Watercolor Urban Sketching Basics | Odett Tóth | Skillshare

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Watercolor Urban Sketching Basics

teacher avatar Odett Tóth, Let your creativity roam free.

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

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

8 Lessons (1h 20m)
    • 1. 1. Welcome

      0:41
    • 2. 2. Supplies

      22:41
    • 3. 3. What is Urban Sketching

      2:57
    • 4. 4. Composition

      9:27
    • 5. 5. Perspectives

      17:51
    • 6. 6. First sketch

      3:21
    • 7. 7. Linework

      3:50
    • 8. 8. Painting

      19:14
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About This Class

Welcome everyone to the Beginners class of Watercolor Urban Sketching, 

My name is Odett and I've been doing and teaching Urban Sketching for the last 1,5 years. 

Studying art and media I've always had a huge passion for architecture, design and watercolor painting and I believe, we all have the potential to create something unique.

It doesn't matter if you didn't have a formal art education, If you are lured by the white pages of your journal, or are amazed by the ever-changing face of watercolor paint, I will help you to slow down a bit, observe and capture the little moments, and start your new journey as an Urban Sketcher.

In this course we will go through all the basics, will be talking a bit about

- What is Urban Sketching and what are the basic rules tips and tricks 

- how to set up your own composition and how to find them when you are in a nice park

- getting to know the basics of perspectives

- learining about line styles and painting methods. 

I hope you will enjoy this course and will fell in love with Urban Sketching a little. :)

The credit for the sounds goes to bensound.com.

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Odett Tóth

Let your creativity roam free.

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Transcripts

1. 1. Welcome : welcome, everyone. My name is that and I've been doing and teaching Urban's catching for the last one. In the health years, I have met plenty of amazing people that I could work read that I could teach. And right now I would just like to show you the magic of watercolor Brits catching. We will go through the main ideas. What we have to know about Rubens catching. What are the basic rules? The tips and tricks that it's getting to know for you to be able to go out and do your own sketch? So let's get to it and let's start with the supplies. 2. 2. Supplies: welcome everyone. So we're just gonna start off with the basic supplies and materials that it's good to use when you go out to do a little bit off urban sketching. So in Urban's catching, not all of the turbines catchers, but some of them, um, myself included. We start out with a really rough pencil sketch, so we're not gonna be tell that much for the pencil. But it will just help us to set up our own composition, to just plan where I want to place my object. And then it will give me a bit more off a confidence when I will go over the lines with the marker and then just detail a little bit with a marker or found some pen. So the 1st 2 things that I would like to talk about is what kind of pencil Pence's are using. Now. The best choice is either HB or age pencils. I'm using HB pencils right now with my guests, so you can't really see it a to moment because hopefully I'll get my camera to zoom on. So this is the type of pencil that I'm using. This is an HB pencil on. We've got like a nice curator at the bottom. So, uh, this is like an easy one. I wrote that in Tiger. So has, like, an adjustable you raised in section, so you can just adjust the size. This one is pretty small. So, um yeah, I'll help to use another one shortly. So that's first thing Teoh use age or on HB pencil. This is important to report of voices. That's my cause, Has your background if you see someone moving so age or HB pencil Because we don't really want to get really soft pencil, because it will, it can get a bit too smudgy, so well, so we don't want to use be or any softer than that Syria eider. Um, age be age for two age. Yeah, anything on the eight side will be fine. OK, so we're going to start off with a pencil sketch and then if we feel like we're ready for the markers for the line stars that we're gonna talk about it later, Um, we're gonna use markers or founds impending to go over the line. So what kind of markers am I using? So if we're talking about marker so these little guys over here. Uh, then I probably used three types. The 1st 1 is the microphone that to see on the 2nd 1 is trying to turn it over. So you could see the 2nd 1 is the father Costil. They're also really nice. And the third thing, I'm not true. If it's visible, probably ISS. Yes, it's called Marvin Markers. So I love them all. They're really nice quality. Mostly I used the fiber cost ALS or the more we markers for my workshops. So, uh, but all three could be lovely on there. Really nice quality. So what? Get to know about markers. And no matter what type of market you are buying, the really important thing is to buy a waterproof marker. Because most of the time in urban sketching move will start with the markers. We will start for the line work, and then we will paint on top of it. And unless we want to have the blurry effect that regular marker a regular fountain pen could give us. So it was kind of melt when you go over with water, unless we want that we would need a voter proof marker because they wouldn't, you know, start and this soul when we go over it with with water. So there's vice important. No matter. Even if you're not buying these kind of markers, it's really important to buy waterproof one. So I would suggest micro ones Farber cost ALS or Mari. So that's a three type that I'm using. Okay, uh, or mentioned the either use markers or found him. Penn said these are what you can see. Here are the fountain pen that I'm using most of the time. Hopefully, yeah. I'll get my camera to zoom on. Yeah. Yeah, I got it. Okay, So the 1st 2 or like, uh, this one, this little got And this is a guy over here on the side. These are regular fonts. Him panel tried to open it up for you, and, uh, I got it in my local our stores and hurt for the, um and they're, like, lately coming with, uh, different, um, tips. So you can just have, uh, choose what kind of tip you want to use. But you're also really nice. I would say don't necessarily have to buy a super expensive found timpani. If you want to go for that look is now have a much different line style. I'll go over that when we get to the lying styles. But I would say the most important and the more important thing in case off markers is a marker story in case of funds. Hempton is the ink, so that, I think, is much, much more important. So this is like, even if you find, like, a really nice quality found him, pan, which is this little guy? Hopefully I can make my camera. Yeah, So this little guy is the Lami fountain pen. Lami. Safari found temp in a really nice quality. Found him, Ben. And even if you find, like, a higher quality front have been and you buy a cheap ink Teoh, it can make oh, can actually ruin here. Found him best I learned in the heart, Ray. I killed one of my fountain pen because I floated that a cheaper in would be okay. I would say Let's invest into ink if you want to have this because thean cual got stock inside, if it's not the right quality. So let's just have a good Bonanno. See, if you're buying Inc to your front in pen, then it's important for you to be waterproof. So that's also a good thing to pay attention to its before we we got to the paint is the paper. Okay, So, um, in case you want to, like, paint with watercolors pain, it's really important to buy a nice quality watercolor paper. I can't I can't just say how important it is to paint on the watercolor paper with because it will be so much nicer. And you won't regret this is the paper there I usually use. This is called a far Briana paper, but these are things that I usually use. So they're not really ruled there more off my personal preference. The first thing to check is the weight off the paper. So I I know it in grams, but scram ET because it is how we have it. In Hungary, it usually starts from 140 up to 450. I would say the most common blocks. Like most common type of paper, they come in 203 100 forums. So we're using or I usually use a 201. I would say either 200 or 300 would be good. I didn't really go under 200. It didn't really work for me. The next thing in the cotton percentage. So this one has a nice 25% cotton in it. So if you have a little bit of cotton in your paper, then it won't change a turn off the color. So if it's like if it doesn't really have a cotton in it, then it was likely changed the color. So that's why it's important. And I would say 25 around 25% is more than enough food, and this is being through a mutant Culton paper. So that's like a 100% cotton. Yeah, that's there. Here is if if you can see, so they exist. That's 100 100% content paper. But what happened if you tried, Teoh show you the texture of it. So what happens if you go over like around 50 or 60%? The surface off a cotton paper 100% cotton paper will be much different. Much, uh, much more rough, then a regular paper, so I'll try to place them next to each other so you would see a difference. What a story. So, yeah, maybe you can see the difference. So, uh, this one here? Yeah, You guys, you my little finger. This one here is the 100% cotton one on this one. Here is our paper that we're usually using this paper with the 100% cotton in it. It will be much rougher than the usual paper. So I'll tell you why. It can be not a problem. But it will be a bit more difficult for you to think on that. I would say if you're just starting out. So that is because on how we get to the third thing that it's good to check is here. Yeah, it's the texture of the paper. So it comes in, usually comes in three forms hot pressed, cold press and rough. So the difference is how much they press the surface off the paper. And so these little fibers of the paper, we just pay up and have these thief. I guess that's how you state. So that's, um, did the friends between them. I'm usually using cold press because that's kind of in between. What happens if you're looking on the rough paper is when you apply the water, but the pigments table mix instantly and think into the surface off the paper, so it will be hard to move it around the paper. So that's the thing about rough paper. So I don't really like that when I'm working on. Like when I'm painting watercolor things. So I like to be able to like, dragging around my paper. Um, so I don't really like super boss paper, but there are a lot of people who actually really not because it has a special kind of effect having a rough paper. So it's really I'm not saying you shouldn't try it. So go ahead. Try to buy different types of paper papers, maybe a rough paper with one, and we just got to the most exciting part of the paint. Okay, so what kind of paint? It usually comes in two or three forms. I usually only used to crying. Yeah, so you can come in these little tubes. I've got, like, a couple of different kinds right now. I'm not having my vincere in you toes here, but I've got my my art creation tubes on long dug two tubes they are attitude that are there is really common in hungry. So that's why I vote them. And they're also not quality. So Theismann's could be good to buy. I like to buy a lot of colors I like to buy set off off tubes because then he will be there any time that I need them. But if I go out, I don't really bring these with me. I just had, like, a pellet for myself, like a flower like that, or I've got like, Penn says that I fill out food, the pains from the tube, so I don't really bring thes little guys like the whole package with may burn aren't is gonna set up a pellet for myself. So what do I use and what is the other types of being can also come in pencil. So this is a Honduran supply holding. But there are so many different concepts. They said that I'm holding online in my right hand. That's winter. And you too. So beard also really nice quality. So this one, this palette that I'm holding here dispense it is cool is a pat a pennant color pens. It is a hunger and I usually use this big one at home because it's pretty big, so I don't really like to carry it around. But often that difference traveling sets that you can see here. So these two that I'm holding you might be able to see the name Let's say yeah, so on. That's a good name to remember it's been to and Newton there. One of the biggest suppliers for two color pain, they have two types of pellets. The Cotman and professional pellets. Thes two are both Sorry, Trent, open if you're just stuck. So these two are both Kaufman pellets, which is said to have lack of simpler color set, but they're perfect, so you don't necessarily have to buy a professional. I would say you got like, a really a little brush with it on, and I think it should be like water older or since lighter. But it's ready to small for that, so we don't really use these on the other One is a bit smaller. Bomb is also been trained Newton, but the last one is what I actually use. This is the new s thing, but I've got a loveless little got circuit so when I go out. This is the most amazing thing to bring vigil because thistles also been trained Newton It actually the name is you can see portable painter, which means that it's just perfect. So this is how it works. So this is your palate part. So you're just gonna open it up? I don't really have that much of a pain in it at the moment, because I bought it empty, so I usually just put some paint in it. Oh, hi. I got my friends. Yeah. Um OK, so and then you can just just these water bottles and oops. If I can get yeah, just the whole two bottles, and then you will be able to the place it on your leg, like, yeah, like that. Like, you can't really see it. But like that Andi, you can feel this up before to have usually used to water. Cops want to want to clean your brush and the other one to be got water. So there's writes important. So that's also really nice think. And that's probably one of the best, um, options sued by Andi. But I would suggest that if you were just starting out, so you don't really know which color is you like, or you don't really know what kind of color said she would want to use by a set by a full set on. Then the second step will be to set up your own pellet by an anti pellet without the paint on. Then you will be able to just choose your favorite color. So that's what I did. So I wrote like folks at first on. Then I boat this empty one now. So after like two years later, then I actually I started to learn What is what are my favorite color is what colors I like to use. So that's why it can be easier to start out to bed with a full pet. And you I only have so many palace because I was doing watercolors workshop. So I worked with a lot of different people, so that's why I needed a lot of faith. But if you're just gonna starting out and you want to go out painting alone, what pet is more than enough? A pedant of six or 12 is more than enough. Even if you're studying out with six colors, you know, the good thing about starting out for six colors is that you will be forced to be t learn how to mix colors to learn your palate, to do color chart. So it could be really nice because you learn your product you so just quickly about brushes . There is, like, I think, a fight, or like a debate among watercolor artists. If fruit brushes or sympathy brushes are better. Well, I my little brother set here. I don't bring this with me at all. So don't worry. I only read like, one or two of these when I go out on bond. So I personally like to use the inciting brushes because they lost much longer. They keep their to better for me on, and once again, I'll be using these brushes for like, three months Now. I have to change them now, but they just first perfectly day, even like root. Perfect. Now I just have Teoh like refresh my set now, but the's air, my old brushes that you can see here, um, and I usually use or by three sizes. And, um, I don't usually bring old three with me, but but sometimes they only bring the size of our rush. So I usually have, like, a bigger, um, flat brush, which is, I think that's a size 18. Yeah, one. So this is a guy that is really nice. In case you're using off just drawing painting buildings or any kind of shape that really need lines or rectangular shapes. It can be really interesting to use the shape of the brush as a special effect. Um, and then I usually have the size 12 brush. That's my favorite because I usually if I don't want to, like, worry about brushes or any kind of supplies. I usually only bring the size 12 rush because it will have a nice tip on, and I will be able to train the smaller stuff with it to have got like a size 81 There's the smallest one that I have. I've got like, a tiny one for just in case, but I don't really use it to be on us. So this is I Hungarian supplier in Kochi. I've got something pressing stuff for you that I sometimes bring with myself, but it's good to know, and these are my portable brush pen, but you can see here. Maybe, Yeah, it's a bit faded, but you you might see the supplier is current Darsch, I think the air space or something like that. Um, and there create really nice quality supplies. So these are portable brush, Ben, this is a drop free one, which means that even if I just open it up, it wouldn't drop all around my pain. Which means that if it's not that simple to fill it up with water, but it will be drug free. So this is a nice way to say it. How it birth. Um, you will all they have to pick off the color with it. And then there's like a nice crisp button in and like etc. Uh, so you there's a push sign on it, this one. So if you push it, then it will give you some water because it will include some water in it. So I have some water in it, so it will be easier to work with it. OK, but basically, debt it and it might seem to be a beat too much bet. When I go out, I usually just bring mine paint. Um, sometimes I be bring two or one brushes? Um, a little bit of a paper. This one is a big one that I showed you before, Brianna. But you can get down in sketchbooks how safe you just go out and usually just bring a small sketchbook. And then sometimes I bring something more interesting, like little soluble pencil backs, pastels that you can see her there also just some kind of actual stuff. But most of its bring those just my pain, my paper and my brushes. And I just use a water bottle for the water. So nothing really special. So these are the basic supplies that you might want to know. And let's just start with the basic techniques. 3. 3. What is Urban Sketching: So let's talk a little bit about urban catching what it is and how you can imagine it. Well, basically, Urbas catching is whatever we do if you come out to a city like that and we want to capture what we saw around us. So mostly it's about City sees anything that we see if he comes out to part like this that I'm in at the moment or a free seat outside of a nice coffee O M E their way can't catch anything. Basically, that's around this and the fun thinking in urban sketching that she can be really creative about it. So you don't have to stick to the exact same things that you see. You can't change the colors. You can change the forms, the shapes you can if you like part of a building, better that what you see on the other one, you can stop them. You can change, you can come up with new ideas, and it's that's why it's so liberating. So basically what we do, we just catch everything that's around us, and the very first thing that we do is really just to sit down in a nice park and try to look around this, try to find objects, try to find things that just really sticks up for us. That just really nice, you know, shapes and petr ism buildings, smaller parts. I would encourage you to just throw it out to eat smaller part. So, like one part of a building, not the whole thing or one smaller scene and them those or that will be our focus objects or focus, Adam. And so that's basically the first thing what we're gonna do, we're just gonna pick our focus, object of focus element. And with Urbas catching, you have two options, basically. So if it can happen that you will see a lot of the friend things around you, so you can't really push them in one scene. So what you can do, you can just create a coal ash look so you can just place different objects, befriend elements next to each other like a college, and they doesn't doesn't have to make sense, um, every case. So that's also something that you can do on. It's also something really nice and one type of the nervous sketch. And since everybody sketching comes from travel journalists You can also add some tax to your sketches so you can write down your throats. But you heard about that place what you felt when you were there. What you want your guys told you? If you're in a guided tour, so anything on these doesn't have to be like super huge sketches. They can be smaller sketches to on the second thing. If you have one prominent feature that you like one part of a building that you love, for example, or one smaller section, then you can put that into a nice composition. So there's gonna be step number two, So tuning forward. And that's lesson. So you just go through the basic ideas off compositions and how we can find nice compositions. That's the next step for you. 4. 4. Composition: hi guys. So let's talk a little bit about compositions. So as I've mentioned outside, if you go out to a park or sit outside of off a nice coffee, the first thing that you do it just find your focus point at the next step is if you've got one, focus objects just to place it into a nice composition. If you don't want to do ah called lodging technique, so then just play the object into a nice composition. And the good thing about composition is that we kind of have a natural ability to just say what looks scared and what doesn't. Because we've bombed with visual effects every day in our lives. We kind of got used to them. Tip number one on. And it shows a really important thing that we're always trying to lead the attention off the viewer to the actual focus point that we have on the teacher. And you can see use something so obvious as a railway system or a walkway. But simple lines and shapes can lead the attention. Just check out this composition. Um, so as you can see, there's a tree in the center, we just fine but the There's something confusing for the viewer here that there's a tree in the center, as you can see here, but the actual road or the walkway that we have it is just leading of a from the tree so it can happen a lot of time in, um, if you go out that there's some kind of line Verde just goes away from your focus objects, so that's OK, so don't worry about that. You can fix it. You can make it look better. You can move things to correct it than what you can do. You can just make the walkway turn towards your focus subject and why I, um, painted it like that. Because if we have a natural elements like a tree in the center, we don't usually place it right in the middle of the feature, since it's not a perfectly symmetrical thing. So what we do instead on what will make the composition much more interesting, we will push the tree a little bit to decide of composition. I'll just going to trow a circle here for my tree, so I'm just gonna push my tree a little bit to the side. But If I do that, then it's good to play something else on the other side, which has a different style. So that's tip number two in case of compositions to just very the sizes of the object that you have on the picture Be never. But you can see here down there what I tried to do here. We never usually Bisek are forgeries, either vertically or horizontally by leaving want half of it empty. So, having like only here because they will, it will make this section look, I'll be too busy. So what I can do to fix it once we can just proves that top off these buildings that be tire up. So let's see up until this level, So that's how we can fix it. But when I say let's push your Teoh tree a little bit to the side, appreciative of your buildings a bit higher up, how can you say how far should you push them away? Should you push them exactly, and so that we have something called the rule of thirds? And it will mean that you will divide your so, uh, side the side of your page into, uh, three. Um, parts. So the whole idea is not you. We just kind of adopted it into more than technology. So how does it work? And what's a teary theory is if you place your focus objects in one of the intersection point or have your main lines along these lines that it's most probably be a nice composition. So that's why we have the option in our phone to turn on the grid or in our cameras to turn under grade because it can help us placing our focus objects. So if you have to procure tree a little bit to decide them, push up Teoh like to third a 1/3 off your, um, page. And if you have to push the tip of thes buildings a bit higher up bush up to 1/3 off thes footage, this little guy so they are kind of similar to each other. But why? This one is a bit better, because it's how I like tickle layer. So they're using the foreground to not only the background, so ah, there having a nice couple in the foreground. So foreground objects can be super super, uh, important, because in urban sketching, we sketch everything that's around the surgery sketch. A lot of buildings in there been sketching, so that's why you can be super nice and interesting to use something living in front of building. So that's why we love to use people in front of building or trees in front of Fielding's any kind of green, which is a different material. But foreground objects can do much more so they can also Kreme your features if you check out this little thing down there. This is something that I usually do or like a do a lot when I go out and sketch. So when you want to, for example, drove a top of a building. But you don't really want to worry about the bottom of it, then what you can do. You can just hide the bottom with some trees, so what you can see here is a nice framing from the bottom of the teacher. If I come up like a bit higher up on this side that thes trees on, come on, it's lower and this side, and even if I just push them a little bit to the side, then you will make amore interesting composition because it will be a bit more f symmetrical. Comfort, too. The line work off the buildings and it can also be super interesting to observe the lines of the building compared to the framing object lines off the framing object so they can work together. I've mentioned with tip number one. If you remember leading the attention of the viewer, foreground objects can do their strict too. So your program objects, even if you like. Place a tree to one off to the side of your footer or just do your drawing. You can use it to just leave the attention towards your actual focus objects. So let's say if I if I just gonna place a tree over here, uh, let's say I'm just gonna recreate this scene and the of the green section over here. Let's say I'm gonna call my picture over here, So let's imagine All just might be true. So since I drew like a tree, uh, with this shape, it will actually leave the attention towards the little guys standing here. So this whole shape off the foreground objects can also lead the attention. Once again, the most important things to use, um, just try to leave the attention off the viewer. In a way, you can start out redrawing the grid on your photo on your initial sketch first to help you place your focus object. It's getting place, or just vary the sizes of the object that you have on the photo so have, like one of them, a bit smaller of one of them. I za. One of them is a bigger one of its A bit smaller. Start observing the lines what you can see in front of you, the top off your buildings, the top of your trees. If you want to draw something that just higher up, just start to find a search for interesting shapes. So something like complementary shapes that could be together. And if you don't want to worry about during the whole boat building, we don't usually drove huge buildings. We would just drew parts of them. Then you can do like a nice framing from one of the sides or from the bottom, so I would only have to draw the top off it. So these are the most important ideas. And now let's see how we can use these ideas if you go out and sits for these ideas, 5. 5. Perspectives: All right. So off mentioned guys that before we would actually start with the initials catch. The last thing that we're gonna do is just to observe the lines where the heading, trying to figure out what kind of perspective to use, um, and so that we will just quickly get through the main types for you to be able to recognize the perspective. So, um, Alberto Rich part of rich perspective do we need in urban sketching? Because we will aim for a natural look so we won't use old the vory fancy and super distorted perspective styles. But I will tell you, why do we care about thes? Okay, So how I usually talk about perspective is if you haven't really heard about them, The good vague to understand them is if you're standing right in front of a building, being completely or like being committed parallel with the surface off the building. So even if you're like standing, um, at the side of the building. But the building is not closing any angles with do so, you're completely prelevic it. Then you don't have to worry about perspectives because perspectives usually come in the feature. When you start to close any kind of angle with the building. So the most a basic or type of perspective is cold of one point perspective. So, um, how you can imagine it? And the most typical version of a vamping perspective is when you're standing in the middle of the road looking down and you have buildings in both of your sides or yes, So how you can imagine that I was just gonna get my marker so hard I can imagine that. And what are the most important things that you have to know if you want to recognize the perspective on where the lines they're heading? So one of the most important thing is cold the horizon line so you can find your horizon line if you're standing on a flat surface. And if you would just observe the people walking on the street, there has to always be at the horizon line, so that are really important thing. In case you're drawing people, there has will always be at the horizon line, so no matter how close or far they are, there had to always be on the horizon line, so thes guy might be a bit closer to us on this guy might be a bit further away, so you can indicate distance by making them bigger or smaller. Um, and they will make sense once I finished destroying. Okay, on this is because our horizon line will be approximately the same level as our eye level. So it can be a bit tricky when you're sitting or, um, for example, if the surface is not entirely flat, because then it will change the eye level. But if everyone is standing in the same flat surface walking, then there had should be at the same line. Okay, so the next most important thing is called the Vanishing point. So this point can be anywhere on the horizon sign. It can even be outside of your picture so it doesn't have to be inside of your Petri, but it will be always on the horizon line. Um, some of my guess. They asked me if it's, um, better to push the vanishing point a little bit to the site to make it make this a bit more asymmetrical to, and that was a really clever idea. And that's what we usually do. We don't usually have the vanishing point fried in the middle of the feature. We're just gonna have it pushed to one of the sides. I'm just going to keep it in the middle for now because it will be easier to understand, um, the perspective, but yeah, it can basically be anywhere along the harassment. China can be pushed to one of the sides. Okay, So it will be a point where along the line, how heading. And they vanish there. So that's why I got the name of the vanishing point. So all the lies below the horizon line will go up Two words the benediction point. So let's just create a nice walkway for these guys. And on the start to So it took er up and just create a nice full quake going towards that direction. They will be walking in the middle of the road. But thats a kay for us. Okay, so an older lines above the horizon line go down. So where's your finishing point? Okay, so these will be basically houses on the side on these little guys will be walking in the middle of the road, but that happens sometimes. Okay, So that are These are the most important things that it's good to know. Uh, if you want to start out learning about perspectives. So for us the horizon line, you can find a horizon line. If you observed people walking in front of you, their heads will always be at the same line. You can ask what happened if I place a person's had much lower than the horizon line, for example, down here or much higher up around here, Let's say you can still do that, but you have to know that this guy will look like, ah, a child or like the I have the impression that it's like a really, really short guys that orange held on. These guys are really told guy or he's standing on something like a letter. So, uh, this is hiking chief with the horizon line, and this is how you can cheat with where you place your people. But if if they're not sending on anything, they just keep walking on the street, then there has will be always at the horizon. Fine. OK, so there's one more thing that it's good to know because this is the natural way, how we see things so in a one point perspective, this is the most natural thing on. We call it a one point perspective because you will have one machine point here. Andi, there's from working that. It's good to know in case you want Teoh drew something from ah, bring perspective, for example, or basically any kind of perspective. I'm just moving my camera for you to be able to see it better, because I'm just gonna zoom into this, um, building over here becase You've got a really nice and easy way Teoh tro buildings from a one point perspective. So this is basically how you will see your building approximately andan over is catching. It's a cave. It's not, like super precise. And that's basically one main idea off urban sketching that we capture on an impression of reality. So it's okay to create in perfect drawings and read your everything free ended so we don't have to measure anything. So, um yeah, I just kind of zoomed into that building over there. So to be able to trow doors or read those in the right in the right size and in the right shape, then we will have to divide the building into equal sections from a certain perspective. So we will first have to find a middle line less safe. I want to divide it into four equal parts to make it easier for us. Um, I will have to find the middle line first and then just, you know, called those parts in Hoffs too. So then we would have liked for equal sections. So if you check out, this is probably where we would place the middle line, because this is how where it seems to be the middle line. But if you're having just gonna zoom them for you, Um so if you are during something from a one point perspective, the middle line will be bruised a little bit towards that direction of that part off the building. So how you can find it? It's probably better to Detroit that a pencil in this case, but yeah, so we will just draw diagonals from the corners and verily intersect. That will be the middle point off the whole building from a one point perspective. And then if I drew a parallel line with these lines, then it's it's gonna give us the middle line off the whole building from a certain perspective. Okay, So if I keep going back continued thing that, um, them I can I just gonna caught thes part in half and approximately parallel lime. It's OK if it's not perfectly straight or anything, then I'll divided it into 1234 equal parts from a one point perspective. So it will already help me in this in the shape off the buildings. But if I want to have, like, different levels, um, off the building, since these lines may Nizar poverty each other, it's enough to find, like, the middle point approximately once again, no need to measure anything and connect them. So then But I will have only have to know you filed gonna have, like, arches or doors. Just go around these shapes and it will help me in the right size and shapes off windows and doors and this record really quick on easy way to draw something from a certain perspective. So even when you're drawing, not just buildings, but let's say you're drawing breaches. Um, for example, if you want to try your bridge from, I won't bring perspective on this is this is gonna be your finishing point? Let's say so. You're breach will probably look something like that. Andi will probably go outside, but you can use this shape this thing way as we used to building. So where they intersect, that will be. Are we? The line probably wouldn't have to dry it with the marker, But the help us in the size and shape of the arch is that we have on the bridge. So, um, I will help us in in that. And that will be probably section going towards the finishing point. So it will help us in a lot of different vice. Um, so these idea can be used, and this idea can be a super interesting. OK, so that's the basic type of a perspective. Um, and the most natural one now, so very lives wouldn't be that easy. We have something called the two on the three point breast back to you soon. However, Reid, um, both sorry to two point perspective. Um, so, however, if you add more relishing points, they view will get more distorted, so that won't be like a natural, really natural look, so we don't usually use or we rarely use like three point perspectives or two point perspectives. Just gonna move a bit closer so you would see it. Um, yeah, that. So that's a does. From what you have here is the two point perspective. And we will only need 1/3 in part of thes that it's good to know in case of your going out to sketch. But once again, it will be a bit more distorted view. So we don't usually draw whole streets from a two point perspectives because your whole street could go like that. My just one building. So how does that work? And how can you imagine? I just throw a house so it will be easier for us doing this. Then I'm just gonna grab my green one because it will be more reasonable like that. So what happens here is you will have your horizon line, um, around here so it will be lower than the top off your building. Um, so you will look up to the building, you will have to vanishing points to probably to end off your horizon lines the one vanishing point on another one on. Do you also have a me the line that will be actually the corner off one of your building. So you will always standing in the corner off a building. Let's say on from that middle line that you have as the corner off the building all the other lines were had two words, one of the vanishing point. So the most important part is, uh, here your horizons lying will be lower and then it up off the building. So you will be standing in the corner of the building looking up to the building and why we care about this. And which part do we care about is basically Onley smaller sections. So let's say if I want the tro a top of a building and I'm looking up to the building and I'm kind of like in the corner of the building what I could use with the from this idea and what I could. But what can be useful for me if you know, sitting in the corner for building looking up to the building since my eye level will be lower than the top off the building. So the top off the building will have to reads one of the point on my horizon line thes lines will always go down. So from the middle line down, Uh, and this is important because sometimes if you go out, it's not easy to to just say where these like they're heading. If you're super close to them, um, the will look straight or they will, even if you're if you're further away from them. So if if they're far away and your eye level is not, um, uh that much lower, then that's up off the buildings. And it can be difficult for you to Teoh just say radios, lines, air heading. But if if you remember this, if you know that your eye level will be lower than the top off the building, then you will look up to the building so these lines will always go down. So there is the most important thing that and that's basically the only thing that we have to know from a two point perspective, because that's the only part that we're gonna sketch in this case. Okay, so that's the only part that you need to know from a two point perspective on, we also have a three point perspective that you can see here. I'll just gonna move it a bit closer. Eso I've got like a nice cube. Here s so what happens here? In the three point perspective, you will have no one or two. We will have three vanishing points, so it will be a super distorted view. So three point perspective is usually the usual perspective. Start off comic books because what happens here is you will have your horizon line. And that's the trick that a friend from two point perspective So you will have your horizons, like, much higher up, then it above the building, so you will look down on the buildings. But the trick is that you will still see the bottom of them. So you will have to vanishing points into the two side off your Horace and find a Steinway , as you had with two point perspective. But then you will have one extra at the bottom. So if you just have a look at a coming big rd the cover page of a comic book and you see all these big skyscrapers Now you know that the trick is you will look down on these buildings, but you will still see the bottom of them So this is how they were. But the three point perspective is really super distorted for you. So you want this Ellen needed, But it's good to know that it exists. And we're just help you be able to understand what you see around you, so they just go outside now and try to use these ideas. 6. 6. First sketch : so we'll come back. We came out to a lovely park in reader past, and now we just kind of looked around the part. It's called Liberty Square on dilly dally around the park. Try to trying to find nice compositions buildings that week you sketch. So actually, I found a lovely building. That's just right behind me. You saw it. I resumed on it. That also would be a lovely composition, so I think I might going to choose that one. Okay, guys. So we just get a started out with a rough sketch that we talked about. So really? Just planning out what we're gonna drove. So I can show you what we're gonna drove. If I just tilt it out for you. Those that building up there and right where I'm sitting, it's actually going to be a pretty nice composition. Ologists plays a couple of trees in front of the building, so I wouldn't have to, like, drove the whole thing just atop of it. Yeah, So just kind of playing your composition and just Blakes your objects, OK? I'll just gonna blaze a couple of trees here and want to put my building up here. maybe a couple of trees hiding some part of it from the site. So it's always a good idea to start out with the bigger shapes and then just go on to the smaller shapes. So I'm just gonna plays sties little three things here on then to top form here, Okay? And I kind of like, planned it already. I don't really need to go into details. Hope so. And if you remember what we talked about, um, about the perspectives. So since I'm looking on and I did not mention this one, but it cool to be important. So we're kind of a Z. You can see, I can show you, Uh, we're kind of just standing in the corner off that building. So since our high level will be lower, uh, then the tip off the building, then even if it's like curled, we talked about the top off the building. So how we drove them. So even if it's like, um around it shape the east sites will always go down. So that's the most important thing that we talked about in case off two point perspective. So we will have this carrying the shave in the windows and anything. So that's also something important. Doesn't for a step. Pottery going to We're just gonna penna are composition and then we're going to stars with the actual piece. 7. 7. Linework: welcome everyone, sir. As you can see, I already planned T pencils catch I d tell it a little bit because I kind of felt like it today. But I don't always the tiller that much. So sometimes I just have the basic shapes. I just felt like today that I would want to have more of a pencil sketch to, and I would just go over the lines with the markers. So why I'm doing this here is just a couple of things that it's key to know about the markers. So usually in urban sketching, there's basically two types off line styles that we usually use. The first lifestyle is a much more organic one. It's basically if you could see Urban's catches, where people just returned to the same, um, section again and again the same line again and again, so it will have a much more textured look on. The usually use that kind of lines towel for organic objects like trees. But every urban sketcher is the friends. Some of them. They use it for buildings. For me, my style, as you can see, is a much cleaner lying style, so I only used like one line for every section, each and every section. I don't go over run line again and again. It's kind of what I like at the moment says you can see I chose that one here today to Yeah , but basically there's two really important thing things that it's good to know about markers, and the 1st 1 is that we don't usually sketch with the markers. We don't use it the same way as a pencil. Use nice plate and firm lines. So even if you create a more textured look, if you keep returning to the same section again and again, it's still just nice and firm line. So it's not like a sketchy line if that faces, and the second thing is, if you could observe how I'm holding my marker, it's always up straight. So this is important in case off thin their markers. Since the finger markers like 0.21 or surprising three, even they have such a tiny tip. It won't reach the paper if you're holding it like and let's say in the 40 persons 40 degrees s Oh, it won't really reached the paper, so it's always up street having like a night of degree. We train the mark, the marker on the paper, and that's how you will get the right size off the line. And sometimes if you feel like it's it seems like there's not in in it. Sometimes there is. You just have to know I just have to dead it up a bit. You have to hold it up straight. So that's also really important thing. So you just made finishing the library on are gonna come back? Teoh vivid the painting in just a second. Unfortunately, at the end off my sketching section, the race started to fall, so I had to move in. So I'll just gonna continue the painting section from my room. See you then. 8. 8. Painting : Welcome back, everyone. So we're off to the painting part on before I would start painting. Just talk a little bit about water color paint and how we use them. Eso We talked a little bit about how we use the markers what type of line worker you can use. So as you can see, I chose the cleaner line style say used very firm lines Nice and clean. So not really returning Teoh any section again. So is just simple lying for May we just kind of my thing, but it's really up to the artist. So if you think that you would like to use that, that's completely fine. So Okay, so what? It's good to know about watercolor pain. So we mentioned when we were talking about the supplies. I'm gonna use my palette here, and I added a couple of colors from the tubes that we have here, Um and then all mo also using like a little water on what you can see. Here is a paper tell that's also super useful. If you're painting, yes, also, what you can do. I didn't do it now, but she can actually secure the the edges of your paper of it, A masking tape or you can just use a clip. Teoh, just hold it in place. As you can see, I left a couple of pencil marks here. I think it kind of looks OK, so I'll just gonna leave them here and now just gonna paint all over them. OK, so let's get back to the pain. We usually makes it the colors on the palette. So that's by I usually leave the colors on the palette because sometimes I mix Oh, I just find a nice color, and then I just like to leave it there. So next time I'm gonna use or I'm gonna if I'm gonna paint something similar than I can use the colors. So these air artistic water colors so they have, they will have concentrated pigments in them, so they will have a nice and strong color, which means that I wrong necessarily have to use a lot of them. So, uh, it's enough to out, like a small dot off paint to your product, which you can see here. That's completely enough if you have, like, a plastic pellet like that. So that's enough for us. Andi. Yeah, so we will just kind of I'll try to use different techniques in these urban's get so we could go through their main techniques of watercolor painting. Um, so one off the technique of watercolor painting is called wet on wet technique. So what I'm doing right now, I just applying. I'm just applying a little bit of water on the surface off my people. So So I will be able to just add a little color and to the but surfaces. So as you can see if I'm painting But on Beth, what happens here is, uh, that the pain will start traveling in the BET area so it won't really have, like, very sharp edges or anything like that around the pain, because that's something that watercolor pain does. So if you're painting with water color, if you could just observe sometimes there is like a nice and sharp edge around the painted color where if you're painting went on that since the painful just kind of be solved in the water, it won't really have like super sharp edges, but, um, still, it can have a really nice effect. So that's something that's one main technique off watercolor painting. So Okay, so we can use this as a base layer. I would say since Walter Color is a transparent medium most of the time we will work it earlier, so but I usually like to do I like to have my first layer with that on that so that can lies. Um, interesting color make. So I would let different kind of, let's say, greens and, um, prom's makes together if from, for example, painting but tree. And then I would have, like a nice and interesting base color, uh, for my trees and water. Color paint usually gets a bit lighter when it tries, so don't worry if the cutters seems a bit too intense. So the other technique, the other main technique, is cold. But on dry, when vehicle work on a dry surface, so you will paint on the drive surface on what we usually do. We will leave would start the delight, this version off a color, and Leo that color. Wait for that to dry completely and then just layer a darker shade on top of it. And also something nice that I'm doing that could be in trusting in case of water coloring is to pick up two colors at the same time. Yeah, and you can see there's, like, an empty space over here. I kind of I feel like I would want to at some text, uh, to that book. So that's kind of like, uh, oops, a test books on. It's good that I did that. If you can see that very blue color because this is how we can correct mistakes. So we usually use the paper towel. So if I say I would have added on actually off blue there or like red there that I owned Don't wanted there what you can do, you can just big quick on. Put some extra water on top of it to just activate the reactivate the color and trying Teoh . Try to get it out off the surface of the paper on, then use a chunk of your paper tell to sew that up. So what we do on how you can just play around with these techniques what you can do, You can just have that say, um, wet on wet base color, and then just wait for the whole thing to dry and just add extra lies, extra texture. Um, and this is how you can just make the two techniques together on that's something that we do a lot in their been sketching. All right, so I think I'm just gonna go on, try to color the building. I'm I gonna speed it up a bit to you. But this is the two time things that I'm gonna use. - Look . No. Just as an interesting facts that I don't usually use. Black, I argue. Use complementary colors together or, like a different kind of gray said This is complete there for you. Yes, it is like a special kind of gray cold pains. Great. Andi just super nice. Makes covers with this one on . Don't be afraid of water. That's also like one of my bastard devices. News there. If you're panting, don't be afraid of Baltic, and it's always better to make it watery dendrite of in its watery. You can still use your paper. It's held. You can still pick up parts of color to make it better. But then if it's like, then if it is too dry group wise, that's red. If it's too dry than then, you won't be able to do anything. They just something it's good to know. - Okay , so just probably gonna add a little bit of the line work to do willow tree to If you had, like, lines then is get to use those lines going like behind those lines. It's my king. More just lightly. You see, I'm gonna go two crazy on it. Say you can also use it And, um yeah, so in a brand's catching, I'm not really stressing a lot on this. Que. That's the main point you're been sketching just to cut fun. So even if my lines are no for your fact, I don't care. It's gonna be my lovely memory of day I spent here. Don't worry, don't dress on it. Really. Just enjoy the phone. Yeah, I just said Gary kind like that. It's gonna my just indicate things and so leaves. And that's also important in case of her been sketching. We're just gonna indicate that there's something there, but you're not gonna detail out outside. Uh, but yeah, it's almost down, and I'm pretty happy with it. So maybe you can also add a little bit of a background color. I think I would leave it here for now because I kind of like the bite background Onda I'll Mike and add that they if texture over there many completely dry. But I would say I'm pretty happy with it. Um, so if you would do something like that, I just feel pretty too. Upload it to the class project, perfecting that on. Then I will just just make sure to state two, because in the next session, we will just a little bit about, like, how to drove trees or people from a certain perspective, how to draw a people that are close to us people there for further away. So that's gonna be the next session. If you like this one, just stay tuned on. See you soon.