost don't see the inside. So it's quite thick the wall and it's quite dark. Now we're going to be adding also some detail here as well. And on these we can see the inside of the window. So here I am again imagining this line. It goes around here. So this is going to be the top of my windows. There we go. So here I see the thickness of the wall. Very clearly. The same thickness that we have here, basically. And then we have this beautiful detail that kind of goes on the windows and follows the perspective that goes inside. The same one that we have this kind of an element over here. And we add it on this side as well. It goes inside here in the middle. And like so. Okay, so we have the tower itself almost done. Now we're gonna go higher up. Here. I see that there's this beautiful railing going around the top of the tower. And it's one of the very important things that we will have to add. Again, it's going to follow the perspective. I see that it's wider than the width of the tower, but not as wide as the width of this this edge that's actually jutting out. And this one, I'm actually going to intensify it a lot because it's the closest side to us. Okay. So here again, I'm drawing out approximately where this is going to be. And it's going to be, if this is the corner of our partnerships jutting out, is going to be slightly to the right because it's smaller than this square up top here of the tower. And again, following the perspective, we're doing the same thing. Touching very lightly. Now, if we look at our tower from the top to let us sketch it out here. So if this is our squared tower, from the top, we have these edges that jumped out. Like so. This is what we showed. So this is this area here, the edges that jut out. And then this thing, I think it's actually a hexagon. I think it has six sides to it, but we don't have to draw that out. We can draw it as a circle that is smaller than this square that has a steeple here in the center. And then from this steeple here, the lines go down. And I think I don't know how many there are, but we're going to show the ones that we've seen. So here, as I already established my proportion, I can start drawing out my circle on top here. So I see that these edges are going to be the same distance from the center and they're going to be smaller, so narrower. So I'm paying attention to we're this area that juts out begins and then I can start my tower here. So always comparing. Now as we're looking at it from underneath all the ovals that we see. So if we imagine that we're looking at an oval, this is, let's say that this is the horizon line. And if we look at the novel that is under, we will have it opening towards us like So with this thicker here. So it goes towards the horizon line, but we're looking on top towards the tower from underneath. So our oval is going to look like so. So we're going to have to add an oval here that has its closest Pareto's over here. So I hope that makes sense. If it didn't, please, please let me know. I will be very happy to do a lesson on perspective. And about o volts because that was one of the parts that I really struggled with in the beginning and all the years in art school. So here we have this overbite though we see. And it's going to always lie horizontally. Remember that thing. Then from this oval We have another oval over here. So this is going to be slightly smaller than this one because this area on the steeple, it's going to be narrower than our tower. And from here it will go something like so. And don't forget that we have the roof jutting out from our circle here. Too much here, but it's okay. We can also correct it with the pastel on top. So this is the roof of our Hexagon. I'm not gonna get bothered with counting these edges just to give an idea. It has a roof. And then from here it's going to have this part. But we will see up until here. And then the bow at the top here. And in this point, we will have this steeple. Actually, I think I raised it too much and we can make it. So I had to take a pause. I'm seeing this now that I took another look at it. But this cylinder that we have on top is way too high up. So what I'm gonna do and I'm just going to lower it just a tad. So this is a kneaded eraser as usual. So I'm going to have this oval going somewhere, like so. So remember that this is a novel that has also the backside. Okay? And now we can add this edge. So I'm going to divide it in a couple of sections just to show that it's not completely round. So these are the areas where I have my Bannister thing. How do you build it? And then here we will have this round thing that goes all the way up, like so. And it has sections. So I see this one section that looks at us and it goes this way. So as we were talking, if we had it here, so these are the sections that is divided in this is one section, then there's the other one. And it kind of pushes slightly out of the silhouette of our circle that is on top. I have another one here that kind of juts out slightly and another one that goes all the way like so. Okay, so this is the general celluloid, the shapes of my Tower. Now, here I have another thing happening. So this probably across, but I don't see it well. And I'm going in the same movements that I did, lightly touching the paper. And that way I have this cross, just a sketch of this cross. So I'm just going to check once again that everything is perpendicular. And we can start adding some. 3. Drawing the sky: So I want to use a very limited palette for this one. And we will start with the color of the sky. So have a very, very light blue. And as I wanted to be a sketch, I don't want to add too much color, but I want to just make this whole thing looks three-dimensional. So what I mean by that is that we need to focus on this area here in the center. It's where the shadow meets the light and we will be making, creating the most contrast in this area as it moves further away from us, it's going to be less dark on the side and less light on this side. But anyway, let's start with this guy. And I'm looking that I have these clouds over here. And here by the steeple thing, I'm going to add quite strong color here, so I'm pressing quite hard. And here I'm going around my cross thing that's happening there. So I want to leave the paper here where it's kind of showing through and this is going to give it a more transparent appearance. So it's going to make it seem as if it's made of this thin metal thing. So here I'm adding my clouds. And the further away from the tower we get, the less I am pressing. So the less I'm interested in leaving that color here. And what I wanna do is I want to add more light on this side and slightly less light so I don't have to copy the clouds that are there. I just want to emphasize that this side is darker and this one is going to be lighter. So the closer I am to the tower, the harder I press on my past style. And it's very important to leave that silhouette, very sharp. Here, here. Here, some very sharply myself here. And here I'm going to add this color of the sky all over for now. And then we will be adding the grill thingy there. Again, silhouette, very important. This is a very light blue color. And it's going to play the biggest part in our sky. Like so. Same thing goes here. So again, very careful about the silhouette. And I'm working on the side with my so this is my top of the tower circle here. Like so. The closer we get to the towered, the more intense the color, the further away I get from my tower, the less I press on the past style and it creates this beautiful texture. Mark. So still I am using only one color. Okay? So we're going to create the silhouette also here. Very important that we keep it sharp. Otherwise it's gonna look like a mess. Like so. Same thing goes here. We don't have to cover all of it. You can just create the silhouette and leave some parts with just the paper. So this area, we need to show that it has this dent. So I'm actually I'm kind of exaggerating it even and showing it more than it is in reality. So, okay, so this is the beginning of my sky. Just going to add a bit here. So this is the focus. And here I'm going to create the biggest contrast and the biggest detailed, mostly. So in my tower, I'm not gonna go around and add anything there over here because the tower is what interests me, not this guy in this case. Ok. So I'm gonna put my blew back. And now what I'm going to take is something of a more intense blue just to add some hint the sky. So let's see, this one can do. So just add some blue in between the clouds. Like so, so we're adding it on top. So this one is very close to the color of the paper in tone. So that's a good thing. Okay. And just shaping out these clouds by adding this blue over the top. It's not too intense this way. And the same time I'm creating these soft clouds. In some places we can slightly robot just a bit. But don't get, don't rub where there's the texture on the edges. That's a very important thing to keep. Some rubbing only near the tower that I don't have the papers showing through too much, but where there's the texture here and leaving at B. Okay, so that's done. I'm going to clean my hands. Next we need to look at our or tower. So we have the shadow side and the light side to it. And actually I'm going to add just a bit of my blue back into the clouds. Just to kind of create also some shadows. This is a violet, violet, light violet, which is to create some shadows and my clouds And just to add variety into the color. Like so. 4. Adding color to the tower: Okay, so now we have the shadow side and the left side to our tower where now we need to find colors that will work great for the light and the shadow. And we need two colors. So this one is going to be the first color. Let's see this. Now I'm looking at what I have here. These could work for the shadow and I need something a bit darker as well. Let's see. And these could work for the shadow, but still looking for something darker. S0 to S1. Yeah, this is the color that I need. So this is going to be one shadow color and mixed together with, let's see this one. So if I have this one here and I'm exit together with that one, it's going to be perfect. And these we can use for lights. So this is one and then this is the other. So now what I'm gonna do is I'm going to look at my shadows first. Because if I dragon that white too much, and I'm going to start with my darker color that I have here. And then going in areas that are closest to this neat place, to this corner there is closest to BIS. And I'm starting to add this color, going to turn it on the side here. Like so. Some noticing that also these areas here are slightly darker than the inside. So this is my shadow. And I'm going to switch into the lighter color. So I'm going to add it everywhere and then I will just dial it down with this lighter color as we move away from this corner that is closest to us. So here I'm trying to maintain the lines that I actually drew out, but it's not so important. We can still kind of place them back then. So this area has to be lighter than this area here. And then also this part here on the window is going to be darker. Now I'm going to bring back some of those lines if I lost them and places the darkness to the window here we can use the console. Like so. Just bring in the details that we actually did. So don't get too lost. So now we're going into the light and the lightest light are going to be placing it over here. So I'm gonna take this one and the closest to our shadow. This is going to have the most contrast. Like so. And here actually went into the shadow. So we have to pay attention that this area here is in the shadow. So we're adding the shadow here. No, so over here. So we don't have to cover all the paper completely. The shadow. So test some different tones to it. So I'm going to draw out the lines that might've disappeared. So now it's a lot easier to do when you have actually shown is this I took the wrong one or no, none up, took the right one. So here I'm starting to add this varieties. Here. I'm going to add a bit more of the scholar to so that we create more interesting look to it. So now I'm going to start adding this light color over here. Again, silhouette, very important and it's the shadow goes, it also follows the perspective. So here we have the area, the juts out and then this area in the shadow, like so. And then I'm going to add more lighter colored to just kind of mixed together with that color of the shadow. Here. If I lost my edge, I'm going to bring it back because it's very important. The edges are the most important in this work. And then I'm going to add also this other light color over here. So I'm using these to one cooler and one warmer color to actually use for my lights. And here there's this area that has quite bright over here that goes the thickness of this wall here. We can see it and it catches light. So we go like, oh, this one is the light one. And then we have the shadow on this window here. Again, bringing out the lines that we lost. If we lost them. But here we have that period that juts out. Then it goes into the shadow here. And with the pencil on, just gonna pull it out. Okay, so here on the balcony, it's also choose this one in the shadow. And then it has this. Some of the areas that have that catch light. We don't need to draw it out perfectly just to show what it is like. So and then we have some of those kind of ornaments running through here. We cannot those just to add some the decorative parts to our work. And here I'm going to add a bit of light into these areas because they catch, but more lights lately, even though that they are in the shadow, seem a bit lighter. Like so. And also here, and let's do this balcony. And then I'm just going to very thin layer of this shadow color over the top so it doesn't jump out at us that much. Next we do the same thing as we move lower. And here again we have the shadow and I'm moving with my pastel on the side. Paying attention to where see my shadow. There's a bit of shadow underneath here as well. And then this side is in the shadow completely. And again, we're going to have this area which is closest to us. That will be the darkest. So here I'm adding less details because I want to focus on this part of my drawing. Catch. All right, so this is also a lighter kind of stone over here. Coming back, bringing back those lines. We lost them, gives us another two, both. Okay. And then the third class with the pencil inside my window. I'm not using black. I don't want to be very dark. Here. I'm going to use this color of the shadow of the building actually because it's the height of the window. So it's the thickness of the window that we see over here, like psi here. And there is that. Now we need to add the light on this side. Again, I'm going with this warmer color on the edge here. Like so. With the other warm color that we have for the light, actually I went up, I think hearing more shadow. And with this other light color, I'm gonna either on this area of my windows, like so. And now we need to bring back those lines. There we go, here there's a stronger shadow. And now what I wanna do is I want to slightly intensify this shadow color closer to the edge here. So I'm using the pencil and just adding a bit of tone. Like so. Same thing here. There's another line over here, and then this corner we need to bring it out. So this one we need to intensify it. So like so. And now we're gonna take a white and very, very carefully and we're going to add some of this white on the edge here. Just to pull that coin or even more towards us. So then just blend it into, into the color of our building. Like so. Here you can use a pencil if the layer of the past tells not too thick. And you can see how immediately this creates the illusion of a 3D that kind of pulls this corner closer towards us. Sharpening those edges. Where I need to. Especially here as this is going to be the main focus when we're drawing. Okay? Now we go higher up and here we need to start adding. It's mostly in the shadow, this area here. So I'm just going to add a bit of this color. And I can even leave the color of the paper here with a bit of light shining on this side. X. So I'm just going to have this other shadow color so that it doesn't look too different from the whole tower. And also, I'm going to take a dark brown and intensified this edge because it's very important. Like so. If you look at the photo, you can definitely see this thickness to the roof here. And it's best if you do it with soft pastel instead of a pencil. Because with a pencil you will be able to do such intense line. We have that. Then I'm going to add this window here. There's like around window on this side and I see it on this side. And like so my hands and now we need some greens for our roof. So it was green. And I have two greens here. That might work really well. So this is the base color of my roof. And it's always good to start with a Pascal that is kind of the color that is similar in tone to the color of the paper. And then I'm going to start adding these light greens. But just to indicate where the light's actually are important to indicate those lights on those parts that are sticking out. So this is what's gonna give the shape to the whole construction. This is my light and I can actually add just a hint of white just to bring it out forwards closer to us. And it gets really dark towards the bottom here. So I'm going to use this dark brown that I used for my for the roof here so that we keep it in the same color scheme. And I'm going to add the shadow here. Goes while this part is in the shadow, like so, and immediately gives us the dimension that makes us, makes it look 3D. So I'm going to have this roof here with the same brown. And we're almost done. The only thing that's lurking now is this beautiful thing over here. I'm gonna do is I'm gonna take my pencil and very lightly apply this kind of decorative thing that I see. So I'm gonna just with squiggly lines indicate in a rhythm that repeats itself. Going to indicate that there is a pattern on these things. Simple squiggly line, I don't need to copy it, nothing like so. And the cross. So the cross, we can actually move it slightly so that we see that it's across. There's something else in here, like so. And also we forgot our green thing E. So I'm going to add a little green clear. And with the Brown, I'm going to add this steeple bed. So here there's this Dakota thing. And with the pencil here I'm going to pull out this line. So some light here. And here there is one element that actually catches light here on the roof. This bird here. Also. There are one is here. And over here. Nomadic, just a bit of work to kind of bring them forward closer to us. And some weight here just to accentuate donuts in the light here and here as either these tips, they have some kind of a thing happening here on top of them. So I'm going to intensify the bit. And our little church is all ready. I hope you enjoyed this tutorial and if you have any questions, do let me know. I will be very happy to answer. But for now this is it and I will see you in the future videos. Thank you. Bye.