Mastering Drawing: Sketching, Perspective and Observation

1. Mastering Drawing: Sketching, Perspective and Observation: Do you want to learn how to draw amazing artworks, create realistic textures from scratch, and become an absolute master of perspective drawings. If so, then this is the course you've been looking for. With extensive high-quality content, additional drawing resources, and bonus course assignments. You'll have all the guidance support, and skills you need to produce art works that you're proud of. Whether you're a hobbyist looking to impress your friends or an aspiring professional. This course will help develop your technique and knowledge no matter your experience level. But before you can create artworks like Jim Gee Kim will guide you through our unique learning path where you will firstly become familiar with a basic principles of drawing and develop your overall technique. You'll then be able to transfer what you have learned and apply it to your own vision and express your creativity. 2. Introduction to Sketching: Hello everybody and welcome to a new tutorial today, or tutorial is going to be on sketching using a fine liner pen number 0.3 and a fine liner pen number 0.5, and a dip pen as well. The term sketching refers to a fast drawing from a landscape, a building, or a figure to express and show a feeling or a moment. To start, we need to learn about the lines that are going to help us sketch. And also about the simple tools and materials we're going to use such as fine liner like this, which comes in different sizes, or a dip pen which will work with ink. Fine liners like this have their own encapsulated inside and we don't need to refill it. Each one of these tools give us a different type of line when applied on the paper. Thick and thin lines. And also the look and texture of our lines differ. Now make sure you have your materials handy. When we use dip pens, we can control the amount of ink that goes on the paper, where in the fine liners a certain amount of ink is applied on the paper. Now the lines that are drawn with a fine liner have the same thickness from the start till the end. Though we do not have that much diversity in the lines we draw with a fine liner, as it is one of the simplest tools to work with. We're going to use this for sketching. So take your time if you need to practice on a piece of paper on the side just to test your pens. First, we're going to learn about the different lines that are used in a sketch and actually shape a good sketch. So these are the different types of lines that we're going to draw with a fine liner. I'm using my pigment fine liner number 0.3. We can draw a thin line like this on the paper. This is a 0.5 fine liner, which will give us a slightly thicker line. We're going to use the 0.5 fine liner to draw different types of lines. Observe. When a good sketch we can see diverse lines. And the key point is to learn how to use these different lines and harmony to better help us sketch more realistically and show what we want to show with a deeper perception. Lines can also differ from one person to the other as everyone has their own style and use of pen as well. Someone might like using outlines and have a cleaner outcome when other persons might like more scattered lines are more hashed lines. The idea is to understand your tool better so we can draw these lines freely on our paper and let our hands move across the paper from the beginning till the end. And this is how we hold the pen in our hands. And our hands do not touch the paper at all. In this way, we can add the hatching lines freely. These are times when we are going to use outlines for our drawings and sketches. So we need to have more control over our lines and draw them carefully. Like this. Usually happens when we're sketching a specific object. In this way, we can draw straight lines like this that help us show the shape of an object easily. Before going in with the details. We can either use these diverse lines are more specific lines that are drawn cautiously to show the shape of an object, which is what we're working on. One of these two types we choose to work with depends on the sketch we're going to create. On the other hand, if we're creating a sketch that shows a lot of lights and shadows in its dimensions of different things. We need to use different types of hatching techniques. So our lines can hatch closer together or further apart in order to show the different highlights or the different tonalities of something getting lighter. Just like this. To show a darker surface, we use a cross hatching lines like this, but with a higher density of lines. The closer these lines together, the darker the surface we're going to show. We can use these hatching lines to work on different types of gray tonalities in our works. On the other hand, the larger the gaps between the lines, the lighter the surface we're working on. And the more lit up or highlighted will be the surface which we are trying to portray. Both of these gray color tonalities are going to help us in sketching. It's good to practice when it comes to hatching lines and their densities to create different tonalities. We can also apply them like this. The lines can cross one another in this way as well. They do not need to necessarily be angled. We can add them as such. Feel free to pause the video and practice on a sheet of paper on the side just to test your use of your own pens and then play again to continue together. So whichever one of these hatching lines which we choose and what tonalities we choose to apply with them depends on our work as well. On some works we need to use more straight hatching lines and others, we need to use crossing hatching lines. For instance, if we're working on a sketch of a building, these straight hatching lines are going to be beneficial. Straight lines with different densities to show a pillar or a stone on the wall. And these hatching lines will also be used to show the shadows. Another type of hatching lines is adding these lines that are disrupted and irregular lines like this to show the shading layers on some parts of our work. These lines are interrupted and irregular, but they follow one another closely. One comes exactly after the other. We can also add the hatching lines like this horizontally, starting with a few of them and then adding to it as we move on. The main point is to observe our sketch, our model. Follow my lead. They can also be drawn like this and separate it like this. This is what the distances we have applied in-between these lines that are showing the depth and the dimension of something. So there's a depth of perception. The way we look at it will be dependent on how we sketch. Holding the pen like this enabled us to draw our lines freely in this way and be courageous enough to add more and more of them. This is an energetic medium, so have fun. When there are times we need to add a completely dark part of our work. We need to draw the lines like this close to one another. And then by adding this distance gap, we can show this reducing, reducing shadow. So it goes from the darkest lines which I have drawn horizontally. A light or lighter tonality. There are times we need to add texture to our work. We can use dots like this. And when applied in this way, we can show the darkness by making it denser or making the dots denser closer to each other. So another way of working on texture is using also curved lines and small lines like this. For instance, when we are working on the texture of a fabric, or we can use these small lines with different densities. Also, when we're going to show some small details, we're going to use simple dots and lines like these. The idea is to mimic our model, to look at our model and mimic the direction with which we see our marks being made. What matters is to keep in mind that there are different types of lines we can use to work on. Different sketches need different marks. And we need to become familiar with them so that we know which lines to use and where. Sometimes the straight lines like this are going to help us and sometimes we need to use several lines next to one another in this way to better show the shape and the form of what we are working on. One several lines come within each other like this. They can easily show the thickness of what we're working on. Whether we're creating one line or several lines next to each other. They need to be used side-by-side to show the whole form and shape of something. Different. Great tonalities can be created with these different types of lines. And the hatching lines can take one or several of these shapes depending on the form are working on. Hope this was helpful. And see you again soon in the next tutorial. 3. Creating Buildable Textures: Hello everybody and welcome to another sketching tutorial. Hope you were able to do some practice on the different types of shading and hashed lines and different lines with different pens that we went over in less than one. Now to better show a great tonality, as it was mentioned before, we use cross hatching lines like this. And as we move towards the lighter parts, the density becomes lower. Therefore, the gaps between our lines are higher. Follow my motion. Mimic the marks that I'm creating here. Take your time to practice with your tool. The pen is a very simple tool, but the thickness of the tip of your pen or the different pens that allow you to control ink or not, will give you a better idea as to how you can use them or manipulate them. Going on like this, we make the gaps larger in-between the lines and we also reduce our hand pressure and add thinner hatching lines to create a lighter surface. Different types of lines that we use and the line diversity we add to our work help us show a form better. E.g. if we're working on a building, we use hatching lines like this to show its shape and form. Our lines cross each other in this way in order to indicate an angle or a corner. While adding these hatching lines, we need to be careful and add the same gaps between the lines to better show the shape and form of what we are working on. So take your time to practice. Practice does make perfect. Also, practicing will allow you to develop your own style. These lines that cross each other and come right after one another, help us fill the parts, the form and the shape and complete the work entirely. And if we are moving towards the lighter parts while working on a form like a part of a building, we add larger gaps in-between the lines to indicate that there is more light or less shadow. Working in this way, we have gray color tones number one here and the gray color tone number two on this part. And then adding even denser lines, more lines even closer to one another. We will have a gray tone number three. This is just, this is just a scale that we can try to differentiate between what's darker and what's lighter or lightest. To create even darker parts we add to the density of the lines. In this way. We can add crosshatching lines. When we're working on this level of dark color tones. We can fill in the connections between the different directions of the lines. Are lines can cross one another. And that way we'll have a darker shade. As we apply more pressure. If you feel like your wrist or your hand are getting a little bit sweaty, you can place a piece of paper underneath away from your drawing so you don't damage the page you are sketching on. Remember, feel free to message me anytime with your questions. I'm more than happy to share some pointers and some feedback. As we're creating these different hatched lines with different densities. Feel free to pause the video and practice. As you can see, we've now created the gray color tone number four. And using very simple lines like this that are sporadic, we have created a lightest gray color tone for this part. Notice how we've also created a texture on these parts that shows the shape and the form of what we're drawing. However, there are times that we will need to use curved or oblique lines. To draw these curved lines. We need to move our hands freely like this. It's almost like a releasing your wrist a little bit and applying your lines. And a more light gesture, but also free. If we're going to draw the curved line slowly like this and not moving our hands freely. We cannot draw the two sides symmetrically as our hands do not have the range or the movement. That's why relaxing your wrist and releasing it a little bit. We'll achieve you a better curvature. In order to draw completely curved line like this, which has a circular shape. For instance, when we're working on a dome, the best choice is to move our hands freely and add thin lines that come right after one another in this way. So it almost marks a gesture, a guideline gesture to create your full curve. If we add the lines like this right next to one another, it gives us the look of a complete line which enables us to edit different parts if they need to be edited. The more you practice, the easier it will come to you. And as we add several thin lines on top of one another like this, we have a more symmetrical shape and a more beautiful one as well. All the time that we are working on these lines, we need to observe our work and see if we are moving in the right direction. Throughout the sketches that we're gonna be creating. We're only going to be using the lines that we went over and practiced Through the previous lessons. Remember, practicing not only makes your application more perfect, It's about your comfort with this medium. The more comfortable you are as the more confidently you'll be applying your lines. And the more and more you practice and create drawings, you'll develop your own style. We're using several thin lines alongside one another to create a shape. For instance, if we're going to draw the lid of a small pot, we use the irregular lines like this. While sketching. We use several lines to create our full shape. And then it is from these lines that we choose the most suitable one and make it bolder. And that will be our defining line, the line that defines the shape of our object. While sketching, we must be careful of adding too many, too many, several lines or light lines. Some may think that adding several lines will eventually ruin this sketch, but that is not correct at all. Instead, we need to add several lines freely while sketching so that we do not face a problem like the one we had while working on this sample here. This bottom very defined line. If we insist on using this straight defined line like this that we have drawn carefully, we need to make sure that the lines asymmetric reality is correct and does not affect the general shape or final drawing that we are creating because the form will be translated into the final image. As mentioned earlier, the best way of sketching is using as many thin lines as possible. That way we can choose the best line amongst them and strengthen it and make it darker. Then you can go over this better line and complete your image. Thank you for joining me today. See you soon. 4. Adding to your Sketchbook: Hello everybody and welcome back to another drawing and sketching tutorial. This is the part we're going to be sketching together today. There are also some sugar cubes inside it, which we will also be sketching. We start sketching with drawing lines freely in this way. We create the circular shape of the pot lid. Now we're going to sketch the circular shape of the lower part of the pot. That's the larger part. We try to create the circular shape, that larger circular shape with our free lines. We mustn't be afraid of adding the lines in this way. We're using minimal pressure and we're creating the lines by placing them in a dashed manner as opposed to one big straight line. We just determined the place of the base. We complete the details on the pots lead, making sure that we are adding it on the right, on the right spot. We are using free lines. Some are irregular and they come one on top of the other. We do that to create the shape and the form we're looking for. We create our lines as fast and as easy as we can dress to get a grasp of the general shape. And to decide on which line amongst all the thin lines are the ones that we're going to be drawing darker to define our final form. The key point is not to be afraid to add the lines and let our hands move freely on the paper to form the shape we're looking for. So we are releasing our wrist and working quickly. As usual, we emphasize on some lines to better show the form. Those are the ones that we're going to add more pressure to add more definition. Now we're sketching the sugar cubes. Pay attention to the way we're going to add the lines, the direction with which I'm applying my lines will imply the forum. Yes, I'm applying my lines irregularly and more and freely. But I'm still showing the cubes and how they look in general and where they're located. In this way. Keep observing your image. If we were to add the lines one-by-one, it would have taken a lot of time, and that is not what we do when we're doing a fast sketch. Instead, we have drawn the shape and the form of the cubes with a few simple movements of our fine line on the paper. Now we're going to work on the shading layer on this side of the circular shape of the pot. Remember that you can message me anytime with your questions and I'm more than happy to share some feedback or pointers. We continue to observe our drawing and our model and comparison. Now we're gonna be adding hatching lines like this on the darker parts just to show the shaded layer. Using the same fast sketching technique with which we drew the general shape of our pods and we gave it form and we added some little details. We continue with the same technique to add more detail and give definition. For instance, if it has handled, we could easily draw them if some of the cubes have more shadows, we add that. If the lid on top needs a bit more shadows at the bottom, we did that already. But we observe our image, our model, and we add those lines accordingly. The idea is to emphasize on some other details like this by making the lines showing them bolder. Now we're going to work on the same sample, but this time using more regular lines. While we are actually carefully sketching the lines on this sample, we may not draw the perfect shape in one go. But it's okay because we can still fix it by adding more thinner lines as we move along. What we want to do is practice. And if this technique is more attractive to you, it's the technique you want to achieve. Better. Practice will not only achieve more perfection towards a certain style that you want, but it essentially builds our confidence towards this medium. And the more confident we are, the more freely we work and the easier this technique will come to us. Now, these are the sugar cubes inside it. Notice that definition with which I'm drawing them. We should not be worried about the drawing being asymmetrical at this point, are the shapes being imperfect as it is with practicing that we can draw better lines every time. Take some time to play around with the medium and the different pens that you have. Create different different drawings by using different pressures and how you can manipulate your pen and what kind of result you can get because it's only by playing around with the medium do you discover more about the medium and you develop your own style eventually. What really matters is the line values and using the appropriate lines to show the different shapes and forms of what we see. We want to create visual harmony among the line. So although there might be hatching some lines on every part of your drawing, the direction with which you've created them. The detail you could have given to any certain part of it will build the image with such a depth of perception. Here we have sketched the same sample two times. First one being a fast sketch and using irregular lines and the other one with the lines that we have drawn carefully like this. On the other hand, we're using free lines. They hatching lines are added in two different ways on the same sample. This sample, what matters is to know when the work is actually finished. We make the lines bolder where they need to be and add the additional details and layers. But we must be careful about the number of lines and layers we're adding. We don't want them to be too much. We want to give depth of perception to our object with our final defined lines. This comes more naturally and instinctively to you with practice and repetition. Now in this sample on the left, we need to use more regular lines. And by irregular, it just means more definitive, more intentional, as opposed to making several lighter lines within the same area. As the pot is made of glass. We can see the inside. So we can add these lines. Here from the inside. We can complete our image with less lines than our sample on the right. Hope you've enjoyed today's tutorial, makes sure to practice and see you again next time. 5. Still Life Mug Observation and Drawing: Hello everybody and welcome back to another sketching tutorial. Today we're gonna be using the pigment fine liner 0.3. And we're going to be drawing a tea cup. To start off, if we want to draw a circle or a curved object, we can either use a glass or a tea mug like this. Or we can use a glass sugar pot or a candy pot for our reference. Now, when we want to sketch quickly or in a fast manner, we use a freehand drawing technique, which means drawing lines freely without using a device or an object to mark our edges. And what it means to draw something freely is to release your wrist a little bit, hold your pen a little bit further away from the tip and make your marks. We want to draw a free hand circle and drawing a circle using a glass. Just to differentiate between them. If we want to draw a circle and a free hand style, we draw several circles with very low pressure on the paper. We're not afraid of the mess which we could create by drawing several circles here, but it's simply to find our best, our best mark to make a darker line on top of. This is one of the techniques to start off a sketch. So don't worry that you're using a pen. The reason why we draw several circles free leads to form the circle we want to show. Do it as many times as you feel is needed. Keep in mind the empty space in the middle that is marking the opening of the cup. In common drawings, we draw an axis in the beginning because we want to make sure that the proportions are right. But now we're sketching fast and it's important to train our eyes to see well and draw or sketch very quickly. So take your time to observe your model. As a result, we're not concerned with a proportion because our eyes are trained to see and draw fast with appropriate perspective. Because I'm looking at my cup and then I'm making my gestures on the paper. I'm considering how oval that circle is and I go ahead and create my thin lines and create those circles in thin lines. We need to practice a lot to get to this point and to be able to do this comfortably and confidently. And the real practice is to draw things worth considering their perspective. And to be able to see the highlights and the shadows. By drawing these sketching lines several times, we are almost defining the shadows around which our final lines will appear. Now we're drawing the circle at the foot of the glass again. Then we complete the form by drawing several straight lines for the body of the glass. On the right and on the left. We draw its handle. The key to this medium is to draw freely and confidently, even if you make mistakes the first few times. Our freehand technique will get better the more we practice. Take your time to observe your image, your model, and look at what you've created. At the details necessary. As we're drawing, we pay more attention to the negative parts, which means the background to check if the proportions are right. Remember, feel free to send me any questions you might have. I'm more than happy to share with you some feedback, some pointers, and make use of your downloadable resources which have a lot of information on our tutorials. Next, we're going to work on the main lines of our drawing. Edit them if necessary. We are going to change the fine liner that we're using. We're going to choose one with a thicker tip. Just an order to achieve a darker line. For our main lines, we want a darker, more defined line. Now I'm using the pigment fine liner 0.5. I'm going over the primary lines that I've created here. And we add some more shadow gestures here with curved lines, with light curved lines. Then we move down. We shouldn't be afraid of drawing freely. In fact, there isn't something such as a wrong sketch. Even a wrong sketch can be edited by adding several lines. Now we want to go ahead and check the perspective here. We need to make it more circular. We need to check the curvature of the glass on the sides, on the bottom. The idea is to draw exactly from your model as opposed to sometimes we make assumptions as to how curved a certain line is. And then we look at our model and we realize, oh, it's not very curved. Naturally, there's more shadow under the glass and at the bottom of it, so we show it darker and thicker. By hatching this part more. We can create it dressed like this, not just by adding pressure and creating a darker line, but also adding hatching and lighter lines within it. Here. And on the side of the handle we have a shade so we darken it. It's like a shadow that's being cast by the lip of the cup on top. The edge of the handle is darker, so we had shared a little bit more. And also on the inside part where our fingers rest to hold the cup. If you need to pause the video and maybe practice some lines on a separate page. That's also helpful. Then you can play again and we can continue drawing together. Here on the glass, we have a printed pattern. As we continue to observe our model or our reference image. It's very normal to want to make some corrections. And that's a very common when we're using the free hand sketching technique. Our glass might be thinner or thicker than our reference image. And then we go in and we make these corrections. Don't let it hold you back. Now we're going to hatch the inside of the glass. The curves of the hatchlings on the inside are mimicking the direction of the cup. So the curvature is upwards here. As we move upwards towards the rim, we hatch with more gaps between the lines. This way we can show the depth of the glass. We give it a depth of perception. And we darken this edge. And we continue to observe our shadows and see where, where we need to bring the lines together and create a darker shadow. That doesn't mean it has to be a very harsh, thick line, but just darker with more lines. We start to hatch with low pressure on the paper. And then little by little, as the shadow gets darker, we put more pressure and we add more lines to make it darker. That's why observing your model is very important. Now we have the body of the glass. Like this. My lines here a bit straight, very slightly curved at the edges. Again, we use dense lines to show the volume. They are thin lines but they're not very light. As you can see, we're hatching in different directions. They're not circular, they're varied as you see, because we want to make it look attractive. If we showed them in a circular form, the glass will be monotonous and boring. So we take our time to just look at what's needed, what looks more consistent across our drawing. Again, we're working on the handle. Notice how the border between the light and the shadow here it's curved. Now we darken this part. Remember, the more you practice, the more comfortable you become with the medium. And the more comfortable you become with it, your confidence grows. And the freestyle technique will come easily and instinctively in terms of pressure and selection of pens. Now as we continue adding shadows and hatching lines to our drawing, we don't want to make any specific part too dark. That is meant for the end where we're about to complete our drawing. And if you look at your model and you look at your drawing, and you feel all there's big differences, but still you look at your drawing and it's a beautiful drawing and it's coming together very well. Don't let that comparison discourage you. The goal here is to create a beautiful drawing, even if it's not as realistic as you would like it to be. But with practice, it will get there. And in the end, the purpose of our drawing is to learn from it and test our lines and build our confidence with this medium. Now, looking at our image here, if there's a design on the cup, we go ahead and draw a dress like this. My wrist is very loose. My hand is lifted off of the page. I'm holding my pen midway and I'm making my drawing without stressing our hand or putting a lot of pressure on the paper. Even simply create the design or the pattern on the glass as you see it. Take your time and if you need to pause the video, go ahead. The form of the lines here is different from the form of the lines which we drew for the glass. The texture for the leaves is different from the texture of the glass itself. So I'm trying to mimic exactly what I'm seeing. Look at this glass, the lines and dots which form the design on it. They are a little bit different. They don't need that same hatching lines that we created for the shadow on the right of the cup here. Now we're going to add some dots to make a variation in this texture. This way we make it more attractive. Keep looking at your model or reference image or object. It's very good practice to keep checking our work, especially after finishing one part that helps us translate into every next part comfortably and more correctly. Now we want to use these hatchlings on the whole work to create visual harmony. So to make everything look like they visually are sitting together very well. We had like this. We have both dots and lines created here. Don't be overwhelmed by having different forms of hatching and drawing techniques with the dots and the lines sitting right next to each other in the end, when you pull your head back and you look at your image and you can do this right now. Just pull your head back, look at what you've created so far. And they all sit next to each other comfortably. And together. It's a good practice to just look and see where might you need more hatching? Where should you maintain the highlight? Now we're shading more because we want to show the form better. We want to heighten that depth of perception. I want that curvature to be more clear. Look at how I'm hatching, the speed with which I am hatching. And compare to the beginning as you see, there's more to the point here. I'm applying my lines exactly where I want to apply them in the curvature that they need to be if they're curving upwards or downwards, where the shadow is sitting. Now we need to hatch the leaves on it more as we don't want them to remain white. We had some tiny lines on the leaves with a fine liner, 0.3. Filling in those spaces with these lighter lines. And it's amazing how changing your pen, you would think these details are not going to show, but they do. They do show some lines. You want them so light that they sit in the background. Notice the highlighted line right next to the rim that I'm keeping light because I see that highlight on my cup. Now we can work on the surrounding of our cup. These very thin, thin lines, they are gestures. Just to bring forward our drawing. Very light lines. Now we want to draw a simple version of our cup. We want to use less hatchlings or dots or lines. And this requires more practice and more definitive line markings. And it takes time to get to master this technique. To simplify drawing things in general, using these pens, we start drawing simpler with simple lines, less lines, more defined, more decisive. That's what I mean by defined that it's, you decide this is where the line is going and you mark it. And we draw lines like this, which are thicker with a bit more pressure. And it's no problem if we make a mistake. In this kind of work, we can always edit by adding more lines. But don't let that discourage you or hold you back. The idea is to learn and to practice. The only way is to simply go ahead and do it. Notice that the speed with which I'm drawing here is longer lines, slower speed. As in comparison to the hatching where I'm going with smaller lines, like short-term lines and faster. There are actually many methods and techniques for drawing things. The idea is to play around with your medium. Use these pens to create different kinds of marks with different pressure, Different hatching. And hope you enjoyed today's tutorial. Keep practicing and see you again next time. 6. Still Life Tea Cup with Pen Drawing: Hello everybody, welcome back to another tutorial. Hope you're all doing well. In today's tutorial, we're going to sketch some simple shapes with fine liner by outlining them. So if you have a teacup, a physical one in front of you, It's always better than an image. But if that's not available, the model image is just fine. Now, don't worry too much about keeping your lines need are clean. Because in this drawing style, a little bit of a messy line is very, very attractive. So don't let it overwhelm you that you are using pen and that you can't erase it. Just take your time to observe your image, observe your object, and start creating your drawing. As we know, sketching can be done in different ways. It can be a quick sketch full of lines and be free. And it can be a sketch by outlining it just like this where it's more precise, more intentional, and takes more time. So you can take your time a bit more with it. These simple lines should be flexible in our sketching. We want to, we want to show the sense of this old cup and saucer. We're outlining our lines delicately. And our lines don't need to be full 11 gesture lines, you can stop in the middle, creating a very small gap and then continuing your line. It doesn't have to be one continuous line going across. Makes sure that you're comfortable, your wrist is comfortable. You need to be patient. We need to be calm in order to create an attractive sketch. So it's a challenge of observation where you observe the object in front of you. You look at where the outlines are and you add your lines, your sketch. E.g. this handle here. It's not supposed to be the same as our model exactly. We want to capture a very good sense of it though. We're adding the pattern here. We shouldn't worry too much about drawing lines right next to each other. As mentioned earlier, you can create lines by dashing them next to each other. The important thing is to be consistent and to use the same technique you are using on one part. With the next few creating smaller details like this. For this texture, that's the drawing that's on the, that's on the tea cup. Then you're using the same kinds of lines with same distances between them. On the next detail. If the outline of your teacup altogether like the handle on the top and the sides is dashed where your line is not one whole line, then we maintain, we maintain that style all around. There's a beautiful red rose on the cup. We're creating these flowers by outlining them. Again, we don't need to draw the flowers same as the model in front of us. We just want to show a gesture of them being there. Although this image can seemingly be easy, but it's not. It needs more practice. And only with more practice and more experience, your confidence grows. You're less worried about applying your lines. It's natural to make mistakes. We should continue, we should keep going. Don't let it hold you back. Now here as I'm drawing the saucer. We might draw this line wrongly, but we can edit it in the next sketch. If you're worried about drawing some lines incorrectly or not the way you want them. You can pause the video, practice or practice before the tutorial. Then once you've, you want to start creating your drawing, you have a better sense. But we should draw several times in order to have a good view of our model and understand its shapes. And the feeling that I want to give from it, the style, the diameter, and other parts. We don't consider these things at first sketch. It's only by practicing that we understand better these dimensions. And we can show the different, the different styles. And an older looking cup or an antique looking object. And as mentioned in the beginning, it's always better to use the real physical object in front of you rather than a picture of it. Just because you can see the shadows and the highlights much, much better. Usually cups and vases, like vases, everyone says that word very differently. They, they're very good. They're very good models to practice. Such outlines were almost complete with completing this drawing here with this style of line. Now we're going to create a second cup here, but we're going to draw it more freely with various kinds of lines. Look how quickly I created the top of the cup. It has extra lines on this side which are really, really light. Because I'm creating the gesture of it before I select the one line amongst my light lines, that will be the definitive line. Look at the movement of my hand. Mimic the speed. Follow my lead. We can use a pencil to specify any certain area of the cup at first, if you're a bit worried about that, That's completely fine. But look at your model, look at the form of the lines. And it's as if you're your on your on your you have a timer on. You have a specific amount of time to finish this. You're a bit quicker. But these here, they're a combination of lines that show that general gesture of our tea cup. We put our shadows and now we're adding the rows. You want to be quick. You want to look at your image, make decisions very quickly. Again, if you need a moment, pause the video just to observe your model a bit more than go back in. Don't worry too much about the lines being imperfect. There is something very beautiful in that imperfection. You might discover more about your own style. Just by applying this technique. We should continue practicing more of these models. The more important thing is to be brave with sketching and don't be afraid or concerned about the precision of the lines. It's only by practice that we understand the composition of certain drawings, that we understand what it means to have harmony in a drawing where you're applying the same style everywhere. Here I'm working a little bit more on the edge of the tea cup. I'm adding a bit of the inside detail. I want to, I still want the details that I want even though I'm working quicker. You can give yourself the task, the time where you can choose the amount of time you want, like 5 min, 6 min to create a certain drawing. And it's very fun. It's a lot of fun. You'll learn a lot about yourself. I mean, your technique. Here, as we've added, most of the details, were more free to decide, oh, this edge needs more definition. We want to put the outlines exactly where we need them. We want our image to still look very beautiful. I'm adding more shadows here. We're using these very light horizontal lines, but are also a little bit curved to imply the curvature of our cup. Now, in this final stage, we're just going to strengthen our lines. So we've created all these light lines because we've created them very quickly and they are a tone of gray. But now we observe our image and we want to give a definition. Look at how much more defined the image on the right is. The rim of the cup is more defined. The handle is more defined. Now we can see the differences between the two cups. E.g. let's draw this pen here. The lines are more accurate and the hatchery is more regular. We can use a pencil to create its area, then, then use a fine liner to draw it in. But look how quickly the more I practiced, the easier it is to draw this pen. Very precise. Because I, my lines are intentional. I'm putting them specifically where I want them to be. It's not easy. It looks simple, but it's not very easy. It's only practice that will make it easier. Now, I'm drawing the same pen, but in a much quicker gesture. Look at this speed. Look at that man of little very, very light lines all around. I'm not worried about them. I'm just, I just want to create my my pen drawing in 40 s. Less than a minute. I add my detail. Now these are complete. I hope you can see the differences and if you enjoyed today's tutorial, keep practicing. The more your own style will develop. Thank you for joining me today. See you again next time. 7. Complete Modern Tree Drawing: Hello everybody. Welcome back to another sketching tutorial. I hope you are all well. Today we're going to sketch a tree. I'm gonna be using a mechanical pencil to draw the base. Drawing. It will act as a guideline for when we start sketching with pens. Remember to make use of your downloadable resources, which have all the information for every tutorial. The sketch that we're going to be creating here, you can print it out and maybe practice by creating your drawing directly onto the printout or creating the sketch on a separate page by looking at the model image. But right now, let's spend some time creating this sketch. And as mentioned before, I'm using a mechanical pencil. I'm creating my lines very lightly. Because the idea is that we want to use the sketch as a guide and not as the main drawing. We will be creating shadows and lights with our pens. Use a hard eraser if you need to erase any lines. Don't worry if you feel like you need to go over your base sketch more than one time, three times, four times. That's completely up to you. It takes a little bit of practice to be able to draw your sketches comfortably and know where your guiding points are, where you're gonna be adding your highlights and your shadows. But for now, we're simply creating a base drawing. Make sure you have your model in front of you comfortably so you can look at it easily. And try to consider the whole page, the whole composition of the page. Now we're going to start with a fine liner, 0.5. I'm starting off from the middle of my tree here with very light pressure. And make it a habit, as it is very good practice to continuously check your model. You're looking at it and you're creating your gestures. Your taking a few seconds to look at it again and then continue your sketching. Observe the direction of the shadows or the highlights as you are making your markings. I'm creating those little, little lines as they mimic the texture that I can see on this part of the tree. This is a darker part on, although it is darker, I'm not applying a lot of pressure and I'm not filling the entire space either. With ink. You want to leave some parts that are light. Consider the model that you are drawing on a tree. You have curvatures, it's a curved surface and some curvatures are upwards or downwards. So the direction of our hatchlings and lines and dots, they will have to be in the direction that allows for our tree to show the depth of perspective that it has. Some of the lines that we're gonna be using and, and drawing. In order to show the perspective and the depth. Some of them are more regular and some of them are more dashed or irregular. We're gonna be drawing them patiently in order to create these different tonalities. The model of this tree has lots of waves and labyrinths. First we draw its general sketch, then we're going to create the trunk of the tree. And yes, we are creating a general sketch using our pen. Then we create the trunk of the tree and then we add more details. Even at the stage where you are creating a sketch with our pens. You could add some details, some shadows, some hatching that you can see along the way. It's really a preference how you decide to work. Sometimes we, some of us like to draw the sketch as a, as a rough outline everywhere and then later go back into details. But here in this tutorial, we are drawing slowly and carefully and we're paying attention to the shades and lights. Now I'm using a fine liner. Number 0.3. The markings of the line are different than the fine liner 0.5. We want to keep observing our model image as we create our hatching lines. And we create the form of the tree with short hatcheries. Just like this. Follow the application that I'm creating here. The application of my lines and my ink. Use this delicate technique as your guide. The idea is to mimic exactly what you see from the model in front of you. But of course, don't be discouraged if you're drawing that you are creating slowly. It looks different than your modal image that's completely expected. That's not point to hold you back. We're practicing different lines of sketching here. And there's a lot of details on the tree which need to be accentuated. These are the nodes of the tree here. The form of the tree is taken from the tree, and now we design it in three-dimensions. Are lines should not be far apart. The hatches must be close together. In order to determine the branches. We are creating texture. Depending on the curvature of the branch. The lines are close together, but as you can see, they are delicate. I'm using the 0.3 fine liner. And I make sure to keep an eye out on the highlights. So the parts which I don't want to touch that are clearly a lot more white. We want to also keep an eye out on which parts of the branch are lighter so they are more gray. Notice a difference between the under part of this branch that we're working on and it's a little bit darker and the lines are closer, implying a shadow underneath whilst on top, the lines are lighter, they have a bit more space and I'm indicating the curvature here. And we change the form of the hatcher is because the form of the nodes are on this side rotating differently. So it's really about observation. Keep looking at your model. Look at the details and the shadows. They will indicate to us How, how much pressure to apply on our pen, how closely to have our lines, how much hatching to create an, a certain point. We play with the hat tours actually, and we draw the sketch slowly and patiently. You want to keep your application. Light. Theorist is nice and comfortable. Your hand is light. If you feel like you're pressing too much onto the page with The side of your hand and yet your pressure is light. But I wanna make a note about the possibility of our hand sweating onto the paper. In this case, you would put another paper underneath your hand on your wrist away from your image just to protect your page from getting dirty or having any sweat marks on it. Here we're creating very short and thin lines. That's the texture that we see on our model. We're making very small marks on different parts of this tree. Now we're creating very short and thin lines with dots and hatcheries as well, but dots as well. Because that's our smallest mark and yes, we can make it darker and bigger. But here we're using hatches and dots to create this part. Remember that you can message me anytime any questions you might have, or even just to share any drawings or images you might have sketched. And I'm more than happy to respond with some feedback or maybe guiding points. Lines are irregular in some places in the drawing that we're creating here. There are irregular in some other places. By regular I mean that they are crosshatching as we know, or direct lines that we clearly just see and apply. An irregular meaning that they are, a hashing is in different directions that are curving. Maybe their distances are irregular between each other because we have some of the curvatures here and the circular points around which were creating the hatchlings. And sometimes it's both hatchlings and dots. So we're just paying attention to the textures we see in our model. We're paying attention to the composition as well. Because our, our final sketch here and the final work, it should not, it's not completely uniform nor scattered either. It's contained within its own sort of beautiful curvature details. We should make connections with the lines between each other. Just to create that very slight shadow sometimes so we can create the same line. But extensions of it can meet. And we're working on this part here just to show the texture a bit better. That's what I mean by if you're small lines are intersecting with the next row of small lines and that, it's okay to have that that shadow show. Look at the irregularity of hatchlings here in this part that I'm creating, I'm observing my model and creating the lines accordingly, leaving some white parts. Right there. We continue working on each part. As we move along. We add the details to each part we come across. We just need to continue observing our model. And we make sure that we're not making any dark, dark marks on our drawing. We want to leave some leeway in case we want to add lines or make something darker later when we add the details. Here, we're creating the veins of the tree. The different cavities. If it's possible for you take pictures of your drawing at different stages. That way it gives us an indication of how we've progressed. What is it that we focused on in one part and the next part? And it's quite beautiful to see that progression. I find this drawing very meditative. The details are quite beautiful and delicate. They require focus and patients. There's a cavity at the edge of this part here. We've indicated the dark middle part, but still leaving that highlight in the middle. Notice how I'm creating the shadows and the details of the tree. Our highlights all along. So I create my shadows while keeping in mind that there are lights and lines that need to remain the white of the page. We need to go over all the details that we're gonna be creating. But for now, we're sketching exactly what we're seeing. Here. I'm combining hatchlings with dots as well. Depending on the detail that I'm trying to achieve. We're actually working on the dark parts. The light parts, the negative parts, the positive parts. Some parts the lines are curving across each other and the ends of them become dots. And some dots turn into these lines as well together. But we're combining both techniques. And as you're visually looking at your drawing and you're creating it. And you're making decisions on some curvatures and how some lines are coming together. We can use our imagination and dress and just try to see how they can gently cross. How does that crossing create a little bit of a shadow? And how to add dimension? Because the more we, we study our image and we have these lines intersect with each other at the places where we see more shade, more shadow, more highlight. It just increases the depth of perspective of our image. We add lines between lines in order to make them curved and achieve that dimension. These movements of the lines and the way we curve them according to what we see in the curvatures in the grain of the tree. Make it so much more beautiful and we're bringing it closer to looking more realistic and more natural. And it helps the whole process of sketching together here in this tutorial, it just makes it more imaginative, more enjoyable, more engaging as well. We use dashed lines. But the idea in general is to not be afraid when you're using this medium. It is meant to look free and relaxed and it's okay to make some mistakes. There is leeway to add more lines. So take your time, enjoy the process, enjoy the practice. Here we have some leaves that we're gonna be adding. I'm just studying the direction in which these leaves need to be. There. Direction will dictate the lines that we're creating for them. Whether they have circular shapes or am I using a darker line? Is it a more Empty space, more curved space. As we're sketching more and more details of this tree. Remember that practice is not just about making something perfect because the medium of sketching with pens is not always about perfection and a perfect line. We, it has this style that's a little bit flattery, a little bit delicate as well. But practice does bring not just comfort but confidence. You'll become more confident in making a call and instinctively deciding, oh, more lines here, more curves, more dots, more hashing. Let's cross hash. Or maybe we'll create lines that are dressed next to each other. Long line, short line. So all these decisions, depending on the drawing that you are creating, will simply come naturally to you the more you practice. Now we add some dots on the trunk carefully. In order to achieve the texture we see on our model. Make sure you're lifting your wrist and your hand if you're going across your drawing. Just to make sure not to damage the work that we're creating. Some textures on this part of the tree are more complex than others. But no matter what, what hashing technique or sketching technique you decide on b, it crosshatching or single-line hashing, or the dots. Just make sure you're mimicking model that you're looking at your model and you're trying to create as closely, as closely of a sketch as possible. Consider the composition. If you feel you need to measure how far you are from the edge of the page, or maybe how long a branch is. Use the use the pencil measurement technique. I'm using the lines hashing in a curve in a curved manner. As I do see those shades in that, in that shape. When we're completing this circle with these lines, we don't draw the whole trunk in one go with the long lines or ongoing lines. Because the underneath texture is white. We want to bring forward that texture. We want to make sure that we're observing our image really well. We're leaving some white spaces to indicate the highlights. This part here is darker, so we're trying to add some dimension here. Hashing more lines in this part. As we know, the edge of a convex part is white in order to show the round shape. Pause the video if you need to. Just to maybe look at what I've created here. Maybe just to observe a little bit more your model. But also make it a habit to always pull your head back. Stop sketching, look at what you've created so far. And make note of where the highlights are, where the outlines are, which parts might need more hashing at this stage. But it's just good practice to be able to stop and look at what we've created, what we're working on. Just take a few moments. And to put it in perspective and to visually see is everything looking harmonious? Maybe you need some more lines that are curved in a certain way for a certain part. Now we're going to work on this part here. We're going to use dashed lines, thick and thin. Some are much closer to each other and some are fewer and they have more distance. We're trying to build up the texture and the tone here. That's why you use different types of lines. We want to bring in that texture, that richness of the, of the texture we're creating. I'm going to remember the more you practice, the more instinctively these selections will come to you. Like what type of line am I choosing to shade my crosshatching it or not? It's a practice of both the medium, which is the use of the pen and sketching, but also practice of looking, really looking at our image and seeing properly What's the darkest part of the shadows? What's the lightest part of the highlights? Because these are all different gray tonalities. Just by looking at our current sketch right now, we can already tell that some parts are extremely light and some will have a more definitive line going around them, but these definitive lines come in the end as we are completing our sketch. For now, we're still, we're creating the textures. We want those textures to come through because that's, that's the beauty of the image that we're working on. These are the details that we are doing this image for to practice that. We continue to fill this part by factoring. If we work on this delicately, it will be more attractive. You're giving it the patients and the focus. Sometimes we might make extra hatches if we're really speeding. And that can cause the loss of the delicate style that we're looking to create here. So take your time. The more you practice. And I mean after some time and this is the medium that you're comfortable with. You start to develop your own style. Now we're working on creating more contrast. And this part here, we're creating a balance between the contrasts and the highlights. The contrasts are really important. They give form and shape to your full image and the highlights give it that depth of perception where you can see where the light is hitting. It makes our image look more realistic, more natural. Now as you know, creating hatching, hatcheries lot hotter lines next to each other, the closer they are, the more you are indicating a shadow, a darker part. In comparison to other tutorials we have done together. This tutorial is not a fast sketch. This is a slow sketch. We are spending more time on the details. We have less contouring lines. Because with a fast sketch, you're creating several really light lines. And then in the end you're picking the one that is mimicking your model and that it's going to create your drawing as intended. And you make it darker. You create these darker lines that are definitive, but you'll have this, these contouring lines. Here, it's very different. It says slow sketch. We are more definitive with every line all around. And these labyrinths and waves we have on our tree, they're more visible. And especially we make them even more visible using convex lines. Remember, I'm more than happy for you to send me your final drawings. Also, if you have practiced a drawing more than one or you have done it more than once. It's nice to see at different stages of your practice how your final image has turned out to be. It can be a point of learning where we get to see how we've applied our lines. How much freedom there is an confidence in our application. Because, believe it or not, it actually shows in your final image. Remember as you're working on different parts of the image, especially as you're creating texture in certain parts. Because we can very easily get taken over shade, create extra, extra hatching, extra lines. So it's good practice to just stop for a few moments, make sure that you are still working on the same part that you didn't go over to the next section. Because personally I can get taken and enjoy the hatching and the sketching way too much. And because I find it a little bit meditative, It's good practice to just stop a little bit because it can make us a little bit impatient or work a bit quicker. When you want to slow down, you want to make sure you're not creating extra lines and places that might have more highlights. In a slow sketch like this. It can, it's difficult to, difficult to remove any lines, right? It's not possible to add more lines to. It would maybe look a little bit imbalance with the rest of the image. Now, working on this top part here, there are leaves in this part. Try to draw the leaves in harmony with this branch. Mimic the direction of it. The way the leaf is bending and curving backwards. Now we increase the dark parts, increase the shading or the shadows. So we're going back in. I'm going back in with more confidence. I'm not worried because I'm observing my model and I can see this is this part. These parts need more, more shadow on them. I'm going to add some marks on this part here at the bottom. We want to specify the details. Notice how where I applied more shadows just now it indicated that branch, it made it stand out altogether. Year I'm going over the curvature. Very delicately. I'm observing my highlights. And I'm moving to the leaves on the complete opposite part of the drawing. Because sometimes you're working on something and you notice an imbalance in another part that I come back down and I'm working on these parts here. We're adding these darker parts. They're very important because they bring specificity to your drawing. They especially with a tree like this where you can very easily maybe not differentiate between the branches, between the different parts of it and the leaves. So it's important to go over these outlines. Don't hesitate. Don't let that the delicate markings that we're trying to achieve in this drawing to discourage you. Or if the final result is not as you wanted or as perfect as you imagine a perfect drawing. Just keep practicing, keep doing it with confidence. Patients focus and you will get there. We continue to add the details. Because as mentioned before, those, those darker parts, the shadows and the different parts of the tree, they will really bring it to life. You see me take moments like split moments to stop and look at my model. Observe it carefully and apply my hashing is my lines and my dots in the right places. Now, when there are light hatches behind leaves, it becomes like a shadow. So we won't really need to draw the other leaves. So we have them here merely as a gesture of leaves in the direction that they need to be. But we don't need to accentuate it even further. But of course, if you want to, you can. Finishing any drawing is completely dependent on each one of us. You are the judge, you make the call. I'm going to focus on adding more shadows on the different tree branches. As opposed to maybe giving more shape to my leaves just because I feel like those are the parts that need more hashing. I'm happy with the loops. But if you feel like you want to do more on the leaves, go ahead. Now remember, keep practicing. The more you practice, the more you are comfortable and confident with a medium are drawing is done now. Thank you so much for joining me for today's tutorial and see you soon. 8. Understanding perspective: Hello everybody. Welcome back to another sketching tutorial. Today we're going to learn about different perspectives in sketching. There are three kinds of perspective. Before I go over each one of them, I want to remind you to make use of your downloadable resources. They will have all the information necessary on each tutorial just in case you want to go over them before we start. Now, the first one is a one-point perspective. We draw horizontal line in our frame. There's escape point in the middle. The one-point perspective is a drawing method that shows how things appear to get smaller as they get further away, converging towards a single vanishing point on the horizon line, and that's our middle.it is a way of drawing objects upon a flat piece of paper or any other drawing surface so that they look three-dimensional and realistic. Here. This, these lines that I'm drawing, they end at this point from the above of my horizontal line. And the bottom. Drawing in one-point perspective is usually used when the subject is right in front. We are directly looking at the face of a cube or a wall, or a building, or directly looking at something like a road or a railway track. It's a very important drawing method. Especially when drawing buildings. Everything we draw will end at this point. We're just trying to create a little bit of perspective here. In order to just practice a little bit the one perspective technique. Follow my lead. You can use a ruler or a compass whilst learning to draw a one-point perspective. But doing it freehand is just as good. It's no different. It's simply to get a grasp of the perspective. And what it means. We can see a one-point perspective in the following models. So objects above the horizon line here are drawn as if you're looking up at them. And anything below the horizontal line are drawn as if you're looking down at them. The lines we have drawn, they go not only above the horizontal line but underneath as well. So objects are neither above nor below are the ones we are directly looking at. Mimicking the model we just saw. This is this is a reflection of it. Now the second perspective is a two point perspective. This perspective, we have to escape points or two vanishing points. It means that shapes end at these points and lines cross each other. As we create the sketches together to define these perspectives. It will make more and more sense. In the two-point perspective, sides are extended along each other. So when we stand between two streets, Let's say the perspective is as such. We can see this perspective in these models here. In fact, there's an, there's a vanishing point in this part. And the other vanishing point is in the rest of this line here. It's in the incline to the right. Now, if we want to apply this image to our sketch here, our two-point perspective. This is the bridge. We look more to the right side of the bridge. Then we do to the left. Because directionally this two-point perspective takes us down and upward to the right side. Now, the last perspective we're going to work on a three-point perspective. It's a view that has height. Now, the third perspective is a three-point perspective. I'm gonna grab a new sheet of paper. It is the most complex form of perspectives. And drawing. A three-point perspective uses three sets of vanishing points to draw each object. And it's suitable to draw things from a low or high level. The low level in our illustration creates an illusion that what we are looking at is above. We are looking up. It naturally suggests a scale of a tall building, let's say. Naturally, a three-point perspective is also used to draw something from a high level. It creates the illusion of looking down. From a high viewpoint. It's simply a reversal of the three-point perspective from a low, low level. Take your time to create the following sketches and to practice all three of them. It will really help us to how we perceive our drawings and our models. Before we start our drawings. You want to be able to look at the most powerful points of your drawing and images. And it helps us understand where the viewer's eye is traveling on this drawing. What, what perspective is you're drawing taking here, I'm just drawing the perspective of a higher thing and looking down. It's a perspective from the bottom. These lines are not straight because this is a very tall skyscraper that I'm giving an example of. But the idea is to practice because practicing these perspectives helps with our drawing technique. Our understanding of visual harmony, especially when we're drawing buildings or architecture or high objects or looking down. Looking downward perspective. We don't have a sample to share for this perspective at this moment. But feel free to email me your questions. And I'm more than happy to respond with pointers. Here we have a one-point perspective. The vanishing point here is because all the lines end at this point. Since the viewing angle is limited and the building is in this part, this perspective seems difficult. Now in this next sample, although it is difficult to find the perspective, it has two vanishing points. Since we are so close to the window. And we don't have that perspective demonstration. But look at the incline here of the view. But we can see our vanishing points leaning towards the left and the right. Take some time to observe different drawings and see where the vanishing points are. What's the central part of your image? Try to differentiate between the 12.3 point perspective. But we could see the two-point perspective better in this model and the one-point perspective in this one. But either way, the point is we have to know the perspective before sketching a building in order to draw it properly. Thank you so much for joining me for this tutorial. I hope it was enjoyable and see you again next time. 9. Classical Door Drawing: The foundations: Hello everybody, welcome back to another drawing tutorial. Today we prepared a design which is not drawn by line pen before. It was drawn with a dip pen and ink. We're going to learn a little bit about the differences here. The last tutorials, we've used a gel pen, but today we're going to draw using a line pen. So the gel pen is the gray one and the line pen is this white one here. We're going to learn a little bit more about the differences between them once we start making our drawing. Mainly, especially when we start hatching, creating hatcheries, different lines, then you can feel the difference as well. Independent you're using. We will use a thicker and a thinner line pen here. First of all, we're going to draw the sketch of our drawing. We want to use a pencil here. And we're going to make our sketch very lightly. There is a window and a peak of a mountain here. Take your time to create your sketch. Remember you can make use of your downloadable resources, which has all the information on our tutorial, including the image which were drawing today, the grids that are necessary to draw it. And essentially you can practice this sketch because we might not be adding. The shadows are where the hatchlings are going to be in this base sketch. But we have to create a guideline for us in order to know where we're going to be drawing in our image. And withdrawing. As you complete your image, you have more and more lines. We're paying attention to where the shadows are and where the highlights are. There's a window, as mentioned earlier, with a peak of a mountain and it's hillside. There's a cornice on the window and an arch. There's a column next to it. We need to analyze our sketch and the tools that we're using to create our drawing. Just to understand how that texture is going to be created. Because we're creating line drawing, right? I would take time to practice. So e.g. we have an arch here that is wood and that texture needs to have hatches are lines that are closer to each other, but also darker in some parts and lighter in some parts. And we have a double window and we have a door which goes into which is inwards into the frame. And it's a little bit at a diagonal angle. The perspective of the whole image is a diagonal backwards towards the right. We need to get this dimension and the proportions correct in order for us to create our drawing as precisely as possible. So as I'm drawing the perspective, you don't want to add extra lines as if you're shading right away. We're basically creating an outline and a guide for us to go in and color. It shouldn't confuse as it should help us this sketch. We're gonna be adding more of our lines with our pen line. Observe how many lines are in the arch and add them. And pay attention how the arch will be connected with other surfaces. We want to create our sketch as simple as possible, as basic as possible. Now we're going to draw the window with our line pen. Let's begin. This is a fine liner, a pigment fine line or 0.4. I'm starting my drawing from the top. And the lines that I'm creating are now more final. So although we're creating a gesture line to begin with, but along, along these gesture lines, we're going to pick one line that will be more defined and all the other lines will be supportive of this freestyle drawing drawing technique that makes it even more attractive. We started with our sphere. We did our outline. We have many details in this drawing, so we need to be patient. We need to be also ready to create irregular lines to create those details. So look, I created a circle here, but I added all those details around it in irregular lines. We need to keep observing our model. As we create our drawing and add our details. Mark what you see and illustrate it. It needs practice to become more free and confident as you use this medium. So keep practicing. Especially when there's a lot of details to tackle and add. We're drawing separated lines here of bass relief. So take your time to observe your model. Look at where all the lines need to go in this section that you're working on. And pay attention to my hand movement and how I'm drawing the objects. I'm using minimal pressure and it's always better to work lighter. I'm going into add my details, leaving room to make more lines or make more shadows and dark lines later on. For now we are creating the base sketch. So we did a sketch with a pencil that's done, that's really light. And now we're creating, we're using our pen to create our primary sketch. And we can add as many details as long along the way as we need to. Add darkness and contrast later. Now we're just going to be drawing the old window. I'm drawing the arch by many lines. I'm not creating one straight line. I'm creating it slowly as if I'm shading it in using my pen. We wouldn't be so we wouldn't achieve this light freehand technique without creating those lines consecutively as if we're shading in. We don't want one straight stroke that's unending, that is very different. It also gives you a chance to draw both sides of the arch symmetrically or as symmetrically as possible within the proportions that we have. Obviously. Look, I'm moving my hands so many times to draw both sides. And I'm making corrections. Follow my hand movement. Let it be your guide. If you need a moment to take a look at your image, maybe practice some lines on the side or the arch on a separate page. Go ahead and do it. Inside the arch, I've added some vertical hatches and on the outside here, more vertical hatches that are a little bit darker. I'm creating my drawing by adding all the details that I see, but doing it very lightly. So you don't need to add later on. That's when we're going to be adding more hatcheries, more darker lines, more outlines. But for now, we are adding the basic image that we are drawing. And feel free to add the details that you need to in terms of indicating, Oh, okay. Maybe I'll put some little hatches here to remind me that there's more shadows. I'll add it later on. We're drawing it fast and simple. And the more you practice, remember, the more you practice, the more your confidence grows with this medium because you've enjoyed using it freely. We're not too worried about our lines and whether they are mistakes or that they don't look as perfect. It's practiced that will reveal to you your sense of style, your sense of comfort. And especially with buildings or architectural shapes like this, you need to practice drawing straight lines before drawing buildings just because it is a challenge. It's more challenging than curved lines in a sense, because you want them to look a certain way but also be light but also have shadow. Remember, feel free to share with me your images. Dressed if you, if you need any feedback, if you have any questions, I'm here to address your concerns. And maybe give you a few pointers if you want. Keep practicing more and more, draw hatching. And just relax into it. Feel free. Don't, don't worry too much. Because the shake of our hand will affect our drawing in general. When really, it's just a matter of getting comfortable. We're drawing window lines here. There are many fold lines on the window. Just because it's older and has more creases. Here, we can draw many lines and it's not really something to worry about. We can leave the end of the window. If you draw straight lines, it will be smoother. Now the drawing is started from upside from the top side and it's left to fade out or lighter at the bottom part. It would just look beautiful and faded at the edge because we're trying to get all that detail on the top. We draw lines more sporadically here when emulating the leaves that are going to come on onto the side. They're more curved, they're more free. And it allows them to look more elegant than natural because they're more curved. They're more to their nature. They are leaves of a tree. Yes, our lines might be different in order to achieve the texture and the look of the leaves, but the pressure should be the same. It should be a lighter pressure. And with architecture we go for straight lines and mostly vertical lines and horizontal lines. And vertical because it implies that the perception, the perspective of the image and the building upwards, you have that verticality that's happening here. With leaves or trees. They're responding to gravity so they have the curvature. They are bending down, right? So we want to imply all of these details, the direction in which we create our lines matters. It will show in the end in the final image. Now we're creating contrast on the top part here. You want to add a dark tonality step-by-step. You don't want to create shade or darkness or shadow quickly. You want to do it patiently. You want to observe your model and you want to place your shadows exactly where they need to be. We continue to add hatcheries where we need them and we keep it light. Notice how there's more shadow and darkness and this part here on the left side of the arch on the top. But then as I'm coming down, it's lighter. I continue to add my details as I move along. I'd like to spend some time with my model, the physical object or an image of it. And to simply observe everything that I need to observe, look at where the details are, where's their more hatches than others. Also the highlights. Which parts are the are the lightest, which parts are so significantly the white of the page, just to make sure that I don't touch these parts. Now we continue adding contrast step-by-step as we move on. And along with our drawing. You want to look at the details. We also want to use different hatcheries depending on which part we're working on. Just to achieve it as elegantly or as realistically as possible. Of course, it's not going to be exactly like the real thing or the image of which, from which we are drawing. But it's to get it as close as possible. At the end of the day, drawing with pens has its style. And it's very light and beautiful and simplistic but difficult because we need to practice. We need to be intentional with our lines. Because our direction changes depending on what we're drawing. We have some circular shapes and some shading which will be shadowed as circular shapes. So if you have some circular shapes on the top, which are flowers or some details up there, but then they have shadows as well. And when you create their shadows, they need to be circular as well because they are a reflection of the element casting the shadow. We're drawing in general form exactly what we're seeing. We're not trying to create a struggle with the details. We are looking at our subject, looking at our model and adding the details as we see them were creating the impression of glass here. There will be some vertical lines here as well because it's glass. So we use different directions in order to imply and show the reflection here. There's a leaf reflection as well. Just keep in mind some parts need to remain light. They need to remain almost the white of the page. So we want to be careful because there is lighting on it. I find drawing Hatteras to be really meditative. I can get taken and maybe forget even to look at the model, which is distracting. So I make sure to keep looking at my model because sometimes we're working on something and we're hatching and in our imagination and we're thinking, yes, this is how it looks like because you have information like we're informed, we know what a window looks like, we know what a door looks like. But when you're drawing, you want to keep looking at your model. You want to apply the lines, the hatches, the shadows, the light is exactly as they are here. We bring our hatches into more focus and we give a higher depth of perception in our image by adding, by adding the dark parts, the outlines. Right now we still have, we're working on reflections of the, of the leaves. I'm adding a bit more shadow up here. But I'm taking my time to observe my image and adding the shadows. So after I've done, you do your base, your base drawing with your pen. You want to go back in and really emphasize your outlines, your darker parts, because they are the ones that highlight and make the highlights pop. They make the light parts pop. And they give details and edges to certain elements of your drawing. Because with, with drawing and sketching like this, where you have all these lines that are lighter and they're indicating a depth of perception. Something in the background or something lighter. If you need a moment, if you feel like looking at the drawing too much as you're drawing is just fogging your perception. Just take a moment, pause the video. Look away. Maybe have a snack, maybe dress change of scenery and come back and then continue working on your drawing. If you're not sure how to hatch something or a certain area, just move on from it. Maybe completing another area will give you a better perception when you come back to this area. Now we're working on these parts here which are indicating like an indent and inward perception into the doors, the interior spaces. Again, we're trying to work on some glass reflections here. There's some reflection of the branches. The challenge with pen drawing is to get all these details. Only with a pen. Only with one tip of a pen. You could use two different types to create thicker line or a darker line. But to use one pen. That's the challenge now, is that how much pressure do you apply on this pen? What, what kind of Hatteras can I create? How light or how dark Lee can I apply this pen on the paper. So also the choice of paper will dictate how certain marks will appear using this pen. But the idea is that you need to practice a lot. Because with practicing, you develop your own style. You're able to learn more about yourself. Now I'm using a thicker pen here. Just to change the size of some lines, to bring in some of those outline details. To accentuate my image, to bring more beauty and contrast to it. It looks more rich. I'm using a pen liner number 0.6. We want to be more decisive with this pen. So we're not trying to add too many extra hot drinks with it. It's there to emphasize the contrast, to bring a little bit more definitive lines. And it doesn't want to take away from your main sketch. You don't want to get confused with that. So keep an eye out on your highlights because this is a darker pen. The highlights are dressed as important as our outlines. They are both powerful. They make an image look realistic, they make it look more rich, more present. That's why we need to be intentional and know exactly where we're placing our lines. And the more you practice, the more easily it will come to you. The, all these decisions about pressure, where the lines go, the way you're perceiving the lights and the shadows of your model will come easier to you. I'm drawing my shades here a little bit faster. I want to add the details and go over the branches. Now our image is almost semi done. We're gonna be working a lot more on this image. In the next tutorial. We're going to stop as we add our final branches here, and we'll continue our image in the next tutorial. See you next time. 10. Classical Door Drawing: Adding layers: Hello everybody and welcome back. Hope you're all well. In this video, we're going to work more on this sketch. And we're going to use a black marker for the darker parts like leaves. It helps us to do it quickly and increase the contrast and a short amount of time. We create some spots, then add hatches on it in order to create tonality. We want to be careful as we apply our marks using this marker. We should be careful while drawing. We don't darken this part completely. We're just adding spots, just like I'm doing here, because we make color in the lighter parts by mistake and miss these parts suddenly, which we can't. Correct. So we need to be completely careful. Pause the video if you need to in order to practice on a separate sheet. But look at your image as you're working on it, make the decision as to where the dark parts are gonna go, the direction with which you're applying your marks here. It matters if it's dots or if it's downwards like we did with the leaves. We want to look at the general sense. We know that the darkness of this part is too much, but we don't darken it completely. As mentioned earlier on a separate sheet, practice creating hatcher lines, horizontal lines, curved lines using this marker. It will give us a little bit more confidence as we apply it. It has a tip which we want to make sure to only use the tip as we apply this dark, dark color. Here again, we have darkness in this column. But we don't want to add too much. We don't want to add the entire line in dark. We draw interrupted lines instead and go between the grooves and the convex parts and we add stains of it. And that will be just enough to get the right amount of darkness necessary without overwhelming the image and taking away from how delicate it looks. So take your time to observe your model, look at your image so far. Pause your video at any point in time and pull your head back and look at how you've applied your marker marks. Do it carefully, do it intentionally. Look at where the shadows are, the darker parts are. Notice that when we apply our marker, it dries just a little bit lighter than the application, because when we apply it, it's very dark. And then it comes down just a little shade lighter. That's enough for now. Now we're going to use our 0.5 black fine liner and create mid tones next to the dark lines. Follow my lead. Again. If you need to practice this on a different sheet of paper, go ahead and do that. But notice the difference in the thickness of the line. Follow my lead. Apply your lines as I'm doing right now. This should be a mid tone between darkness and light parts. It's like a mediator between where the highlights are and where the darkest parts are. And we use this tonality to smooth this translation between our darkest and our lightest parts. Some parts, if they need to be completely white, you leave them. You don't touch these parts because the highlights are just as powerful as the outlines and the dark parts we've created to increase contrast and bring a higher depth of perception to our image. Now, as you can see so far, we've created the addition of this dark marker very, very quickly. So achieving this kind of speed and comfort only comes by practicing. The more you practice, the more comfortable and confident you get with the medium, and the more freely your application will become. So it'll be more visible in your drawing that you are more relaxed, you're more confident, and it achieves you a better sense of what your style is. Because when we're speeding up or when we're being careful with applying the shadow. It reveals more about how you would do it. So if we darken this part a lot here, e.g. we can create mid tones around in order to fade the black color. We can use appropriate mid tones or great tonalities in order not to Bolden the dark parts too much. So we should not concentrate on one part and make it very dark. And a quick sketch, we should see the darkness. Take a look at it in general, and note the specific parts and add it there. We should create harmony with the lines and the hatcheries and our whole sketch. Don't be afraid of adding lines and hatches. Just enjoy you're sketching, play around, play around with the medium. That's one of the most important things when working with a medium that you like and you want to get better at, is to just play with a medium, use your pens, manipulate them, see what they can give you, what kind of lines can they achieve you? That way? You create accidents and mistakes and you create more practice. And with these accidents, some of them, they will become happy accidents because you've realized, I can create this very beautiful line that works very well with my technique. And you discover more about yourself. I'm continuing to work on the leaves here and the tree and adding those details in between in order to really tone and show the beauty of the dark parts of added with my marker. We're going to shade and add hatches. Under these trees and branches. Are shades, straight lines. They're clearly in the background because they are our mid tone. I'm adding lines at the top of my door here with a wooden texture. I also have some contrast here in the reflection of the tree on the window or the glass part. You want to keep looking at your model. And also take a moment to look at your own drawing. Pull your head back. Look at what you've created so far. Make a note of maybe what needs to be a little bit darker, a little bit more contrast. Just to highlight maybe a light part, even more. Liquids your head truss, is there harmony between everything? Take your time. Be patient. I know that I'm working a bit faster here, but you can take your time as well. And the more you practice, the quicker you'll get. Now for the final level is we should be very careful while adding shades and darkness. We should look at our sketch in general in order to create harmony in our sketch. We want that translation between the different parts to look like a nice reflection of each other. Nothing is standing out as too dark or maybe a mark that's standing out from the rest of the image. You want to be patient. We want to enjoy adding these hatches and these lines. Remember, feel free to send me your questions, or even your drawings, your final drawings or midway drawings. And I'm more than happy to share with you some feedback, maybe some pointers, and maybe address any concerns or questions you might have around this tutorial or the medium in general. The lines on this part here, as we're working on this drawing, they are mixed together. So we draw more intentional and clear lines in order to divide the column from the window. This part on the right, I want to make that differentiation. So I'm creating my line by shading it downwards. And I want to add the sense of perspective because this column here is in front of that door and it's also accentuating this corner. We should edit this part just a little bit because the two lines of the corner collided, making this part bolder and their eyes focus more on this part. We should edit this part because these two lines collided. And it caused a little bit more focus. We're going to emphasize on this part here a little bit more. I mean, just focus on it just to alleviate that focus. And we try to edit it. This is, this is where, this is where we're learning how to harmonize with the rest of the image. We're working on this part now. Just in order to extend it a little bit. Adding a little bit more details that match the rest of our image. Adding more darkness here. Trying to make a decision and very precisely where to put my dark parts just to take away the attention from that column on the right. So it needs to be so sensitive to find and understand these parts. This is what I mean by pulling your head back and looking at your image, what you've created, is there a part that's standing out? E.g. these three parts are almost equally white, so we're going to make one of them gray. We change the direction of the line in order to avoid this repetition because we don't want to make our image look a little bit flat. We want it to stand out. We want that point of attention to still look very good. It takes time to start noticing what is not harm harmonious and our images. It's a practice of looking really. Don't be pressured by that. It'll come with practice. The more you create drawings, the more you'll notice it. We should be sensitive and pay attention to details like this. It is like this. In reality, as an artist, we must intervene into the artwork because we are the ones who created it, right? So we look at our model and we reassess, okay, Maybe I've added too much shadow here. This is too focused. Because as much as we are referencing our image from the model, we still need to look at our drawing. That's the artwork that we created and how can we work on that? Make it better. But don't be very obsessive. It's okay. It's okay for certain perspectives or mistakes and proportions to happen that's completely normal. It's not something to be discouraged buy or not to expect. Now we're going to use a gray tonality in this space in order to avoid a sudden interruption in our work. We want to build the psych, building bridges between different parts of our drawing. The bottom windows, e.g. look a little blacker than the, than the top ones than the black marks on the tree here. But we want them to be the same. We want that harmony. So we go in and we add the detail there. We shouldn't leave this part. Otherwise, we will have a sudden interruption and the hatches are different. So we need a mid tone that we created on the leaves on the top part of our drawing and add them at the bottom here. There's a space between hackers and it shows that it is separating from the dark part. The hatchery is also lightened, these dark shadows. So we go over them using the different Hatteras techniques that we created and we've been practicing. I apply the line downwards with more distance. There's a lot of leaves in this part. We should create leaves with some spots in this part as well. Here at the bottom. We want to add a few leaves just to bring our image closer to completion. We add some spots and this part to form and have a good combination of leaves. And to continue that harmony in the image, as well as the reflection of them in the windows, e.g. just makes our work look more professional and more even across. We want to add all these details. You want to have them reflect off of each other across the whole drawing. Look at your image. Try to notice these details because they are the ones that will make the work more beautiful. Increase the depth of perception of our drawing. And it'll help us practice more. We need to practice looking at the work. Practice are hatcheries, our lines, the pressure, the different pens we can use. All these techniques combined together and making decisions and looking at our model. All of this will start coming more easily every time you practice. Practice will bring confidence. I'm just adding more details here as I see them. I'm keeping my pressure a very light. We finished the work with few of these really good simple gestures. As we know, we leave the corner of our sketch and composition empty, but it doesn't mean that we forget to work on it. We have special attention to all parts on our work. Even one lines that can have good, very good visual impact or imply the ground with a simple one horizontal line on our work. So we should look carefully and choose our lines in order to have a good final result. We don't want to obsess over finishing the image. It's always different from one artist to the next. Finishing an image, because sometimes we can spend a lot of time adding more details, more highlights, more shading, just like I'm doing here to add a bit of a wall perspective around. But it's because I think it's necessary and it brings a larger sense of harmony to my image. So don't, don't forget to enjoy drawing and adding these details, but don't let them stress you out. You want to enjoy drawing. Take your time to add those details. I'm focusing on where some lines might be missing or hiding in the background a little bit. So maybe they need to be more accentuated. But in general, it's a practice of looking, looking at our drawing, looking at our model, and adding those lines in different directions. Some lines are more regular, which are more on the architectural part, which is the door and the glass and the arch. But some are irregular because they're implying a different gesture here. They're on the side. They can be sporadic and random. Finally, we're going to add our signature. We didn't add a signature in the previous works or in the previous tutorials. But we're gonna do it now. As I'm looking at my drawing, I feel like this top part is very crowded here. And that maybe the signature looks better at the bottom left. You're free to make that decision yourself. It's completely up to you to maybe leave more distance, but I'm going to make my signature here. Our sketches complete. See you again next time. 11. Fast Landscape Sketching with Unorganised Lines: Hello everybody. Welcome back to another tutorial. I hope you're all well. The last sketch we created had regular lines, but today we're going to sketch with various lines and do it quickly and with a fine liner. This sketch depends on our own style. So if you're at a stage where you have practiced a lot and you have kind of tapped into your own style, then this is a good test to do it in a quick timeline. But if you're also somewhere midway or even at the beginning of using this medium, this technique of doing sketching in a quicker manner, might reveal to you your own style. So either way, be relaxed, enjoy the process, and start your sketch. As you can see, we're going over very quickly. Do not overthink your lines, trust your perception and your view of your model. We're creating lines as we see them. Within a few seconds, we created the curved lines of the dome. Moving on to the part where the shadows on the left of the bottom layer. Remember that we're not creating a bottom sketch with our pen here. We are going, we are creating our drawing. This is our drawing. So as, as we see the details, the outlines, the shadows where the highlights are, where we need to leave them. We are applying everything as we're going along with the drawing. This doesn't mean that you can't add details later on, of course you can, but this is a challenge of speed. Comfort with your, with your application, comfort with your medium. And it's also to help us relax around using pens and not worry too much how many lines that I create next to each other. So I'm creating the gestures to show the columns, e.g. here. But I'm creating very quick hatches on top, not worry too much. I see that there's a shadow there. So I add, I added, as I see fit. We are keeping with our speed or creating our sketch quickly. Or adding darkness in these parts to it very simply as primary as it comes to you. Just a touch of your pen to the paper. Moving along with the details. Don't let the idea that it might not look perfect or great in the end stop you or discourage you in any way. This technique is a way for you to discover how, how, how easily or how freely you're drawing can look. And again, as mentioned earlier, doing a drawing or sketch at this speed might reveal to you more about your own style. It also builds your confidence with this medium. We shouldn't be too concerned about, Oh, is this line exactly where it needs to be? There's gonna be some mistakes here and there, but they're not technically mistakes. They're just a little bit different than our model, but we're simply trying to create our image. Plays are lines as we see them. So it's a practice of perception. Technique. Speed. The more you practice, the better you'll get. Because this style has its own charm. It's light, it's quick. It has gestural gesture lines around our main, our main image, which makes it look delicate, lighter. It's already looking a couple of shades lighter than our last tutorial. The other image that we created with our regular lines where we took our time. Going over the details here on the right. It's better to work from the top to the bottom of the image. So your wrist, if you're working from the bottom to the top, your wrist would be sitting onto your image moving upwards. So in this, in this quick sketch, just not to risk any damage to your drawing in case the ink is just about drawing, but you end up picking it up with your palm or the side of your hand or your wrist and maybe ruining other parts. So it's better to start from the top to the bottom. These are windows here. And the outer lines of the dome. You're making quick decisions, quick gestures. Some lines are not related to our sketch, but they are essential and added in order to make our sketch look better. Be small lines where you are, you're seeing some shadow, but maybe you don't want it to be too dark. But we're looking at the entire image as a whole. As we're working. I find this quick sketching technique very fun. It allows me to be free and more confident and to have fun with my image and not worry about what the final result is. Once it's done and you decide to do it again, practice again, then you feel a bit more challenge to see a wonder what it will be like in the end. The final result in comparison to the last practice. Or creating this rock simply by free lines here. Giving them some direction, some bending. But I'm doing it quickly. I created the outline gesture. Now I'm creating the direction of the rock. Look how simple these lines are there indicating direction, a bit of length. I'm adding my hashes where I need them. I'm going across my image just to add more details. Because we are against the clock. Keep going. We have another five-minutes only to finish it. This is the body of the horse. We can use a pencil for the proportions of its head. If you're feeling a bit hesitant and you don't want to go in very quickly with your pen. You will go, you can go in with your pencil, but still do it very quickly. It just gives a bit more comfort because it's in benzo and you can erase it here. I mean, because the proportions of the phases of animals, and also we have a figure sitting on top of the top of the horse here. There are more difficult or more difficult than buildings. Generally speaking. I went over the head of the horse very lightly. And also to achieve some proportion. Over here, be it of human figures or animals. More you practice, the better you'll get at it, the more confident you'll get. Remember, feel free to share with me your drawings and ask me any questions. I'm more than happy to give you feedback, maybe give you some guiding pointers. You can send me images of different practices that you've done. Maybe make use of your downloadable resources that will have all the information necessary for your tutorials and any information you need in order to practice on your own. Because that's the best way to practice to do these tutorials together and to continue looking at our images. The more we look at what we've created, the more we understand how we can, how we can apply our technique better. I'm just trying to add details that are necessary to accentuate the horse here. The figure sitting on the horse looks okay. I don't need to just add the shadows here. I think are sculpture has good dimension. We continue building up our illustration here is by adding the lines that had teachers. Everywhere. We need to add them. Look at any missing details. You have a couple of more minutes. Because this sketching technique, the quick sketching technique, is, is testing our speed and our style and our own technique. It's merely enough to show the gestures of the things in the image. The more we do it, the more we'll get better and better at simply making less lines to create our picture. They might not be less like in terms of number of lines but less intentional. They are quick. Now that we have all the dimensions that we need, we're working on the contrast of our work. We have another minute. We're just observing our model, looking at where the details are in terms of, in terms of outlines or darkness or shadows. So as you can see, looking at our image here, this sense of this order or this delicate lines everywhere. It's not messy. It's actually quite beautiful. In this. You can see the speed in the image. You can see how quickly it's been created. I hope you've enjoyed today's tutorial. Please do continue practicing and see you again next time. Thank you. 12. Landscape Sketching with Organised Lines: Hello everybody. Welcome back. Hope you're all well. Today we're going to draw a space of a city and an animal sculpture. We're going to start off using a mechanical pencil to sketch the details of our drawing. Make sure to use your downloadable resources. They will have all the information necessary for this tutorial. It will give you a chance to practice the sketch on the side before starting the tutorial together. Take your time to observe your model image. What we're creating right now is simply a very light sketch. With pencil. This base image will be our guideline as to where we're gonna be applying our pen work. If an image is more detailed, you can primarily make use of your downloadable resources which have the outline of your image and the grids with which you can use to practice your sketch. The more you practice, the quicker you'll be sketching your images. But as we are sketching our current image, if you feel like there are a lot of details you'd like to go over. I would spend more time now adding those details in a very light pressure and adding them to my sketch so that when we go in and begin our pen work, there are no details that will be missed. So do take your time. If you need to pause the video and complete your sketch and then play again for us to start with our pen work. Go ahead and do it. I'm observing my image and just making sure that I haven't missed any details here. Now we're going to start with our pen work. We've created our general sketch. I'm using a pigment fine liner 0.3. We're going to start with what is called a simple sketch. We're beginning here with the animal sculpture. This is a horse. Horse and this image is in a very charming stance, very powerful stance as well. So we're just trying to get the gesture correct. As we've learned in our past tutorials, not all the lines where you're going to be creating for our images are regular. By regular meaning that they are straight or hashed. They can be curved and according to the image that we are sketching from. Take your time to observe your model. Look at the details. We're not applying a lot of pressure on our pen. Make sure that your model is placed in a comfortable place for you to see very easily. And look up towards, and then look back at your image. We have a horse here that is in a jumping stance and a figure sitting on top of the horse. Remember that if you want to create a higher gray scale and a detail, you're creating lines closer to each other. You do want to still leave some spacing between your lines no matter how close. Just because it gives you leeway later on in the drawing to add more detail. As we are using pen. That's why we want to be patient. We want to take our time, observe our model, and apply our lines in the right space. You also want to pay attention to the thickness of your lines. That can be controlled by pressure. And also creating more distances between your lines. We're keeping our hand light, our wrist relaxed, and we continue observing our image as we continue adding more details to our drawing. The lines as you see them. If it's a curved line, then it's a curved line. If you need straight lines and hashing, then you go ahead and do that. Although right now we are putting down the base sketch with our pen. Later on we're going to be adding more details. But I always say that everybody works differently if you prefer to add more details now, just make sure you're doing it lightly. I'm leaving room for later for more final details to go in. The most important part is to pay attention to the highlights. The parts which are the white of the page, which are where the light is hitting the different, the different elements of our image. Just like the belly of the horse here has some white area. I need to make sure I don't touch that part. The head of the horse should be a little bit smaller. If you're in doubt, you can use the pen or pencil measurement where you look at your model, you point your pen in your pencil sideways and you move your thumb back-and-forth to make the distance. Now, to add more shadows on my horse, I want to add more hashes, which is more lines that are hashed into each other. I'm using a 0.5 pen liner and I'm going into the shadows. So make sure you're observing where the shadows are exactly. The more accurate we are, the more realistic our image is. We're working on darkening this part. But you don't want to apply a lot of pressure. It's always better to work lighter and slowly build up your your layers. There's also a shadow underneath here. Underneath the head of the horse, the ears. Because the tip of these pens are quite precise, you can achieve so much detail with it. Although we think that the thicknesses from 0.3 to 0.5 might not be as visible, but they really are. Your 0.3 appears as a gray in comparison to the 0.5, which is, which appears as a darker gray or even a block if we apply more pressure. But it's very evident that the lines are very different for each pen. Always take a moment to pull your head back, look at your image. Look at what you've created so far, just to make sure that you're not missing any shadows and the darker parts, but also not interfering with where the highlights are. We want to keep those two in mind all the time. The shadows and the outlines. But also the highlights there both equivalent in power. And bringing a lot of depth of perception to our image. The shaded parts should not be stains. It should be hashes like hatched lines that can be cross hashed. Or they can be lines that sit right next to each other. At this point of the course, although that we have practice, these techniques and other tutorials, practice is always a good idea to go back and do the basics. Now I'm hashing the stone over here. The lines are drawn very carefully and equally. Although every drawer is very different in terms of how to create these lines, but I'm going for straight lines and I'm pointing them in the direction that they need to be to indicate the curvatures of the stone. Don't hesitate to create small lines. And if you have a longer line like this, to create it in different parts and not in one long stroke. But I go into create my shadings which are really light. And these hashes, I change the direction, I curve the direction in the direction that I need. As I build the details. Now, use a thicker pen. We're using a 0.3 to create the, the general presence of the stone, the direction in which it's shadows are going. And then I'm going in here with a thicker pen, the 0.5 to create more lines that connect with the short lines I've created. Emphasize the shape of the stone. Add the shadows down here. The hash or the lines created in this part of the drawing are thin. They are in multitude. There are a lot. Notice how I changed the direction I'm I continue to create the lines and short, short distances, but it changed direction. I leave out the whitespaces and I go around them. Follow my lead. As we create drawings. We need to continuously look at our model back-and-forth. Back-and-forth. We look at our model, we apply our lines, we look at our model. We apply more lines to our drawing. Because it's very easy to get taken with the medium because it can be meditative, it can be fun, exciting. But don't let it make you anxious, be confident, just apply your lines, go in there. They're dashed lines here that are horizontal, but look at the dashes, how they are irregular, they're not equal to each other. I'm starting to work on the building in the background here. We want to add our details carefully. We continue to observe our model continuously and apply our lines exactly where they need to be. We're drawing these regular lines here. Try to create these lines one at a time. And the stroke and the length necessary. Notice how the lines are not too close to each other. My advice here is to apply the lines and the direction that they need to be. So the building is vertically upwards. I'm choosing to create my lines, my primary lines as vertical, which will show this movement, the sense of perspective upwards in our drawing. Of course, we can make some lines across which are horizontal, but they're shorter and they are to emphasize or show a shadow. But also the curvature at the bottom of the dome. That's definitely horizontal, but it's a little bit curved. But we want to go in and add our details according to the nature of what it is that we're drawing. Following the direction with which they are. Showing us their presence will add a lot more depth of perception to our drawing. That means it'll look more natural, more realistic. We have to take our time. We must apply our lines in the right places. And we need to keep practicing. The lines or the hatcheries at the edge of the curve are closer together and in the middle there more far apart. This is to maintain the dimension of the different elements in our drawing. To give it that sense of curvature, the right amount of shadow underneath certain, certain details. We're applying our lines on the top of the building here carefully. Again, you're not creating one straight line, it's a dashed line. And the dashes or irregular, some are longer, some are shorter. The point is to be as true to our model as possible. And to be precise with our lines. To be intentional. That's what I mean, intentional that you intend to put this line and this length with a little pressure. Don't part is light. But we continue to go in and add wherever we see there are shadows and hatches that are across which are horizontal. This line here is a bit darker, so I'm darkening it. I'm creating these dashed lines on this horizontal curvature here. We're not using regular lines for this part. We call these separated Hatteras disjointed hatcheries. We need to create some darkness between the columns here. Remember, the more you practice, not only will you be able to achieve a certain drawing, better and better because you've repeated it several times. But your own confidence increases, your own approach with this medium, becomes more flexible, more free. You're less worried. This is a quick sketch here, so we shouldn't be so sensitive about the number of columns or the measurement between them. We could control that perception of the columns by adding shadows. The dark columns in-between our columns. Adding these shadowed parts helps us accentuate where the columns are or the way they look. Adding these shadows will bring forward the highlights. And in result, we get a richer image. We're using the thick roller ball pen in order to create these darker lines, these darker marks. We're switching between hatcheries, dashed lines. Because our building is in those gestures. Little bit different from our animal sculpture and the stone which has more curvatures and our lines are more curved. We do have irregular lines here as we're drawing our building. But they are more to show the shadows and to imply the very slight curvature and the top of the building, the dome part here. We shade these parts carefully. The left side of our dome has shadows on it. Then on the right side, we want to be more specific as this side is lighter. Using these very small dashes, very small lines. Even if it gets to the point where it's almost dots, this variety of lines in order to achieve the final image, they must remain consistent in terms of style. Because the more you practice, the more you're developing your comfort with this medium, and the more your style will be adjusted. Here, even though we're applying hash yours horizontally, vertically, or diagonally curved as well, some parts are darker or hashing the lines much closer. Some hashes are vertical and diagonal and not always exactly perpendicular, but all of these varieties are coming together in a consistent way. That's the goal. These techniques, they add so much dimension to our work. Don't worry too much about that lines. In certain parts. If you're hesitant, slowly, this hesitation will go away. Don't worry too much. As long as you're working a little bit lightly. We will have some leeway to make changes, to add more lines, to add dimension with very simple, simple gestures with your pen. Here we're drawing these lines delicately and carefully. We're continuously looking at our model back and forth. We're doing this exercise. Often. It's great, great practice to be able to look at your model, study it even before you start your drawing. Look at it in great detail. Look at where the highlights are located, where the dark parts are. Practice your sketch. And then as you're creating your drawing, every time you're looking up at your model very often because sometimes we can imagine and our minds, Oh, okay. The dome is this way and we continue drawing without looking at our model. So it's very good practice to get an even more beautiful results. More accurate. The lines are more exact, more intentional. With better observation of our model. Again, the more we practice on different images, different models, the more lines, the more variety of lines we're gonna be using, the more we get to understand how to use our pens, how to manipulate them. Are we using the tip of our pen? Or maybe like bending it just a little bit sideways. To achieve the marks that we want. All of these techniques, I encourage you to play with the medium, create different drawings of any model in front of you. The more we play with our medium, the more we discover about our own style, our own technique. The medium itself depends how to manipulate them, how to use them, how to get the best lines and gestures out of the pens we're using. And the more likely we will have happy accidents. So you might create lines in a certain way that it's unexpected or you didn't anticipate to create it in that way. So it's a happy accident. But also remember that if you consciously copy different styles. So you have a model of a drawing, you want to create that same drawing. Again. We can only gain knowledge. By doing that. You get to add to your skill set. And it will influence your own style just a little bit. Now as we're adding details on the right and the left of our building here. We're adding more depth of perception by creating simple, simple lines. Very simple. It's as if they're there to show us the main outline of these elements of these different structures around the building. But without too much detail. It's not like the dome or the columns or the part in the middle underneath the dome, or the horse or the stone. They are much simpler. This doesn't mean that they're easier. If anything, they need more focus. Your risk needs to be more steady. Your lines are more steady because they're very simple, clean lines. I would say it's a little bit more difficult. And don't be stressed by creating 11 big line across. You can do it in a dashed motion and then connect your lines. Do not draw a line, a uniform line from the beginning to the end. You want, you want a dashed line. It will sit more consistently with the rest of the style of the drawing. We want to take a moment to pull your, pull your head back. Look at, look at what you've created so far. Look at the lines and observe what's missing, what can be added? Where are the details that we can add? Because once we've put our basic, our basic outline or drawing or sketch with our pen. We go in and we add details just like we did with the horse and the stone. And then we did our building in the background. We added more details there. Now here the lines become more slanted. But as we create our general sketch with the pen, the primary sketch we go in and we add lines and high chairs. And some lines are more wavy or simply irregular. They're completely curved or bending in ways that are according to what it is that we're drawing is at the knee of the horse. Is the eyes, is it the ears? They're not simple hatcheries. Their specific to what it is that we're drawing. We are completing more and more details. Just observing our image. We have we missed any details, any highlights here? Anything between the lines? We add more hatches. At this stage of our drawing, we are completing our drawing. We want to finish it so we want to add all the details I might be missing. I always find that completing a drawing takes very different timeline for each person, for each artist. Because it depends on how much you want to add or how much, how much more details you want to, you want to put on. How much more you see. Some of us see more of the highlights, more of the, more of the shadows. And we go in and we continue adding more hatches, more lines. And it becomes almost difficult to stop, right? But do observe your image if you have all the gestures necessary, all the details and that you've learned from it in the end, don't let the final result, if it's not up to how you imagined it to be, don't let it hold you back. The more you practice, the better it'll get. Now our drawing is completely done. We've practiced simple and regular Hatteras today and some curved lines. Thank you for joining me for this tutorial and see you again next time. 13. Urban Building landscape sketch: Hello everybody and welcome back to another sketching tutorial. Today we're gonna be using a pencil and a fine liner pen. And we want to create hatches, dots, and lines in order to complete an urban landscape. First, we sketch with simple lines. Then we're gonna go through the details and add them with our fine liner. We use mechanical pencil to draw the basic form very carefully because of the buildings and the towers. So we want a good guideline, a base guideline for us to follow. Take your time to select your paper. Have your pencil ready and your pen. And we can begin our drawing. It will cover the entire page. First, we draw the horizontal line. Now we draw a tree. We give it a general form, very, very simple. Make use of your downloadable resources which have all information on our tutorial. And make sure you have your sample or reference image comfortably in front of you. Easy to look at. Now we're creating a church with three pinnacles. That's three separate targets. We want to keep observing our model or our reference image. In order to put down the right details. If you need to make some measurements, use the pencil measurement technique. Also from your downloadable resources, you can print out the image and practice drawing either directly on top of your printout or making this sketch ahead of time on a separate paper. Some buildings which we show their perspective as well around the church. Remember, we're only drawing the basic forms here. We don't want our lines to be dark. We're using minimal pressure. Now this image is a view of St. Petersburg. I'm just making my marks very, very lightly. We simply want to create a very light base sketch to guide us as we create our drawing and build all the details with our fine liner. Observe your sketch if you're happy with it. Now we use a fine liner with a small tip that's 0.5. As we need to draw delicate lines. Remember you can message me anytime if you have any questions. I'm more than happy to share with you some pointers, some feedback. Now, let's talk about pressure. If on a scale of one to 101 being the lightest pressure and ten being the harshest pressure. Here we are using a four. I usually I usually indicate that five is like a handwriting pressure. But here I'm using a lighter pressure than handwriting. I'm creating the periphery of the hatchlings. I'm making my marks but lightly, I don't want to create any very dark spots or don't want to put too much pressure on any point. I just want to start bringing in the details that I see. We're going for the buildings here. First we draw the general form. And then we'll add more detailing like shadows and focus on the highlights later on. But for now I want to give the shape here. This is just like a dome. As we're drawing the top part of this building, we pay attention to the shade and the light. Sometimes we hatch or shade as we are drawing the outline, I'm seeing some shadows. I'm going in and adding them as long as you're doing it in a light pressure. You don't want to create a definitive very dark mark at this stage. But don't be overwhelmed by the creation of the outline of the entire building right now. Because as if you're in the beginning of your art journey with sketching, your primary base. Now, which we are doing will be simpler or even with less lines than what I'm applying. But the more you practice, the more easily it will come to you. How to hatch when when to place those lines, where to make the markings. So take your time and don't let it discourage you. The more you practice, the more comfortable and confident we get with the medium. Some parts need shading more than others, but for now, we want to create most of our drawing with simple lines. Don't forget that we're simplifying things we see and we transfer them onto our paper. So proportions are important, but the exact proportions are not what we're looking for. It's okay for your drawing to look a bit different than your model or your reference image. The hatching we want to create on the dome is like an onion. Generally speaking, it has these layers, these, these little layers, lines that are next to each other. Take your time to observe your model and make note of what's the darkest part, What's the lightest part? And the point is that with the lightest part, sometimes we can forget that that's where the highlight is. We can go over it with a pen and not able to remove our pen marketing. That's why we're using low pressure that way, even if we do make a mark that it's very light. Now the main dome here that is bigger, it has some diagonal lines on it and more curvature. There's no problem. If we make a mistake and drawing, we draw more finer lines around it to edit. Because the idea of drawing a light lines is that later on, out of all these light lines, you pick the ones you want and you make them darker. Keep your wrist light. If your wrist or your hand is getting a little bit sweaty, place a piece of paper underneath it just to prevent you from maybe damaging the paper if any sweat gets onto it. Otherwise, don't hesitate, just go at your drawing, make the marks that you want to make. We shouldn't be afraid. We should simply be Observant, Observant of our model. And we go in and make our marks as we see them. We want to use our vertical and horizontal lines to show the symmetry. We want balance, so the dome looking at it straight ahead. You want the curved line on the left to be symmetrical to the curved line on the right. As I'm pointing here towards what I'm drawing, it's simply to ease, ease my perception of my page. So as I look away and look at my model, then look back, I come back to the detail on which I'm working on. Without feeling like I have to look everywhere. It just directs my attention and my focus on my drawing. We check the basis of the dome on this pinnacle with the other one. Just to show the perspective and to compare them with each other. I find it very meditative to go over those details. And we almost never create one sharp straight line. We always created in this dashed motion. Just to build any shape that we need bead, curved or a rectangular. Especially if it's a long mark where you're like this. I'm creating different little lines to create a long shape. Usually when we want to draw a horizontal line here, we draw it irregularly or disconnected lines. And it's not a constant or a connected line. It just gives you better control over your drawing and better precision. There's no need to create one straight dashed line if it contradicts the actual style of sketching altogether. With sketching, you want that little bit of light fluttering technique and style. As I'm creating the outline for the buildings, I also, once I have put down some marks for the details, I just add them right then and there. But if you're more comfortable to do this later, then do it later and only create the outline. Now, again, you being comfortable is the main idea here. Being comfortable and confident to just go at your drawing, put your pen on it and create the lines you want to create. Because the more freely you draw, the better the result is. That free hand motion will come across in the end. Drawing construction might be irritating as it's a little bit complicated and contains a lot of lines and details. So we need to see them in this simpler way than what we see in front of us in our model image. But I actually find it quite beautiful and quite enjoyable to add all these details. But in general, with sketching and using our pens, the simpler the better. That's the rule of the simpler the better. E.g. here in the background we show the details simply like this. And we quickly shade and hatch or use other forms of lines to fill this part. We spend most of their, most of our time just observing our model and putting down the details in the right place. We select our lines. Are we applying our shading horizontally? Vertically? What's the perspective here? No problem if we work on other parts and then again come back and add more to some parts because we want to keep the balance here and the harmony. See how simply with lines we can create space in illustration like a depth of space with irregular lines. Irregular lines meaning that they are more free hand and they can be a little bit messy while the regular lines are more intentional, more defined. But the slope of that roof over here, it has some irregular curvature lines and it's still just as beautiful. Pull your head back, look at your image. Don't let the irregularity of some lines overwhelm you. They do look beautiful. So again, here we freely use different forms of simple lines. In order to create our image. We can use varied lines to show different parts. We add and give our drawing so much more richness when we apply these different techniques, line techniques. Of course, variations in line doesn't mean that we want to have a, a scattered looking work. But if the building requires vertical lines, then you should go ahead and use the vertical lines because they imply perspective. They will make the building look like it's high or rising. We want to show harmony in our image in the end. So you're applying your lines according to each, each thing that you are drawing. If it needs a curvature on the dome, then you put curved line. If it needs vertical lines on the wall, then you put a vertical line. If it's horizontal because it's on ground, then it's horizontal. So again, observe your image and draw it as you see it. But just keep in mind, we're not meant to be scared of the technique of drawing anything. We simplify it and draw its basic form. Before we go in and maybe add some more details and maybe not. If we worry too much about the proportions and sizes and making mistakes, It prevents us from drawing freely. Sketching is as simple, as fast as this. We shouldn't be too stuck in one part. We just keep moving forward. If there's a part that you're uncertain of, leave and go to the next part. You'll come back to it later. We add the details very fast and we see that it's showing in its form. And we need a lot of practice. So keep practicing. Practicing. We'll make all these decisions come instinctually to you. To get the mastery, we need to practice one object several times or one image several times. Make it a habit to pull your head back and look at your image, occur what you've created so far. And make either mental notes or notes on a piece of paper next to you as to which parts you want to work on more, where you need more shadows, where the highlights are. Just because as mentioned earlier, we are creating the outline of our, of our image. And as I'm going, I'm adding some details, some shadow details. I also like to take a picture of my drawing at different stages in the end look at the progression. So that's also a helpful tip where sometimes viewing how we have built up a certain image will inform how we can improve and what we could have gone over before other aspects in our drawing. Now, as you can see, we can cut lines and by cutting lines, it means crossing, crossing them with each other or hatching on top of each other just slightly. And that's not an issue that's just bringing so much richness to our page and to our drawing. And because there are so many details in this image, I add what I see as I'm working on it because I have I have a little bit of fear or maybe I'll miss this detail later on. But everybody works very differently. I've added some more hatchlings on the chimney. Now I'm adding some simple lines like this. And here we need to edit this arch that we're coming on to just a little bit. By editing it is that the curve that I have created initially was not perfect or not perfect according to what I see. Now I realize it has to be a little bit to the right. So look at how it's not a problem at all. I simply redrew my line more definitively in the right spot that I needed. And I continued. And it's still showing me the arch. It has not taken away from the beauty of the work. If anything, the primary gestures of the arch look like an extension of the one that I just did right now. Now we work on the tree even more easily and more freely. My wrist is a lot looser. I'm working quicker. And I'm creating the gesture necessary to show the tree and how it's looking. So stay confident in your selection of lines or hashing lines. That's completely your call. Because in any drawing, yes, we practice and we do it several times and that's really great. But in the end, there's you in this, there's you are the artist and your style and your approach has great value. We continue observing our model. We continue adding details with low pressure. That's a three or a four. That's less than a handwriting pressure. Take your time. Again. Pull your head back, look at what you've created so far. Now I'm going to work on the dome on this corner on the left. I got taken with adding the details on all the rest of the domes and the other buildings and the trees. As mentioned earlier, you can go back to any, any part of your drawing. It doesn't have to be completely finished as you're working on it. Naturally, we could easily forget or get taken by other parts. So it's normal. Don't be overwhelmed by the different lines you have to create when drawing buildings. Because buildings, like I said, you see how all the vertical lines imply that the building is rising, it's upwards against gravity. And the domes have curved lines and then there are shadows underneath The Onion looking top of the domes. And you have windows that have more details. So all of these hashing, the tree is very different as well. But our approach, we just want to look at our image and think about, does it look harmonious? Now we're adding some figures down here. I'm applying more pressure or giving some darkness to the shoulders, the head just to give a form to the body. Giving them some shadows on the ground. You want to be careful about figural proportions. I mean, if you want you can, you should practice them on the side separately, just figures. Just to get more comfortable doing them. They do need some practice just to make it easier to actually show the leg and maybe a person is looking the other way or that way. So it does need practice for sure. I'm noticing some more horizontal lines here so the lines are closer to the horizon like to the foreground of our page. The lines or they have more distance as we come into the foreground. When as we get closer to the building, my lines are drawn closer to each other to indicate shadows near the building. Okay, so now that we've sketched the church, we want to add more details to it and work more. We want to add more harmony to the work. We need to observe our image really well. This is beautiful on its own and as is, but we do want to go in and add more details. And we're checking the balance of everything, the asymmetric reality of all the aspects, the details in the windows, the perspective. I'm just making sure that my horizontal lines are nice and balanced. My vertical lines are as logical and visually harmonious as possible. The curves on the roofs are the domes. All these details just spend some time looking at them, visualizing the harmony and the balance in your image and whether it's sitting in a logical way visually that you're looking into your image and that you're able to enter the image and enjoy the details. Notice how the farther the lines are here, the denser they are. And this way we can show a depth to our image as are closer to the church. And I think I mentioned this earlier, our horizontal lines on the ground, they are closer to each other. And as you come closer to the foreground, they are distanced. Therefore, we give dimension to our picture as a whole, me as a viewer, I'm looking at it and I'm able to enter the image and then start looking at the details. Now we work on the trees here by giving them different tonalities, which creates light and shade. We pay attention to the parts which must be darker and make a good contrast. You want to hatch the tree in different directions because trees have motion within them. They have a shape, they have this volume. We want to imply that the form of lines that we use, the direction with which we apply our lines matter. It will give that sense of movement with the wind. I really want that perspective to come through the movement of the wind. By giving these details, we make our work not just more delicate, but more rich, more visually enjoyable. Because I'm able to look everywhere and, and get the whole perspective on this work. We want to hatch the tree in different directions. We don't want to draw the branches in one direction as it makes our work look just regular. Like I'm observing the trees in my model and I'm simply going over the hatching lines. I'm making sure that I'm not adding too much darkness and parts that have light. Now we add more shading to the pinnacle and its dome here. We want to observe our model and observed specifically the shadows, the dark parts. Because here, because our work has become the detailed and we have put the primary sketch, we want to apply our dark marks in the right places, especially when it's directly around a highlight or a white part, that's the white of the page, right? The style of sketching with these black pens is the white of the page is showing through and it's absolutely essential that it's showing through the right parts that I have shaded correctly and I have placed the dark marks in the right places. So even if you look at the dome, we just worked on the dark shadows around the windows here. The dots, the lines. There's a direct white line around it, white space. So I want to make sure that I'm not touching that part. In this way, we continue adding more details and shade and contrast. And the contrasting element is what brings our image to life. It really does. It gives it that dimensionality. And it gives it those details that are really enjoyable, going from dark to really lie to the shading. And noticing some lines are literally going across each other, be it vertically or horizontally. But the point is to observe our image and darken. Place the dark parts exactly where we intend them to be. Because we don't want to have a monotonous tonality. So we use gray tonality in the middle, between the darks and the lights. And make sure that we've shaded in the areas that need shading. And we check on how we've shaded as well. Which direction, which, which gesture that we choose. And we go over it. Now we're going to hatch this other tree here using lines like this freely just to show its form. We can mimic the first tree that we've created, but we want to, we want to make sure that we're applying our lines in the right direction. I'm just moving my wrist so I'm more comfortable to apply my lines in a freestyle manner. I'm simply keeping an eye out on my model, on my reference image. Going over the trees accordingly. And notice how where the trees are meeting, like where we have one, the third tree, behind the second tree in the middle where they're meeting is a bit darker. Now we draw our lines with gaps between them and we compare. We see if we need more, more lines in a certain place, be the arch or the walls. We continue to add more details and the process of adding details. Sometimes I feel that it's a personal preference. You might look at your image right now and feel, yes, It's beautiful, it's finished, and that's completely valid, that's all good. But here on this tutorial, we're going on to add more details were heightening the contrast just a little bit from the lightest to the darkest parts. Just so in case you do want to go that far, then we've taken you through it. Because they're equally beautiful. It's good techniques to practice. Now in this part here the biggest dome is in the background, so it's a dark gray. So we start with the detail. And with a little pressure on the, on the paper. We draw some light lines. You see by giving a gray tonality, it automatically looks in the background. So the two parts in the front look more forward than the middle dome, which is in the back, because we've given it this gray tonality. And the two parts in the front, they have more light. We have more white of the page showing through. I'm just adding the windows and some more details here. We want to accentuate these two that are, that are in the front of the back dome. Here I can see some lines in the dome in the bag that are darker. So I'm adding them. If you feel a certain detail needs to be added, but in dots maybe. That's also important because dots is a different texture. It can achieve you a certain detail that is a little bit different, but without being an harmonious to your image. And it's no problem if you draw lines that cross outlines that you already have. Remember, this is the beauty of this style. This in precision, this, these lines that are forming a final line as well. Now pay attention if we use dots and one part, we need to use them in other parts because we want to create a visual harmony, a visual balance across your entire picture. As we add more details and we move forward, we make more contrast, which makes our final drawing look more complete. That's why we say take your time to observe your image. Give it all the details it needs or deserves. Just to make it stand out. Because with buildings generally, yes, you have your general form. You have your highlights, you have your gray parts, and then come in the darkest parts, which is the color of our pen like the darkest. And we add those details, the windows and the top of the building and the lines that go across and the shadows, they just bring life to the work. And the closer you are to adding those darkest marks, the details, the contrast, the closer you are to completing your image. Really giving it that beauty. I've worked on the right side of the drawing on the middle part, and I'm going towards the left side now. We can use simple lines and forms. Very simple lines. Just to add details that we might have missed or need to be added, especially here at the edge of our page. Just completing this roof here. There's a tree here there are some trees. I remember we need to create harmony or balance using the same darkness on either side for these trees. And in general, it builds a much better composition. I'm trying to make sure that I have the details of the building and the tree. Evidently different. I don't want the tree to cover some details that I can see in my model image. Adding some lines in the ground here. Now we need to remember that because in sketching we hatched differently for shading any spherical form, we never shade the inner surrounding. Instead we have one-third of the dome or circular shape. Then on the edges of the dome we draw less lines. As you can tell, the right of my domes here is where the light is hitting and I have very little lines are no lines. Then the left of the dome has that shadow. I'm just checking the symmetric reality here. Going over this detail. Notice how this delicate line here on the edge. This one. It makes the lines and the drawing look more delicate without being too definitive or too thick. Either. I want to be consistent as well. So I'm looking across the different buildings just making sure that we have applied the same the same approach in terms of sketching. Take a moment to pull your head back, look at your drawing, look at what you've created so far. Just take a moment also to take a break if you need it. But mainly to observe your image and continue adding the details. The way also here, the way we drew horizontal lines and the gaps between them from bottom to the horizon makes IT perspective. We can draw a similar horizon, horizontal lines in the sky, but in a reverse way to show the depth of dimension. Just like that. Very lightly. And notice how I've created these lines extremely delicately because I want them to be in the background. That's pressure one. It's very, very delicate and it's in between specific areas without going over any of the domes. I want to indicate that depth of perception into the sky in the background and give the whole image a better composition. Going over my trees. In this part, we're in the process of completing our drawings. So little details come in to accentuate the edges of roofs, the arches, the windows, the doors. We work on, the main door here. Just giving it a little bit more definition. Centrality point, it is at the center of our page. Because we darken this part, it's better to darken the other part to, to create harmony. As you see, we're only working on the surface by hatching. Because we know there are a lot of details on these buildings. We've drawn the general form and we accentuate this form by going over the details. And take it as a rule, don't fully dark and any part because it may contain a lot of detail. Like if I'm going over this circle, I wouldn't fill the entire circle with ink. I would leave some parts that are white just like you see. That's the reflection of light. And it keeps it looking closer to being realistic, more natural. We add lines and details around leaving the highlights. All right, I hope you've enjoyed creating this sketch with me today. I know it was a lot of details, but I find it very meditative and very good practice because we have applied most of the hatching lines and sketching techniques that we've been going over. So it's a good image to have used almost all of them. Do practice. And thank you so much for joining me today. And see you again next time. 14. Complete Building with Bridge Landscape: Hello everybody. Welcome back to another tutorial. Today we're going to sketch a cityscape with its buildings, trees, and small figures. First, we're going to draw a general sketch with a mechanical pencil. Make sure to make use of your downloadable resources where you have all the information necessary on our tutorial, including the sketch that we're creating and grids for it. Take your time to practice. If you need to print out the model image and sketch directly on top of it. Or maybe sketch a new sketch as you're referencing from your modal image. That's good practice. Take your time to make the sketch right now. We want to focus on the proportions, the perspective, and be able to draw it as accurately as possible. We're creating a base sketch that will be our guideline towards starting our pen line drawing. We're not adding extra detail onto our base sketch, but we are drawing the general gesture of where everything is, where the bridges, the buildings, they arches under the bridge. So take your time to create your sketch as it will be very helpful and make the process of pen line drawing a lot easier. We are using minimal pressure on our pencil. We're creating our base sketch with minimal lines. If you want to add shading just to indicate where some shadows are, you can but continue to do them in a very light, light way. We don't want the graphite sketch to overtake our pen line drawing in any way or affect the medium itself, the pens themselves as we're applying them to our page. We're specifying our buildings with these lines here. We also want to differentiate between the different towers. You can pause the video and take your time to create your sketch, or you can fast forward to 7 min when we start our pen line drawing on top of our base sketch. Okay, Now that we have our general sketch down, we're going to add lines with a fine liner. I'm using a 6.0 fine liner. I'm going over my details starting from the top here. Make sure you're using medium pressure. And even if we're adding details, we're not adding them in a very dark manner. Even if we're adding outlines or some shading that indicates shadow. We don't want to go dark at this stage. We need to complete primary, a primary pen sketch of our drawing. And along the way we can add details, of course. And in the end is when we add darker tonalities and shades and shadows. But focus on each part. Adding any details you'd like to add. While keeping our pressure light. Keep observing your model. Because we can easily be taken with adding the details onto our sketch and maybe not look at our model where we need to pay attention to some highlights which are the white of the paper. We're working from the left side of our page. Moving towards the right. Lines used on architecture or buildings are usually more standard lines, which are vertical or horizontal, or more straight lines that are shaded consecutively like this. We want to take our time observing our image and making sure that we're placing our lines in the right places. We should not be very sensitive about the division and measurements of every part exactly. Because the general form is important to us. But the specificities are something that you can adjust with darker lines later. E.g. the exact number of floors in a building is not very important, but we consider the proportions. We want to make sure that the buildings next to each other in the perspective that they need to be because we have a diagonal perspective going further in on the right of our page. It starts off closer to us and perspective on the left, going diagonally downwards on the right. As of the buildings are getting further away. I like to add details as I move along from one part to the next of my drawing. It helps me remember that there are details here and that I don't miss them out. It also keeps me away from the highlights that don't need to be added with any ink just yet. Or maybe very little ink but in the future, later on in the drawing. Remember that if you have any questions, feel free to send them to me. You can share with me your final image and I'm more than happy to share with you some feedback and some grinding pointers. Make sure that your wrist is comfortable and loose. There is a tree here. Now we're going to draw the towers. We should not start from the left side to the right side, or vice versa. We should find the connected dots are main parts at first and follow them and then complete the other parts around. This is important for considering the proportion and controlling the measurement of our drawing and accentuating the perspective of looking at our drawing across. Remember that practice does make perfect. Practice makes perfect not only because we might be repeating the same drawing again and again, but repeating the use of the medium. Drawing different models, different subjects, will increase our sense of confidence with the medium. Our comfort with drawing in this medium. And it will improve our technical skill. The speed with which we draw the pressure would that we apply all these different scales and the different lines that we can draw bit irregular lines that are more curved and bendy. The multitude of them, are they right next to each other? How to create shadow? Is it by hackers or otherwise? So all these techniques come together. The more you practice, the easier all these techniques will come to you. You won't be thinking too much. How much pressure am I applying? You'll be doing all these techniques instinctively. We're creating very light lines here, not bold ones. We continue creating these lighter, even lighter lines down here for the bridge. We want to create these light lines just to, just to show where the bridge is, to indicate the arches of it. Follow my technique of drawing these arches. It's very light lines and they are dashed lines. Drawing the inside of the bridge now, to indicate that underneath space, that part under the bridge is going to have a lot of shadow. Remember not to be too worried about the lines that you are creating. Try to enjoy sketching. Not let it get you obsessive over the lines. The point of creating a really light lines is that at some point we're going to select the best of these lines and we're going to darken it. And that's going to highlight and create the proper lines that we need. The result in the end is a very beautiful, delicate drawing. It's the kind of medium that does have its beauty in. It's a little bit of messiness. Take your time to just enjoy the hatchling and drawing lines and creating shades and lights. Don't think about it too much. Don't let it discourage you or stop you from going at the medium with all confidence, even if the end result is not as you had wished, because the reality is, the more you practice, the better you'll get at it. Now that I've done my bread, I'm going back up to add more details. We want to accentuate these details in the end, there's gonna be some highly contrasting bits which will bring forward even more the highlights. We want to bring some detail to the way that the bridge looks. I'm going over the windows here. Every artist's works very differently. Some of us focus on one area and continue working on it until it's complete and then move on to the next one. Sometimes we work on a secondary area and then we notice more things and we go back and we continue to add more details. Make it a habit to pull your head back, look at your drawing, the drawing that you've created. Of course, it's not gonna be 100% like your model drawing, but that's not something to hold you back. It's not meant to look exactly like it. The point is to be able to have a reference point and then look at your drawing and look at how to make it harmonious and how to increase all those details. Maybe when we look at this, we might say, wow, it is so complicated, we should not be afraid and just enjoy it and we can do it easily. Because copying is not the goal. The goal is to practice and slowly get better and better. I'm adding my hatching details here. If you feel like your wrist is getting sweaty or you're, the side of your hand is getting sweaty. You can place a piece of paper underneath your hand. I'm just making sure to observe my image often as I'm working on it. Looking at our model image or a physical object that is, our model, is the best practice you can do in order to notice the highlights and the shadows. And what's the darkest part of the shadows or the lightest part of the shadows. And the same thing with the highlights. Figuring out those tonalities, learning more about how to achieve them with a pen and line drawings. There are lots of windows here. I'm just trying to be able to show them. I find line drawing to be really meditative. I can very easily be taken by the process. And forget to look up at my model sometimes because we have an assumption in our mind of what something looks like, or maybe a little bit of a memory of looking at our model and we register it. But the reality is we need to look up and look at our model. Often. Let's listen to some music and continue adding our details. And I'll join you a minute, 26 as we start using our black marker. Okay, now we're gonna be using our black marker to add dark lines in order to complete this part more. You want to make sure you're adding it lightly in the direction it's meant to be added. The black marker helps us achieve darker shadows in a quicker manner, but also they need to be worked on with further hatches and lines with our pen liner. Just to start harmonizing their presence in the drawing. Take your time to observe your image and decide, be very decisive where you're applying your marker. We need to be very careful. If you need to practice on a separate sheet with the tip of the marker as well. Sometimes even though we've used the medium before, used a certain pen before, because we have been using a different pen for the last 20 min or 30 min, we need a moment to read. We practice using our marker, but we want to look at our whole image in general. Now we're adding the lines on these parts in order to create harmony. Now with the pigment fine liner, a number 0.4, I'm going over my shadows which I created with my marker. I'm adding those lines because we need to harmonize. We need them to sit very well with the rest of the image. Creating these hatcheries with a fine liner on top of a marker. Not only does it harmonize and tone down the marks we've made with a marker. But it also brings down the tone of the black, just a little shade down. These hatches are mediators between the marker and the thicker pen liner that we used earlier, the 0.6. We want to take our time. You wanna make sure you're applying your lines and the right place. I'm adding details and accentuating my drawing from the left to the right. But with this pen line or 0.4, we're essentially adding Hatteras between the darkest parts and the lightest parts. As mentioned earlier, it is a mediation process between these tonalities. Now there are some clouds in the sky, so we show them with irregular lines, just like this. Follow my hand. Make sure you're not shading through the buildings or the top of the buildings. Those irregular lines were simply in the sky. Now I'm noticing a little bit more details here, so I'm adding them before I move on. I continue to work on the windows here just a little bit to give them a bit more definition. Make it a habit to look at your work generally and see the shades and the lights. And take a moment to pull your head back, look at where maybe more shading as needed, which parts to absolutely remember not to add any color to or to have lighter or more highlighted. There's also a chance sometimes that we need to edit what we've drawn. We need to edit it in some way to divert the attention from that part to another part of our drawing by adding more lines or shade shading. We should take breaks in our work and take a look at it and look at what we're creating and come back to it. If you need a moment, just take a break, maybe have a snack, look away, and then come back with fresh eyes. The more we observe our model, the more details we can catch and see an ad. It's an enjoyable process of determining where the lines are gonna go. And if there are some difficult lines like very straight ones, not to apply them in one long stroke, but to apply them in a dashed motion across. To add the hatchery isn't the right place between the marker and the light spaces. I'm going over the middle part of my drawing now. These towers here needs to be differentiated just a little bit. They have a shadow on the left. We see lots of lines if we look at it closely, but it seems beautiful combination from a distance. All of these details come together the more we work on our drawing. Because sometimes we can be absorbed looking too closely at our drawing. And then when you step back or pull your head back and look at it and you realize, wow, that's really important. This shadow here needs to be better or this outline needs to be more. Make sure to use all of the line techniques we've practiced during this course. We've done lines that are thin and close to each other or further apart to indicate distance or less shadows. Different types of hackers. We want to always remember the direction with which we are applying our lines. Buildings use a lot more straight lines then curved and a lot of vertical lines because of them being high and adding that perspective of upward perspective that they are against gravity. As opposed to more, more models which are of nature, leaves and flowers and trees. These use very different lines, different curvatures. And using these different lines here, it means that we can sketch more than once in order to have a good illustration of a form. We've created darkness on the roofs over here because it just brings so much more definition. We want to keep looking at our image. Now with our black marker, we're going to add some shadows in here. These are called black stains were going over the roof here. And again, be very careful when you're using your black marker. You don't want to apply it somewhere where it's not supposed to be. It's impossible to change or edit. But don't worry about making mistakes. I mean, the more we practice, the better we get at it. But it's simply to look at our model and determine where it is that we're applying our darkest tones. Remember that you can take images of your drawing and different stages of completion. And just take a look at them in the end and see how what was the progression? How did you build it up? Which parts did you focus on more? It's also very interesting to see. I'm adding some darkness and shade underneath the bridge here. We add lines and Hatteras behind these dark parts in order to create harmony between them. You want everything to look like it belongs to each other in this image. There's nothing that's really standing out. Now we're going in with our hatches and different parts of the image. With the zero-point for pen liner, the pigment fine liner. We are creating those middle tones that will soften the black marker, the shades we've created with a black marker and mediate between the lightest parts and the darkest parts. Take your time. I stop in the middle. After every little part that I'm creating just for a moment, just for a split second to take a look at what what it is that I'm shading. Is it looking the way that I'm intending for it to look? And we keep looking at our model and at our drawing because our drawing is a little bit different than our model, but looking at our drawing to harmonize and to look at where some shading is needed. Is there a part that stands out a little bit more than the others then needs to be harmonized. So e.g. let's take a moment to look at the black parts underneath the bridge right now. They look like they look a shade darker and black than all the other marker points that we have created. They have not been harmonized into the image by creating hatcheries in different lines and hatching and different techniques. We bring the darkest parts of our image to life by toning them down. And creating a mediation between them and the lightest parts and the gray tones that are in the middle. Even the marker parts in the top part of our image look a lot more harmonized and calmer and a shade lighter than the black at the bottom. We continue adding these details and working on the windows with very simple lines across all the towers. The more our sketches extended here, the more parts we work on, the closer we are to completing it and completing each part with all the shading and the lights that it needs. This doesn't mean that we won't add more shading or any left out parts in the end. It just means that we're working fully on each part as we move along. Remember to practice. If you don't want to practice the entire image, you could practice sections of it. Because practice does make perfect. It gives us the confidence with our approach with this medium. Confidence with creating images, different images with this medium. And the more we practice with the medium, the more we are comfortable with the pens that we're using and realizing what kind of marks can they give us using a pen and try and get in different directions. Playing around with your medium is the best way to learn more about it and learn more about yourself. As we're working on the far parts here, they have a lot less details and the closer parts on the left of the image. I'm adding more, more shading here to the skies. Just want to make sure I haven't missed any of the little details because although the windows are our dots and the columns that are in-between separating the windows. They are little, little lines, but all of these lines accentuate a very beautiful and delicate image. In the end, we want to add shading as lightly as possible just not to take away from the highlight of some of the towers here. We work and concentrate on the roof a lot. So we do the same for this part too. Because we want to create a balance across our whole image. That everything needs to look balanced, even the darkest parts where we have harmonized with the lighter tones. We want a balance and consistency in our application. The more we look at our image, the more details we realize we need to add. And the lighter we work, the more chance we have to add more details or add more lines or add more definition in the end. Especially if you're at the beginning of your art journey. Working lighter and building up those layers is a lot better than going in harshly or with a lot of pressure? Or were there a lot of dark marks which are not possible to change? We'd have to start from the beginning. We've used vertical lines for our buildings, but the lines for our bridge or horizontal. Since we want to have harmony between all elements of our image, we use both horizontal and vertical lines for this part, but in different distances. So for the building, zero vertical lines are longer and it indicates the upward perception of the buildings. But with the bridge or horizontal lines are longer and more prominent while our vertical ones are shorter. So we just want to observe our image and make that decision. Then go in and work on it. We're adding the details of the bridge slowly. There are small figures that demonstrated here with dots. I want to darken some parts up here that I'm noticing. I might have missed out a little bit. Now I want to make sure that there's, that there's a line, there's a horizontal line going through the all the towers. I keep going over it just to make sure that there is a nice consistent line going a little bit downwards diagonally in that perspective. I'm working on that shadow across all the buildings there because I see it. Finally, we check the composition in order to have a better perception of whether maybe there are some edits we need to do. Remember, there are no real mistakes here. We've created really light lines that we can go over with a darker line to create better definition or correct lines. So just enjoy the process. And keep drawing and keep practicing. The more we draw, the better we get at it. Now we're covering this part with horizontal lines. We begin with the horizontal lines, but then later we add the vertical lines. You want to give some character in the texture of the bridge. The hatches, and the direction that we use to create the hatching is very important with a prospective. Follow my lead. If you're doubting what hackers to create, just follow my lead. Soon we're gonna be adding some persons. We need to create the figures here with some dark stains. Just want to make these details here that differentiate the bridge away from the buildings. I continue to add the details. The more I pull my head back, the more I noticed that there are some lines that I need to add are some windows or maybe some shading. I come down on. I continued to work on my bridge. The structure of the bridge is very, very beautiful, so we want to be able to convey that. Differentiate between the bridge itself, the top part of it, the edge of it. So notice how the lines are vertical on my bridge that I'm creating. In contrast to e.g. the horizontal lines underneath. Just make sure that you are patient as you are drawing. We're changing our pen here to a pigment fine liner, 0.8. That's a thicker pen. We're going over this part which is underneath the bridge. I wanted to complete this line here, the curvature. I want to also harmonize these dark parts here with a marker. Remember, your image needs to look balanced. Where all the darkest shades look similar and consistent in terms of tonality. I'm going over with hatches on this dark part and a tone that down a little bit it takes away from the sharpness of the black color of the marker, bringing it closer to the color of the hatcheries with a different liners. I went over my tree here. I accentuated that part of the first tower. I'm coming back in underneath the bridge to add those details. A little bit of a detail here on the bridge. I want to complete the curvature. Now hatching in the water is very similar to hatching the clouds. It's really light. Light horizontal lines. We create shades with a fine liner here. Dressed like this. We're using our fine liner pen to go in and bring more definition to the top part of the bridge, the horizontality of it, that line that will differentiate it from the buildings. But also notice how right above the line that I'm defining, There's a middle light line. It's completely white right there. And I leave that very light white line horizontal on top of the bridge, which helps with accentuation of the way it looks. I continue adding the details patiently. Observe your shadows, differentiate between your darkest shadow on your lightest shadow so you can use the right pen for it. We're using different hatcheries here. Various hatcher is an order to show the depth. We bring our image closer to looking more natural, more realistic. And we increase the depth of perception by using different thicknesses of hatcheries, different techniques of how chairs as well. That's why practicing is very important. Observe the water. Which parts have more light on them and which parts have more darkness? Now we're going over the same details on the right side of the bridge. The shadow underneath the right side, curvature under the bridge is darker than the one on the left. But we want to add our hatch rose onto the water here. We complete the curvature underneath this part here. We also have lighter hatches down here, so we use less lines on the water. The shades of this part of the bridge is in the water. So we're trying to mimic that reflection and complete the curvature here and this detail. If the hatches are so small like almost close to dots, it means that we are trying to create figures. I'm going over some lines here just to complete the top part of my image. To bring my whole image much closer to completion. I find creating hatcheries and pen drawing in general to be really meditative. I get taken with the details and creating more and more. When in reality we need to stop and look at our picture. Look at the image that we've created the drawing. Observe what is necessary. Have we missed any highlights or any shadows here and there. Maybe some details need to be a little bit more finalized. The work is almost done. Now we're completing the trees. We look at our work generally and we do it often not to focus on a specific part. You should always look at it. To make all these observations and to see the progression and look out for any adjustments that are necessary. We're looking for consistency and harmony across our whole drawing. Each artist is very different when it comes to completing any art work or drawing or painting. Sometimes it's difficult to finish an artwork. We keep adding details and see more things to add, maybe more highlights, more shadows. But sometimes, if with practice, we have managed to find out more about our own technique and our own style. And maybe it's a lighter, lighter tonality than the one we've created here. Maybe it's a quicker sketch. But the idea is to practice. The more we practice, the closer we get to our comfort with a certain medium, the closer we get to discovering more about our own style. Our own comfort with, with these pens. We're in the process of completing this image. I'm looking at the highlights or the shadows that I've created to make sure that are they are they as light as they need to be? Are they as dark as they need to be? Are there any lines that I've missed out? So e.g. looking at the different towers and the buildings across, on the top part of my image, there's a highlighted line horizontally that goes from the first tower all the way to the end that the right. I'm looking at these highlights as well. Are they consistent? Are they in the same line? And trying to make my adjustments? As I go along. We can work this image on several models, several techniques. But today we completed this drawing with the most classical model using our regular lines. We took time creating our sketch because then it was a, it was a process of going in with our pens, adding all the details and creating our drawing. Take your time to finish your drawing and complete the environment. It's not just about the buildings and the bridge. And maybe the couple of trees here because you have the skies and you have the water. We want to add those details there. So as we're completing these details, we then look at the water and the skies. We look at the edges of our drawing from the left to the right. We complete the curvature of our bridge here on the left. The environment lines are in the one direction. We extend the environment with the hatchling, the sky and the water. And these horizontal lines that reflect the buildings onto the water, but also reflect the whole image together There's the skies and the water. It's a complete image. We add our signature on the bottom right here as we have some space. And thank you so much for joining me today and hope you've enjoyed this course and this tutorial and see you again soon.