Around the World in 80 days - A Travel Sketch Series | Dhritikana Nath | Skillshare
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Around the World in 80 days - A Travel Sketch Series

teacher avatar Dhritikana Nath, Watercolor Artist and Instructor

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Introduction Around the World in 80 days

      2:29

    • 2.

      How to go about the Class

      1:30

    • 3.

      Travel Series Materials Required

      5:38

    • 4.

      Color Palette

      7:17

    • 5.

      Required Colors Day 1

      0:20

    • 6.

      New York Day 1 Part 1

      32:32

    • 7.

      New York Day 1 Part 2

      19:03

    • 8.

      New York Day 1 Part 3

      26:45

    • 9.

      One Point Perspective

      4:03

    • 10.

      New York Day 2 Part 1

      15:24

    • 11.

      New York Day 2 Part 2

      42:55

    • 12.

      New York Day 3 Part 1

      14:47

    • 13.

      New York Day 3 Part 2

      52:33

    • 14.

      New York Bonus Lesson

      32:40

    • 15.

      New York Day 4 Part 1

      15:38

    • 16.

      New York Day 4 Part 2

      39:42

    • 17.

      France Day 1 Part 1

      44:33

    • 18.

      France Day 1 Part 2

      58:28

    • 19.

      France Day 2 Part 1

      17:33

    • 20.

      France Day 2 Part 2

      52:57

    • 21.

      France Day 3 Part 1

      21:25

    • 22.

      France Day 3 Part 2

      32:12

    • 23.

      France - Day 4

      52:24

    • 24.

      Greece Day 1 Part 1

      24:58

    • 25.

      Greece Day 1 Part 2

      41:00

    • 26.

      Greece Day 2 Blue door

      38:25

    • 27.

      Greece Day 3 The Flowering Pot

      26:25

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About This Class

Around the World in 80 days - A travel Sketch series where we learn about drawing, painting, composition, color & Value, mixed media techniques, artist voice & finally sketchbook to studio. These are the major areas which we will be covering which is going to enable you to recreate any three dimensional subject on a  two dimensional plane using your own, shape, colors, value & perspective.

There will be overall 20 destinations which we are going to cover and each destination will have 4 paintings in it along with a few bonus lesson on drawing, sketching, perspective, line drawing, pencil shading and much more. This class is not only going to help you go around the world painting various monuments and important places but also would help you to build up a daily sketching & painting habit.

  

Meet Your Teacher

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Dhritikana Nath

Watercolor Artist and Instructor

Top Teacher

Hello All, I am Dhritikana Nath an artist, instructor, educator & entrepreneur from Delhi, India.

I am the founder of VibrantParcels where we make hand bound sketchbooks, brush-roll, pouches etc. This is a fairly new initiative as I was searching for good sketchbooks and it was not available readily in the market so just thought to make something of my own. Then wanted to cater to the greater needs of creatives and added brush-roll & Pouches.

I have a monthly membership on Patreon where I teach more about light & shade, landscapes, urban sketching, travelling etc.

I am a strong believer of the idea that anyone can paint if you put an honest effort and for excelling in painting there are only 2 rules practice and frequency of painting. I did start my journey... See full profile

Level: All Levels

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Transcripts

1. Introduction Around the World in 80 days: Did you ever try to visualize a three-dimensional subject and recreate it on a paper which is two-dimensional with the hair bulb, shape value and perspective. If you have gone around the city to do this and still have to pay to do it. Then this class is for you. We're going to paint around the world in 80 days. Are Travis get CDs which covers 20 destination and Ag paintings. Hey guys, I am not an artist instructor, a mother of business owner, and a Skillshare H0 from. We will start by understanding how to go about it. The second would be the medial. Secondly, for a meeting all the paintings, I would be using a sketchbook from my bosses. You can go ahead and hook that is available with you. Even have any kind of an A5 equal sized paper for completing. This class is not about just drawing maps or painting buildings, adding a few human beings or making monuments. Going beyond that, like adding those smaller sketches coat your particular subjects, like aeroplane or doing a pencil shading, sketching, etc. All of this put together makes the class more special and it would help you to practically paint anything under the sun. We are going to paint smaller objects like coffee mugs for painting some animals, some goods, as well as anything that you also can. You would like to take a note of it on your sketchbook. Once you are done with this travel series, you will have a beautiful experience, as well as you can pressure the sketchbook that you are keeping for yourself. We progress through our lessons. We will even go on the location as well as paint. The exact monuments are captured the subject that we want. So without any further ado, let's start off with our first lesson. 2. How to go about the Class: How to go about the class. This is very important for each pound of meat might be super excited to actually go to look like this. But then I steps that I would like you to follow. One is that I am not going to use more than two nitrogens and people 100%. This is very important for all of you as we proceed with washes, I want it to dry off pretty. That's a plus. Then next step would be to go ahead with an easy and simple drawing, which is the big one in New York that is all about making the map and the small car. Once we are done and set with the identity, we would go head with a few basic steps, like understanding their perspective. What is horizon line, what does vanishing point? You have one-point perspective or 2 perspective. Once the perspective, we would move on to Brooklyn Bridge at various other destinations that I want you to paint along with me in New York. Do not, do not go away leaving New York because every four days we're going to step into another new destination. After New York B would be traveling to France Gately, then nasal fossa, you were off as the last two issue. So stay tuned. 3. Travel Series Materials Required: Let's just discuss what all we need for completing this whole Travis series. There is lot of things that I might be discussing. Everything is not important as well as VBA have some options that I would be giving you so that you will not have this overwhelming feeling. Okay, either. You can have 185 GSM Arches watercolor paper. This is cold press paper and it is converted into our beautiful sketch book. You'll see over here. I have used it. I'm in this particular sketch book belongs to vibrant parcels and I'm using it from them. Now. You can also use 200 GSM paper, that is Fabriano or any other 200 GSM paper, but try to use a 100% cotton. That's really, really important. I have kept some Posca markers. These are the markers which I need when I'm being things small, small people are smart, smart details. But do make sure if you are not having this, then you can go ahead with any other kind of goulash or acrylic markers to that doesn't matter. So whatever is available with you is good to go. I have kept some colored fence. It's not that we are going to use all of it in the first row itself. Now, this is the colored pen that I got from mapped it for around 700 rupees that I have $10 So in India. But you can also have what, EPA colored pens that is available in your place. You might not also use the colored pens. You can have followed whatever suits you, you can use that. Now the brushes. Brushes, is this a size two and size eight brush? These are the two major brushes that I would be using. Along with it have a 0 size brush for yourself. I have a pencil, for my pencil sketches. I have a scale. High. It is. So now you can have this eraser for erasing the lines. These are optional. I would say no, size four brush is good to have. And this is again size two brush if you want. I'm not very happy with the tip of this brush. Like I am not always very happy with the tip of the size two is four down versatile brush, and hence I keep this polar brush. So this becomes an optional brushwork. A wash brush is again, a good to have. It's not that. So majorly, you would be working with only these three brushes. The others remain as optional brushes. If you have it, you can take it or in case you do not have it, we're fine. Now, that's most important aspect of travel is traveling as much less things you can carry, try to carry them. That is called masking fluid. Now, this masking fluid is from row stroke and this is the Ph Martin's bleed proof white. Now I use it in many places where I am unable to deliver. You will need bold signal. White marker doesn't work sometimes, and that's where I use the fans are of two types. One is salami pen that I have. This is not waterproof. The UNI Panther I have is waterproof. And this is a pigment in. So either you can have this if you are less confident, you can have this if you're more confident so that you don't smash up the areas about the pencils. Now many of you have asked me what kind of pencils. I have. A lot of pencils from Facebook castles on this. There are six of them. It starts from HB and goes to AB. But if you are having or two before P6 be that's good to go. Okay, For the pencils you need. Shop now. Now so these are, this is the sharpener that I'm going to use. Along with it. I have already told you about the Posca markers and about this one. I need two jars of water. Do jars of water is really important for our watercolor. And there's a tissue that I keep really handy for myself. The colors. I have a beautiful stamp set. It has an a to Z number. These are good to have. It's not that you need to have it by your side. Always. I was telling you about the colors. I have a variety of colors with me too. We need all of these colors. No, I will tell you about ten to 12 basic colors or even less so the basic colors that you need for completing the painting, whatever I use for my paintings, you can replace it with the colors that we have already discussed. Okay, I guess this is it. From the perspective of our materials. We will go ahead and work on the next part, which is majorly the colors. The last thing is this from past, and it's very important for drawings, I mean the so-called etc. You can also use any other kind of circular like this. Of course, a masking tape is good to have. So that is another thing which I wanted to say. Finally, we can move on to the next one. I'm going to tell you about the talus, which are the most important for this traveling series. So sketches. 4. Color Palette: Let us discuss all the colors that they need for completing this province. Get CDs. These are going to be the basic colors and beetle has some add-on values. First is the Naples yellow. This is going to be one of the most important colors for the whole series. Along with it, I will use some scenario, yellow or any other yellow that is available with you. Like try to have Indian yellow or yellow that is better. Lemon yellow. I would ask you to go with these two shapes more compared to the lemon yellow shape. The next shape that we're going to use is something that is red. And let's just go ahead and add the debt from the warm family. There will be some additional shapes which are discussed once we are onto our first part of the painting. Or the sheets status. Your brown. Oh, okay. I know some of the darker values of your brown, which is more SEO brown sepia. Now we will have blue and I'm going to go ahead with Winsor blue or yellow, blue, whatever is available with you, these two colors, or CAC, amnesic. Then you have your ultramarine. Ultramarine has been used for many of my paintings and this gives, this is again a beautiful blue that I'm going to use from the blue family. Last darker shade. Either you can use integral or you can go ahead with Payne's gray. I would leave that Up to you. You can make it lighter by using any of them. In the greens level have bright yellow, green or yellow, green. Whatever is available with you. Go head went along with it. We will have our olive green. And once we have applied the qualifying legal pad, when I take gain or any other thing that is available with you. So it can be any of the darker screen that is available on your ballot for future layers. So this is the dark green that I'm going to use. And you can see that there are only a few colors. That comes. I promised you that we would be using. There are about 11 colors that I have told you. Along with it. There are some good too loud balance which is majorly like an orange. This is your good to have, as I have told you, it is your men's orange. Then another one would be your bank, or Carmine, which we will use are red violet, which we are going to use when we are going to paint things and France, some violet. And I would like to, to have another color by side, which is from the blue family. It is a very, very light blue, which I have been used. It is royal blue to other sheets, which I would say it's good to have. One is your cobalt green pan. Just had these other two colors which you need for the Statue of Liberty. So this is basically some additional colors that as I have told you, it's good to have. These are majorly the colors which we would be walking around with. There is not much of a difference in terms of the painting that we would be doing and the changes in the color. Wherever there is an additional change are, you can actually go ahead and do some other sheets. I would go ahead and add it. There will be something called as footnotes, small quick videos about the genes and follow about different goulash fellows which we can use in case you do not have Posca markers. They are small, small bite-size lesson which a one-minute, two-minute. You can, of course, go ahead, check them out before you head in any of your painting. And that would be a good way for you to decide what color you want to go head. But I am giving you a very, very gendered view of all the colors along with it. Later on, I would provide you with a PDF version of all the colors that you have over here. And what is that meet? That is the pigment that has been used. Now, each and every color that I'm using is from a different company, like Naples. Yellow is from your scenario. Then your scenario, yellow is from scenario to read is from Winsor and Newton. The brown is from incident. The Van **** brown is from Magellan Mission Gold, your Vince. So blue again from Insert. And Newton yard from French ultramarine is again from incident Newton, the Payne's gray is from Magellan Mission Gold. Then the bright yellow green is from your scenario. And the next is olivine is again from Magellan Mission Gold. The green, which has been like the green, is from Magellan Mission Gold. The cobalt green is, or you can even go with the cobalt turquoise. This column you will often find with Magellan Mission Gold. A little quiz from the Winsor drove, of course do. Orange of course is the name in itself. It has been said on into the next is my red valid? And it is again from your medulla machine. Also, if you have a brightly lit Magellan Mission Gold Rush, blue is from scenario. So I am using a mix of colors from various brands. But again, I always emphasize whatever is available with you. You go ahead with that. I will give you the exact name with along with it later on as we progress through the videos. 6. New York Day 1 Part 1: During the olden days, we were pretty much unaware of the Internet and it was not there altogether and we do not have a GPS to track things, soils, even look at the maps. And hence the maps which we had to see on our hands. So they're very paper maps and every place that you used to visit, we had to refer to those maps or else ask people where exactly can the goal? If you have a particular destination in mind, you might go on the street, which you see on the map. So the guidance that we used to get was only through those maps, right? And I just wanted to hold that old thing in my hand. And the first important aspect when I'm setting up an itinerary is the MAP. Map is not only important for a particular place, but it really tells the story where exactly you plan to wizard. You can practically laid down on the map, provide an AI coronary just the way we would be doing. Now you can see that I'm drawing the map. Now this is an absolute random map that I caught on Google. And you can also get one of the ovaries, simple maps from online. Rather than going ahead with the map, in particular from penny off these copyright free websites like Pixabay or Unsplash. I would leave that up to you. How you decided. I'm doing a very light sketch or with my pencil for this map, I'm leaving out the areas where I have to paint the water. Rest of the area is practically your land. And this is 185 GSM watercolor paper, as I've already told you. And I'm going ahead with the A5 size. As it is given in the materials tool, you can use any other size that is available with you. Bigger the better, I would say. So in case you have an A4 size sheet, go ahead and use it. You can use a part of it or one page of it to practically draw this entire layout that we would be doing. Now for your I would say this sketch book, there are many layouts that are available. I don't go by any particular layout that I have in my mind. Sometimes I like to go head, varies randomly without using any tapes, etc. Use both sides of the sketchbook together. If I get them middle page. There are times where I do not do that. I like to tape down my paper. And as I have told you, this is one effect. Gsm arches, a 100% cotton paper, usually a 100% cotton paper. If you use washi tape on top of it, it doesn't tear it off. Don't go for the masking tape because that usually has this ability to tear off your paper if your paper is wet while you are in a very humid climate, right now I'm in a pretty humid climate that is in Kolkata. And one of the reasons of using these good washi tape is this, this whole thing of reducing my humidity and keeping my paper absolutely safe. We are here to make mistakes. So there are times where you would make your mistakes and it's perfectly fine. Go ahead, make your mistakes. It's not going to be a perfect sketch book. Sketchbooks are not meant to be perfect. You will do your experimentation over there, whatever you like, you would be fun. That's how we always keep a sketchbook handy for ourselves. Okay, I think I'm good to go. I am already almost done with the sketch. You can follow me. You can even refer to the photograph which I have already added to the resources section so that it's easier for you. I'm using a big brush right now. This is a wash brush. Do I would be using it only for this particular painting because I want really, really less water on my paper. And I'm going to just throw some colors and I do not want it to move a lot. That's one of the reasons I have used this particular brush because if you have lots and lots of water, which makes like puddles of water, there, it becomes difficult. Another thing that I wanted to tell you when we are glaring and we are using more offline wash. At that point in time, it becomes a bit difficult to work with the very strong or 300 GSM or 600 GSM paper at that point in time, you really need a lot of time for it to do practically it, becoming more and more dryer at that point in time. And you are at a particular location, you were to just paint your heart out. I think for those adventurous activities, you should go ahead with a lighter people. This is the first met that I'd really want to break amongst us that 300 GSM is really not the ultimate paper that you can use for your travel sketches. If you are going ahead with two or three washes, which are not that heavy washes. I think of a 185 GSM or a 200 GSM is good enough. Going ahead with my burnt sienna first and then some amount of my olive green or any kind of yellow green that is available with you. Yellow green is more on the brighter side. So that's one of the reasons I have asked you to just go ahead with all agree, okay? Once you have added this equilibrium, make sure that you are adding it in the spaces where it is more on the greener side. You are not adding on the brown part. Now what I have practically done as the brown part is majorly the building areas or the areas which are more of land, whereas the other areas which are more green like any box or any particular forest area, I have kept it as green going with my blue. Now, the blue that I have taken is royal blue. It's prompt scenario. You can also go head with any other blew off your choice. Like surrealism, blue. Blue is pretty light. And you can also go ahead with it. Though every company has got or particular pigment that it uses for surrealism, blue. You can go ahead with the lightest, really am blue for this part of the water area. I am using only lighter shades right now as you observe me doing it. Lighter shades is very important for our first wash. We just want to see that the colors are there. But we do not really want to actually finalize the painting at this point in time. For adding the depth, we will go ahead with the second layer. The third layer, I am just adding this blue in few of the areas where there is river or sea. That's how we go about it. Once we are done with this, let the paper dry off completely. And once it is completely dry, we will go ahead with the next year. The current shader or the current particular color that I'm using is burnt sienna. Along with burnt sienna, either use some amount of my Van **** brown. Now, these are the two colors that I wouldn't be mixing and adding it. You can also use CPR if you are more happy with that color. But I am really happy with the Van **** brown. This is a small experiment which I did with my brush and it tactically failed, so no need of using it. These kinds of experiments you will keep doing and you do not need to always feel sad about it that you did not exactly get what you want it. So those kind of things keep happening and it's perfectly okay. By the way, the speed of the video is 1.5 x as I told you earlier. So do make sure to pause at whatever point you want to. I'm using my size two brush and I'm mixing the colors now, if you very well see, now size two brush really helps me to mix the color well. You can also go ahead with a larger size brush, size four brush, which you will observe me of course using it later on in many parts of our sketching exercises. Along with it, we are trying to add more depth into the greener areas. So I would even switch to more darker green color. You can see that the base layer is getting covered up completely and absolutely fine. If you want, you can also keep the base layer. But for me it is more about covering it up as I feel the base layer was really, really light. And I would like to cover it up with or darker value compared to what I would like to use. My like, you can of course use the whites of the paper in many areas where it is required, but wherever it is not required, you can go ahead and cover it up with the second layer. Now layering in this perspective becomes really, really important. You can go head width as many layers as you want. But for our low GSM paper, you might be good with only two or three layers, rather than going ahead with 56 or seven days that you can do in a 300 GSM paper. That's particularly my way of operating. But you can always, always experiment and then decide what you would really like to work. And go ahead with one. So this burnt sienna is added to your means, your box. And I'm even mixing some amount of my green with my burnt sienna. I'm switching my brush wherever I feel it is okay to switch. This is one thing you always do not need to go slow if you are more confident in the larger areas, please go ahead and switch to larger size brush. As I said, you do not need to stick to a particular size of brush. Brush size always depends on the type of paper that you are using for your painting. I practically always tell you to use travel sketchbook. Because sketchbook, like treasures. Yes. In few places you might go wrong, but most of the areas you would see that you would love. Once you finish off the sketch book, it's like a treasure for you. I really want to do all my paintings on this particular sketch book itself. But then might be a possibility that there would be some overran. As I feel that there are a few bonus lessons which I really want to give. And of course, the bonus lesson will occupy a bit of space compared to if we are not doing those bonus lessons? Oh, yes. I guess so. Whatever is best job, you can go ahead and do it. If you really want to do it on sheets, please go ahead and do it on sheets. I like to use the sketch books from vibrant puzzles. That really helps me to practically get some beautiful colors as well as it comes with the arches. 185 GSM paper, or even Fabriano 200 GSM paper. Whatever best you want you can decide for yourself. Take it. You can also go ahead with having me loose sketch books, so everything is good. So yeah, I'm cool with anyone that you like. I would prefer, as I've told you, you guys to be attempting, all these paintings are no sketchbook, if possible. Going with some of the areas again, where I feel the shades are really, really light. Yeah, that's absolutely okay. It has dried up almost done. We are just adding one more layer. You see how easy it is to keep adding the layers and still not impact your painting at all, rather than sticking to only 300 GSM very alike. So much hell-bent on using that as starting out. But over time, you can always understand what works best for you in terms of paper color, etc. You always do not need to use or invest on absolutely high-end papers. You can also go head width of something that is not very great. Sometimes I like to splatter, but what I feel, this plateaus make it really big. So I like to touch it in few of the areas, like adding those browns. You will see how I do it. This is not the best way what I can tell you. So I have tried to three times as I really wanted to show you that I really don't like these bigger dots. So I would go head with some smaller dots by touching my brush to the paper. And you can really see how much difference it makes to the painting. While I am just making the edges a bit more softer with my damp brush, you can see how I am doing as I do not want it to be hard. So yes, so going ahead with the damp brush, then even adding some darker values towards the bottom area. You will see how I start on naming a few of these areas with and those all things are coming in the meanwhile, you can keep painting along with me. There will be a small yellow taxi that I would be painting in this session. Of course, you can consider it as a bonus lesson or you can consider it as just a part of itinerary. It can be your day to orals. You can also do it along with this particular painting. Though. I have kept it path-wise, part one and part two, as I wanted you guys to turn this whole section in one single page. So going with a bit more brown as you absorb and some green in few of the areas. It really helps to add that depth. Some of the areas I'm covering with the brown wherever I think that it was not completely green on the map. There were some particular browns too. So yeah, you can always go ahead and cover it exactly the way you observe me doing it right now. I would go ahead and add some music, as it is, pretty much a repetitive process. And I've explained it earlier too. So you can copy. You can just go ahead and keep painting along with me. Touching my brush to just add these smaller dots. Guess. You really saw that? Well, I really like to touch it on a wet surface. That way what happens is that the colors to spread well and the Lucas also soft as I always like. Hence, that's the best way I would say that I like to add these smaller drops of the darker shade of brown that is practically your CPR or any other shade like Van **** brown, which I'm currently using. This map I think, looks great now, two of the paths are already done and we have to finish up the other two paths. As I have told you, you can continue with it. Some of the areas as you see, I am adding some darker values to create the tip. Has we have done audio and it's pretty much a repetitive process, so yes, So you might sometimes feel that okay, it seems to be same, but overall, when you finish this map, I can tell you you will treasure it completely. The depth that you create with the blue, we'll add the life into this map. It's going to be amazing. So just wait for the final one. There you see the final outcome, it's easy. That's one of the reasons I took it as the first attempt. You should not be feeling overwhelmed at this time and space as well as we have done good amount of concepts and terms of perspective. Though, I would be breaking up the perspective into various areas and we would be practicing it further. Now, I would say perspective is something that you need to get correct or else the whole painting will never fall in place. There are many people who might have seen the painting. They, they make amazingly well. But particularly perspective doesn't work well. The whole painting, it doesn't fall in place. That's why I am stressing so much on the perspective part for urban sketching, traveling, etc. I have myself made so many mistakes. It took me yours for this kind of learning hand. Really coming to you guys with this kind of a class is practically very overwhelming, even for me. As I always feel, it's pretty much a difficult subject to attempt. And teaching everything in one single class is pretty much a challenge. So, yes, I have taken up the challenge and I am going to work it out. Along with you. We all will be learning something new. We all will be making our own mistakes. So be ready for your mistakes. It's absolutely fine to make those mistakes. And if your map doesn't look exactly like New York, then queens and other spaces like Manhattan, etc. It's cool. You will never get to understand that much. Once the whole map is done, I can tell you that I have seen it. My map is also not superbly exact. It's something closer to what I have seen on Google. So, yes. Just go fearlessly when you attempt to urban sketching that something or travel sketching. That's something which I have learned over time. If you are too scared of it, you might be in a position to not be happy with it. Whereas if you are going fearlessly in an around it, working through it, you would be super happy and super grateful once you're painting is done. Okay. I guess something more to add on. Some brown, some greens here and there. Once it is done, we will go back to our pencil sketch and you will see how beautifully we can work it out. I use my damp brush to blend the colors with the background. It's a great way to do it. I have been using it for many of my paintings, see, few of the places might not blend well. That's okay. Absolutely fine. But most of the areas were blend and you would be happy with the final outcome. That's how I see it. Adding some more greens and then blending it as you have seen me doing it, I think the top part looks a bit lighter compared to what we usually paint. Let's see if we need to add more layers or if we have to add more colors. That's also okay. We will go ahead and do what as we progress. It's a process and you have to enjoy this process. It will not come on one single day, so be ready. You will face a bit of challenges, I must say, but yes, you will be happy once you complete the whole of the parts of the painting. So as I have told you, adding some darker values. So this darker value just add so much love for him to the fifth thing that I can't tell you, It's like highlights that you see. And has I've told you some dots here and there, CPR, etc. Just to show the darker, lighter areas or there are some other specific parts. Some of the areas would be darker, some of the areas would be lighter. That's how it appears on a map. And I would like to keep it that way. Simple, easy. And yet very, very I would say very, very happy to see how it is turning. Okay, going ahead with a darker value. Now. Now this taco value can be a mix of Prussian blue and royal blue that you have added orals. It can be surrealism blue and indigo orals. It can be all mixed off your surrealism, blue and Payne's gray. It can be a mix of your cobalt blue, indigo, any blue that you have on the palette, I think it's good to go. You do not need to particularly purchase anything for this. We have already applied the lighter value, only the darker value near the land area needs to be added. I usually go in and around the land area for the darker values. Because that's where we need to show the depth. And a few of the areas within the ocean, I drop some few drops of blue. This process of adding blue is very interesting. It's not that we are going to add the darker values in and around every thing that we observe. And then few of the areas we would even take it towards the bottom. Yes. That's how we go about it. As you observe me doing it, you would be really happy. And I am really excited to see how it turns out. Finally, something that I really like to do is to see how a painting finishes off. And we do not even have any tape, etc, in and around it. Still. The painting looks so much nicer without those tapes. You always do not need to get that perfect, perfect thing. There are times where we can work out with whatever we have. You can go with a tape. You might not go with the tape. You can do whatever you like to go head width. This is something that I always believing that whatever you have, go with it. And you can see how beautiful the whole thing's thing actually comes together. It is amazing. It's amazing to see how a blank sheet of paper completely turns into something so beautiful and you as creators to have that power. So use it to your real, I mean, use it as much as possible to create the pinky or hot out. I hope that this class is really a guidance for you guys too. Just go out and paint in this part of my country or wherever I am living currently, it is raining. But I have CDs plants to go ahead and paint in November, December. So I would really, really like you guys to do some of these sketches are absolutely going at a particular location. We will have those kinds of sessions. I would even tell you how was my experience working at a particular location? What all other necessities that you need to carry in those locations. Over here we are just doing some x classroom exercises. And slowly the will, of course, move out to paint outdoors. So those are the aspects that we will, of course cover as we progress in our journey. Right now, it might not be the best thing to do. We have to first get on our tracks and understand it a bit more before we work out on all of those aspects. Fine. So I guess this is it. We have to keep working with two brushes now. One is our blending brush, and another is our smaller brush. Smaller brushes to create those variations of tonal values and your water. And the blending brush really helps to blend it with the background. Some of the areas you see are with darker values in and around better. Some of the areas. We are just blending it with our blending brush to make it look more original because every area will not have the equal amount of debt. So do not try to add that in all the areas that looks a bit more artificial as nature is not perfect. There are so many imperfections. And if you have those imperfections even in your painting, you can practically nail it. This part of the video is focused on the painting part. And once this painting part is done, we would move on to the next part, which is majorly about eight to ten minutes. That would be focusing on how to name these areas. That's something which I really like you guys to go ahead and see if there are few lines that we would be drawing for the tracks, etc, that you see for the major roads. So all you can do with pencil. If you do not like to use the pencil, you can use some green pen. I have got the set of different pens from mapped and it's pretty simple that we go ahead with those pens to mark a few areas when it isn't necessary, but it is mostly transparent in nature. So wherever we need the trucks, so loosen kind of thing. I always go ahead with my Posca markers. You can have Posca marker. You can have any other acrylic marker that is available with you. Even any kind of wash is also good to go. We will have multiple kinds of things that we would be using. This is something that I would say. We will not only have the bare minimum materials required that I would let you know right now before few of the paintings, I will even tell you some of the materials that you can get, or if you already have it, you can use it for those paintings. Those are basically the bonus lesson that I have dropped it for you all, which is a bit different from Dan only painting with your watercolors? Yeah. I mean, like ink and wash. Watercolors is something that we all have been doing. But drawing, painting, something different really makes a lot more difference. Okay, now it looks a bit twisted. I didn't know why. It just began like this. I think absolutely straight but going with the flow sometimes you don't know, I don't even get to realize whether my sketchbook is straight up, not really unhappy with how it looks now, but pardon me. I can't do much over here. I'm sincere apology. So you have to observe it in this way only. And in the next video, of course, you will see it as it was earlier. I'm just creating a bit more depth as you see with some indigo and selenium, blue, orange. So blue and indigo, any of these colors are good to go. You can go head around. Hey, get the way it looks now. 7. New York Day 1 Part 2: So yoga is part two of the map for the New York. And I am right now just marking of Hugh of these lines with my graphite pencil. You can also do it with any gray pen or any kind of other taco graphite pencil, whatever is available with you in case you want it to be permanent. I think Penn is a better option. Whereas if you are wanting to be temporary, then you can of course, go ahead with this pencil marks. You can change it later on or you want to change anything in it. Yeah. I mean, these are basically lighter lines where you basically denote the blocks or the roads which are there in the streets, et cetera, are denoted by it's practically or rough idea of where your location is. I'm not tying trying to detail everything that I see over here. It's few details that are Manning and few lines here and there with joints and some of the lines or even imaginary that I'd just add it on my own. Yeah. It's not that everything has to be absolutely accurate and absolutely the way you observe on the map. I feel one thing about watercolors is the freedom to change it to molded Casper, what you think is the best. I am not here to actually tell you that you have to make exact copies of everything that you absorb, everything that you see. It's mostly whatever you think is the best or the way you want to mold it. Go head to make it your own and then work it out for yourself. That's how you usually work on any small aspect of watercolor paintings or any outdoor sketching that you are doing. The main intent of the painting should remain, whereas you can draw everything, but paint only what you think should take the whole of the focus. I will tell you much more in detail once we go ahead with the perspective part of our areas. This is just the day one and it's majorly simple bot, the next term one that you will observe me doing it is perspective. Before you move on to D2. As I want you guys to understand, perspective a bit more in detail. What is horizon line? How do you can have the eyeline? What everything that is there, how you have to take it to one single point, which is the vanishing point. Everything I would be telling you how you decide and how you do it slowly and steadily as we progress, we would make things more difficult. As well as there will be some or the other structures which are very simple. So overall it's going to be an experience where you will have each and every kind of detail coming in. Complex as well as simple. That's how you make up the whole sketchbook. It's not about making it absolutely difficult everywhere. I even like to paint a cup of coffee from Starbucks because that's what it's famous over there. So it's something that is close to you that tells your own story. You should add it to your sketchbook. You cannot draw those because I just feel that US's great when it comes to breads. And I have always loved the brands that I use to get there. When I was there. I was there a few years back and I know that they have best of the breads. So I would love to paint across. So I would love to print a cup of coffee with a crossover. So that used to be my breakfast. That's something which I love to paint for myself. It's an experience that you actually feel a new paint that on your sketchbook. I always say it's your story. You have to tell your own story. Hi, I'm over here to guide you through this process of telling the story. I'm telling my own story and I am painting along with it. You can have your own story and you can practically make tweaks to that. Over here, we are going to actually learn through a lot of concepts, whether it be watercolors, whether it be lining wash, whether it be clarified marks, whether it be pen, anything that you think you haven't tried out, monochrome, etc. Everything we would be doing in this particular exercise, we will even paint the national flower of any particular destination. Because I just feel that all these things to attract me and I love to add it to my sketchbook. Maybe a flag for any particular destination. So all of the people be covering about 20 destinations altogether. And all of these destination will tell their own story. I am basically using two kinds of paints. One is the Lemmy pen that I have and another one is my unit and pen. Now, either you can have a waterproof pen or you can have ulama pen. Exactly the way I'm using. That doesn't have any waterproofing, can it? It has the normal link, whatever you are more comfortable with that you should be using. If you think waterproofing is a better option to go ahead with, please go ahead with the bot proofing for yourself. And in case you think that Lemmy pen can solve better, you can of course have any kind of gel pen that is available in the market. Any option is called. You do not need to go ahead and have been for doing this painting. Yeah. That's what I always say that nothing is really, really important. Whatever resources or whatever fans, etc, you have available with yourself, use that for the painting. I'm going ahead and just marking exactly where the places are like Manhattan and Brooklyn, Queens. Everything I'm just marking that. I mean, you can even mark the airports as well as the ocean exactly where it is. I'm still marking a few more areas which is important. And making it a bit more detail. That really helps to make the map looks more nicer, I would say yes and later if you're not lying, etc, chatbot, I have also mapped. So I guess that is it. You can always step back and then only had done the lines are wrong. Any kind of details that you want to name. If either a D or Manhattan city or either it be some river or some motion, whatever you think is necessary. Only mug dose. You can take your time to decide on it. Then market. Yes, I guess that is it. I want to just do a smaller arrow and then say that this is the north part hospital, the map. You always get these signs which are given on the map. So you can also make it more realistic by hiding these to your painting. Of course, as I always say, realism is not the perspective that we are looking into. Orientalism is not what we are here for. It's just the final outcome that we are more interested in. Now I think this looks fantastic. I would go ahead and make us more yellow taxi because yellow taxis are very famous and New York and I really want to add that flavor to this painting. Though you might see that the taxi shapes, size, etc, would change to a large extent as we progress. Guys through this entire 80 days, you will see a lot of improvement even in your sketching, the first year would be a bit different and would take a long time compared to when you are there on the 18th day. All these gays are broken up into smaller lessons because these are not very simple, as I always say, urban sketching has not been the simplest of all. It takes a while to get there. It takes some kind of an understanding and stole is Cadbury Viva have more difficult things coming in. So hanging there wherever you feel that this is becoming really, really tough, I can tell you it would become simple as we progress. There are few simpler exercises and there are a few difficult exercises. So it's a mix. That you can observe and don't give up at any point in time. That's the only thing which I can say even while I was drawing this taxi, was not very sure of that whether I can get it correct or not. I'm not so much into cars, et cetera, but I really wanted to do it and want and desire to do is something that really helped me to go ahead and do it. It was not what I really like to pay. I really do on a regular basis. But once I actually painted this taxi, the next destination is France. And when you reach there, you will see me making them a prompt. That was not who actually, I can imagine myself doing in such a short span of time. It's just a regular practice, the regular exercises that I have been attempting, which really helped me to break up this whole aircraft into smaller bits and parts. You will see how we just make a circle. And from that circle it turns into an oval, and from that, it turns into a full-fledged aircraft. It's the way you break up a subject, it's the way you are not scared of any subject. And then you get that confidence of painting. Anything that you see under the sun. The whole of this class is going to build that confidence in you hand. Not to say that you are giving up it up at any point in time. That's something which I want to tell you. Just go ahead and paint whatever you can, howsoever you can, whatever you feel is working for you, do that if it's even not working still attempted. The more you attend, the more you would understand on the perspective part, and the more you understand on the perspective fat, the lightened shadow effect, etcetera will also kick in in the next painting, which is majorly about Brooklyn Bridge. Once we are done with the Brooklyn Bridge, we would move on to the Central Park of view from the Central Park. And then we are going to move on to the Statue of Liberty. The Statue of Liberty has two parts to it. One is the Statue of Liberty and another part was majorly your touch. And this part was not intended to do it or I'd never intended to do it the way you see over here. And I never, ever did pencil shading, etc. But I got some basics to write from a few videos that I watched and I tried I attempted that one single painting two to three times and it just worked out. It's all about the confidence that your burden yourself, approaching any subject, might become more easier as you build up that confidence in yourself. So, yes, this class is going to move that in you. And that's most important for any, any painting that you attempt. It's all in you should have the desire to create. Rest is history. I can tell you, I am in each one of us who wanted to create, just created. That's it. There's nothing else that goes in. One important aspect of choosing only A5 size papers. I did not want to. That feeling of being overwhelmed. That's one of the reasons in few parts you'll see that I would be using both sides of the paper and it becomes an A4 size altogether. So you can paint it on an A4 size orals. Go ahead. Whether A5 size paper that you have, that A5 size paper is perfect for these paintings. We are going to paint more. Right now. There will be few paintings which would be picker, and I've told you that we would do it on a metal plate so that you get that a full-size think for yourself. Yeah. But maximum size that we are looking through till now is the A4 size. I'm not going to overwhelm you with bigger and bigger sizes. As well as you know, I like to fill up the sketchbook with variety of things that I observe and that I see in our particular place. So whereas I am not sure how you look into it, but that's how I always love to add some time. So it's all about even adding few cows into your painting or maybe chickens, hens, swans, or any animals that you see, any books that you see for a particular place, you absorb a few birds and you paint them. Whatever you see, whatever you observed, bring it to life, bring it to your sketchbook. And that's the special thing that you make for yourself. And all of you. I have been stretching or stressing on this fact that you should have a sketch book by your side. I want you guys to treasure the sketchbook. That's something which I always look forward to. You should treasure sketchbook. You should keep a sketchbook buyer's side, as it really helps you to get through a particular painting easily as well as it has so much more to, more to actually give you. On the first day, you might be absolutely different compared to the fourth or the fifth day when you ask them that painting, I have variety of sketchbooks with myself. Some of them are floral, some of them are all about painting. Your urban sketching is all about adding mountains. Everything that you see is from the sketchbooks. And sketchbooks sharing really not only helps me to understand the subject matter, but I can save more paper to why I say that. I use both sides of the paper, had both sides of the paper really helps me to gather that much confidence. Also, if I'm wasting one part of it, It's absolutely fine. I'm using the backside of it at all. These peoples are not moving, evolving, get something which I don't like for myself. Yeah, So this should be there together with you. You should be in a position to treasure it. Yes, yes, that's that's it. And now let's move on to the painting. Yes, I have divided the car into two equal halves and off you can see I'm sorry, it's just the heat because of which I had to turn on the fan. And that's the reason of this problem. But anyway, let's continue with our journey. It's a small car that you see me. I didn't divide it into two equal halves and then I just added the back-off of the car as well as the front half of the car. This is a simple and easy approach which I have taken for this part of the painting. And you can also see that I'm just trying to meet some square boxes, etc. I will tell you much more in detail about the cars as we move into our future destinations? Yes, there will be a lot of costs that we would be painting and we would be drawing. This is just a bonus that you can see on the worst stuff because we had to fill up the page, but something it just looks so empty and I did not want to add just to color swatches on the first page. So it absolutely randomly I wanted to, I decided that I would be adding a car. That's the randomness which I bring to the table. We do, yes, a lot, a lot of randomness and lot of interesting things going on. If you see a small thing in perspective which I want to show you is that these lines will become broader and broader as they approach towards me or as they approach towards the bottom of the paper. This is something that I need to tell you as you move away or has it reaches the bottom, it would become broader and broader. Dots, whatever you see towards far off are closer to each other. And whatever is closer to you are you are seeing new to you. Those are more I mean, they, they occupy more space there at more distance. And that's one of the aspect of perspective. 8. New York Day 1 Part 3: So guys, as you all know that any day is practically spread over two days. Over here, I have divided the entire page into three videos as I felt that that's the best way to go about it. Hence, some new can, of course, spread it over two days. You can make one part. That is the map on one of the days and the other day you can attempt this smaller part of painting the yellow taxi. I would leave that up to you. I do not want you guys to be overwhelmed with the complete situation. It might look really overwhelming at this point in time, but believe me, once you start doing it, you will get a hang of it and you will understand how to go about it. You can always adjust the speed of the video depending on at what speed you want to see it. I am right now going ahead with my Naples yellow. Naples yellow is one of the colors that I loved to go ahead with. And you can also use this color, a lighter wash during the initial part. Then as you progress, you can of course, make some darker washes. It's always great to go about the Docker pods late in the later part of the video or in the later part of the painting, I must say why I say this. The first wash is like it gives us so much confidence. If it's lighter, we can go ahead with as many layers as we want, rather than there's less chance of going back and watercolors, that's something which I have always realized. And when you are working with lower GSM paper, picking up the colors or rope. If you are not having a 100% cotton paper than picking up the colors, etc, might become more difficult. In those cases, I always say that COVID the lighter washes and as you progress, you can always add more layers to it. It looks absolutely stunning. And so this whole part is majorly about your line and wash. Line and wash can be one single wash, it can be two washes, it can be three washes. Lyman wash to an extent I am not following completely. It's majorly of combination, or you can say it's more of a hybrid compared to what we have learned in line and wash. Now the only align and wash that I have learned in my olden days was actually going ahead and outlining the whole thing and then adding the colors. Whereas the hybrid model that I am going to actually follow through what the entire series is soft, adding a few layers, and then going ahead with your pen to add the darker color, to add the highlights. It can be with a white pen, it can be with a black pen. V would be majorly using black, but in many of the parts, and I am completely not following the traditional method. I would say. I really like to add on my own, and it's more of a hybrid model as I told you earlier, it's not going to be just following each and every line. It's just highlighting a few places and feeding or just leaving a few places absolutely empty. Highlighting a few places just to make it look more stronger, adding the depth that you want to the painting or at a particular depth to an object that you are paying, whatever you are doing, just adding the depth becomes really important in that space. I think this is it that I want to say about the line and watch part because over here you get more offline wash compared to all your that you have done in the Maps. And that's one of the reasons I wanted to include it over here. The traditional method is of course different and there might be one or two paintings that we would do absolutely In the traditional method where we would be using on drawing ink to even do the line and wash. Maybe for a floral or maybe for a small house, etc. We will, we will, we will learn a lot about perspective fonts. We start doing it as we progress. In the next lesson that you see for day two before you go ahead with data, there are four to five important aspects of perspective which I would teach you. And that really is very important for anyone who wants to do or travel sketching or a plane here, it's basically a step-by-step method where you first understand about proportions. You'll understand about the major four to five concepts of perspective. How you want to adopt your drawing style, how you work on the location, how you can practically loosen it up so everything you do not need to go by line, etc. Even for perspective, you have various various aspects. Like there's a single-point perspective or there is a two-point perspective, how do you go about it? So the initial part, when I'm introducing, I would be only introducing these two concepts, which is single-point perspective and two-point perspective. As we progress, you will see more of vanishing points and how everything works out. We will go to Italy, Viva, go to France. We will go to different places to experiment with all this. I always feel very strongly that you should experiment and you should understand all these proportions, scales, your perspective, then various concepts by using it and by working on it. It's always an office job. I think you get sick. Yes, I believe on it. I feel that you just need to learn that concept, move ahead and then work on it. Similarly, we will be drawing cars, we would be drawing various people. We will draw everything possible in through this, some of the lessons and I will even teach you how to draw the location may be once we are done with the first few sketches, after four or five destination, once we reach India, or maybe seven or eight destination must be regionally. I would go around the city, myself pond will teach you how I paint in and around the city. That's something which I really want you guys to pick up. And it's, it's great. Once you start doing it, you will understand how beautifully you can paint. You can adapt to the conditions and what are the challenges that you face. So once you are painting and the location, It's a great idea to paint with the photographs, but painting and the location is something that is absolutely very, very different compared to, it's a different experience altogether as I always say, compared to if you were drawing one photographs. Okay. I guess this is it. And let me go ahead with this particular painting. You have already added two layers. One was with the first layer, that is the Naples yellow, and then you will mix it with some more yellow to get the second layer a bit more darker. Not as it, I'm creating various values within this space. You can see I'm not great at painting gas and it's absolutely okay. I go with my confidence. Believe me, the next time we pink cast, you will see how different it is and how beautifully you can practically paint each and every car. I will break it down for you guys. There will be a lesson coming up very soon. Do not, do not think that anything will be left out in the whole series. You will get human beings, you will have people, you will have drawing styles. You will cover everything that I know. At least I would try to add whatever I have anology on to you guys. Okay, In the meanwhile, you can see that I'm just creating various values. I am creating smaller, darker, and darker areas and lighter areas. This is very important to understand that there are light and shadows and light and shadows practically pads that kind of a flavor to your painting. Everything should not look flat. You should always change the values to an extent possible. Can you JVC, how simple the palate is, mostly yellow and the black or the Payne's gray, whatever is available with you. I would prefer black. That's absolutely fine. In case you do not have Payne's gray. This can work with. For even our smaller windows, we have for various values. I hope things pressing on this fact that we would be working on with values and this is something that I'd really like to do. It really gives an edge to your painting. And since this is not about doing a lots and lots of wash, so yes, to get the depth, I think I always like to add layers and it helps me to bring that out in every painting going ahead and adding some darker values. As you. So for right now, we are handling the plaques. And this is basically for the j cross I that I love to add always, always. So going ahead and adding it, alternatively, it is a flat wash. I'm going ahead and adding there will be a small shadow of the car. We have to keep in mind that we even add that for this painting, there was no particular photograph that I referred to. Again, this is something that I want to tell you every time you will not be referring to photograph whatever you see on their audio will be painting that that spot is very important for every painting that you do. Okay, going ahead and just finishing this jaywalking could pick more. Once this part is done, we will just finish off this one with some green sand with some more blue. So for the top or whether there would be highlights with our pen. So keep following it and I think it will get it. It's pretty simple, easy. And there is nothing much in terms of explanation that I have over here except the highlights that we would be adding. It's time for applying the black pen marks and for highlighting. Yes, that's the best part. I feel. I always loved doing this to showcase the most important parts of through this. And I hope that you will also like it. Once you do this, it's a very small, easy exercise, as I told you, if even the proportions of the card don't fit that, okay, Just try to adapt it and fill up your sketch book. Everything will not work. The vest as you want. Therefore, do not always look for perfection. Whatever you can do, whatever you can get is best to just stick by it. I think this is one of the best ways to go about for any kind of painting. And few of the ideas you have to highlight, few of the areas keep it as is. I use a very small scale. You can also use any other smaller version of scale if you have, if you have any kind of round scale, are the scales which have been rich, rich, which are smaller in size. It's even better, you know, what happens is for smaller parts, you can of course use them rather than using these bigger scales. I would leave that decision up to you, how you go about it. No best way or bad way, no good way. It's whatever works best for you. Go with that. Go with the flow. Sketch books are all about going with the flow. Whatever you feel is good, whatever you want to capture, capture that and work it out. This one is, of course simple. As I told you. I am highlighting a few areas and few of the areas I would be doing with my blue. You will observe how I add it. Now I did take some indigo. For the shadows and that's absolutely okay. Any of you can take those shadows. Any of you will make those shadows as it is under your car, that you weren't getting the shadows. So those small, small aspects, you know, add up a lot. That's why I always say that. The more you paint like shadows, the more realistic or at least the more, I would say interesting the whole composition becomes. The composition is not about creating a full composition where people, etc. It's all about capturing even a small object and just adding it to your painting process, or just to add it to whatever you think can work out on our sketch book page, I experiment with everything as I've told you, whether it be Starbucks coffee mug or anything, off my choice, I will cut out anything that is possible. So I leave that decision up to you. There will be times where I will just provide you photographs from my own travel journey. And you will see that how that photograph really changes to accommodate painting and CDC every time I don't need to contribute in a way that I get the best out of it. Some here and there. Few of the important aspects captured. Two of the important aspects are taken care of and rest. I would leave as simple as I want, adding some white highlights now, white highlights will not be seen much because most of the areas are in yellow. So only in few of the areas where you think the white highlights can be seen? Yes, you can add it over there. And oppose this. We will make our beautiful itinerary. I am so excited about adding that itinerary do will be will not be covering all the all the various itinerary that you see over here. We will only be covering a few of them because every destination we are going to paint for things over there. And then we will move on over here. It was the map. Then we went ahead with the Brooklyn Bridge, then the Central Park. And the last one is the Statue of Liberty as well as the touch. So the whole put together becomes four. And I do not want you guys to get overboard with any kind of a situation or just feel that it's too overwhelming, as I have already told you earlier in all the mike all the wild where we have these various things and getting added on. Fine. I guess this looks absolutely okay. Towards the top area, I would like to add the itinerary. I will take a small black strip where I would like to write as ordinary and then go ahead with this particular place. Okay, let's just keep adding a few more black ones and then I will get back. I did a wet the surface of vet and now I'm adding the blue. This can be your Winsor blue or any other blue like cobalt blue, etc. For the clouds area. And the rest would be in green. You can add the olive green, you can add a yellow green. It is just a portion of it where I want to show the tree. So that's for which we have to do for this part. The Greenville truly adds that interesting aspect, as I always say, to any kind of painting. Hence, I love to add that even for this particular painting, going with some of the darker values of green posters. Once I add the darker value of green, you will see that there is good amount of change in terms of the values that we are adding. Some of these pieces are lighter, some of the spaces are darker. It is still wet and we are going ahead with the size two brush to add these small, small dots. Once the paper is dry, we will go ahead and add these small, small branches. I'm using my size two brush from silver black velvet now you can also go ahead with any other size two brush like we were using the scatter brush. It's just at the tip of this brushes are sharper than what I was using. So if you have polar, you can even use Paula Abdul, I will not say that you have to or need to own all these brushes, so just whatever is available with you see, I have already changed my brush to size to versatile. I guess. That's from a SCADA. You can have any other brushes of your choice and just had these moral and bigger dots. We'll make it look more organic and to show the variations of your leaves, some of them will be darker and some of them will be lighter. That's it. Now, once this part is done, we have to just decide on the itinerary and add that itinerary. You might have a different itinerary compared to what I have. That's absolutely okay. You can have your own I'll write those itineraries, hiding the last few details and then it is done. Just a few lines here and there. Then once those lines are added, the I guess it would look more complete. Okay, cool. Somebody who's tense, you know, something, you'll paint. Sometimes we just get carried away so much with the painting that we keep adding small, small, small, small things. But we all should know where to stop hand. That's one important aspect for any kind of painting. We should know how to stop, where to stop or else it would be a big problem later on. Hence, knowing where to start as very, very important as I always say. Okay, I guess we need to write down a few more things and then this page is completely done. I hope you have enjoyed the first day of our New York visit. We are going to paint a lot more hand. The next destination, as I've already told you, is France. So there's so much to see through. We will be covering France, we would be covering Italy, we would be covering Istanbul, Indonesia, India, Africa. There is this so much that is coming up in the next few days so you get to non everything under the sun. That's the best part about keeping these sketchbooks. Okay, let's continue doing it and then have a final look. I hope you are super proud about this. I have the staff and I'm using it for writing New York. 9. One Point Perspective: Guys, so we would be talking about one-point perspective. That's what you see over here. What I want to say is that there are three kinds of one-point perspective that you will find. The first one is you have to note where it's a horizon life. So my horizon line, this line over here, whether any cube or any building that you look into. You will see there are four points from which your horizon line will move. This is one of the points, this is one of the bikes. This is another point and there's another point. Now, when you are seeing it from the front. That is, when we are seeing this particular statue of liberty from the front, these two lines will never merge into each other. And that's one important aspect which you see in all these, none of these lines are merging into each other. So there are three cases that I usually see. Whether you put it on the left, whether you put it on the right. That's how it is. One is that the vanishing point is not there on the plane of the paper. So if you add these, these will suck their thumb over the newspapers scale. And you try to mark this, so it will come somewhere on the vanishing point, okay? When you try to see all of them, you would be in a position to note that they all are coming on the vanishing point line, that is on the horizon line. Whereas there are times where they do not come and they're outside the plane. There will be many times where you will find this occurring when you are painting paintings, or when you are painting cubed, et cetera. There might be multiple vanishing points to which we will discuss later on how the two-point perspective box, etc. So all of that, I am not right now touching. It's a very simple thing that we are understanding over here. This is the first case where it is not lying on the horizon line within the plane. Now when it is lying within the plane, supposedly there, my building is extended towards the left and I see all the lights are moving towards the left. Here. This is your horizon line on this is the plane of the paper. And when it moves you will have three lanes, etc. You can have different types of windows coming in. Nicollet very much to this point. If you're trying to even draw, you have to make sure that these lines are like this. And then accordingly you can draw all your sketches off the windows, etc. This is again the point where these two are not meeting. None of these lines are meeting each other as we are seeing it from the front. We go to the third one here. The horizon line is over here and I'm extending on the right. It is similar to this one, just though differences. The horizon line is somewhere a bit shifted towards the top. You can place the horizon line wherever you want. But when you want making buildings, you should make sure that the top area is more slanted towards the vanishing point, whereas this area would be shorter compared to the top area. That's how we usually absorbed the buildings. Though there might be some difference from what you have observed over here, as well as there will be times where we are absorbing it from the side angle. And you will see that the van data two vanishing points which are occurring on the same horizon line. So those multiple vanishing points where you have 2 perspective will also come up in the next TO session or maybe venue or doing the France. I would go ahead and introduce that concept. But for this one, I would say if you will keep it as very simple, which is 1 perspective, hope you will like how we go about. This is just a very, very soft outlook of how you can work through this whole sketch and this part of the painting. 10. New York Day 2 Part 1: Hi guys. We are back on day two. Right now. We would be paying, taking the Statue of Liberty. If you see on the left-hand side, I have the statue of your body and I'm dividing the subject or to scale. Now, this is very important for you guys to understand that we have to call base or divide the subjects into broken parts. One part is where we are going to paint the Statue of Liberty. And the second part is the other one which is majorly go, holding part of the statue of liberty. So whatever or the part is lower half and the top part of the statue of liberty, which is in green, would be the upper part. And I am again trying to divide the lower part into two equal halves. One part would be majorly your from top half, and another part would be your bottom half. Even in the bottom half, you might have to divide it into two equal halves. As you are sure that this painting is majorly based on lines. Something that I always need to tell you is drawing is a base. But simplifying the drawing is very important. Always when you see a subject do not get guy heat away or do not feel that this is really tough. How do I manage it? It's just that if you can break the subject up to the scale at the Canvas stand, how you can add the whole lines, gesture of it. Everything will fall in place. It's just a breakup that is very important. And drawing it becomes a very, very important aspect in it. I have tried to simplify it to the fullest. If you see, I'm even trying to see how much is the left side that I need to extend. It is approximately the same. What I see towards the top, odd and even on the right, I'm trying to mock the same area. We are going ahead with. The help of our scale. Free camera might be the best in this case. But I know that you guys are big nose and we should not have this overwhelming feeling of how to go about any painting. Hence, I always prefer whatever resources we have available with ourselves, we should use it to the fullest, like a scale pencil eraser, whatever you have it. And then go ahead and try adding these lines. Now, the other lines that you see are pretty much as I observe in the paper. I am going to use it as such. It's not that you have to measure each and everything are few things you would just add as you observe a few things. So you have to just measure and add it. Again. The big thing that you do is approximate one. We are not trying to go to realism completely and add everything that is completely details and go with every centimeter millimeter difference or understand how to add all that centimeters and millimeters. No, That's what we're not going to do. We're just trying to war with an approximation and understanding that we have about the sketch. That's it. Has you progress. You will understand that everything that you are fainting is not going to be exactly the same. It would be similar to what you want to depict? Yes. I think that's that's what I wanted to mean. And do not get disheartened at any point in time on do not feel the complexity that how we go about painting just simplify and just think that you would be in a position to manage it. It's easy. Many people have already done it. It's nothing new that you are doing it. So if they can do it, you can also do it. Yes. It's just a bit of practice that you need and understanding how to break it up, as I say, on a scale basis. Okay, going ahead, there are so many lines that I'm adding. So go ahead and add these lines. Keep working. Sorry, my hair has come and get me. And I still continue working with these smaller, smaller details. As you go through the left hand side, there is a small idea of perspective, which I want to tell you. The lines on the left that now I am trying to draw will need to one single point, which is called as the vanishing point. This is majorly my horizon line. Over here. Only this one single-point perspective is important and unique to learn that two-point perspective will come as we progress through the other parts of the painting. Vanishing point, I think, is a very, very important concept. And the more you understand it, the better it is, we will have more of, I would say, ideas as well as motor oil paintings and sketches, where you will get an option to practically experiment with the vanishing point more. So I will have those kinds of sketches to coming in which will give you a major idea and amend your big toe also into your painting. How you add this vanishing point pretty easily. I have been telling you about the scale, okay? Now what do you mean by exactly the scale? It is majorly the size of the object that you are trying to make in relation to your surroundings. And that's how you measure your scale. It can be like the height of a car or the height of people, how much it is in comparison to the height of a car. So these kinds of examples we will explore to understand the scale of a subject more as we progress. Over here, right now, we are majorly focusing on the proportions as well as the one single vanishing point. As I have told you in terms of perspective, it is, everything is very mechanical. If you see, we are drawing the major, major lines that we observe in the painting. I'm basically in the sketching of the picture. If you observe that those are the major lines that are Sketch and rest, I leave it. I am not going to actually go through each and every small detail that absorbed. You can practically draw everything that you observe part over here. What we have to concentrate on is exactly what have to paint. I am not going to paint a very detailed that I observe over there. This one aspect of drawing is very important. You can draw anything that you'd like, what you exactly paint and what you exactly want to show to your spectator becomes the main key or becomes the main show for any travel sketch or any kind of your drum, clean air, or any kind of the monuments that you are making, everything that you do. This one important whole point becomes very, very important. And believe me, if you follow this, what you really want to detail and what you really want to show to your spectator. I can tell you you are going to name each and every painting that you make. The line that we draw for our sketching, that is, the middle line is not the best to her where we actually add the statue. We should understand that every line that you make will not turn out into one single point which would help you to hold the whole painting together. You might have to draw a few more lines. I am right now struggling with the face. And believe me, it's not that I only struggle. There are times where I have to understand that this did not go as per my idea. And sometimes I just don't doubt and try to first focus on the structure, the structure of Statue of Liberty. Because anyways, you see the face from all real far point. And that's one of the reason you have to actually add very, very less amount of details into it. Hence, trying to add the details on the broader parts is most important at this point. Hence, I am focusing on that part. There are three or four major lines when I make the Statue of Liberty. And you can also just follow along and draw this. Once you are done with the drawing, it would become really easy for us to paint. Why I say this has, you already know that the details are set. We have to just go along and paint. Now, there are a lot of lines and lots of layers, but we will be doing, which is absolutely okay. As we progress, you will understand that layering becomes a great aspect of showing the depth into the painting the more you lay, the more depth that it creates. Now, this is again, one more aspect and it even helps us to show light and shadow. So if you are going out and want to paint the shadows, you can first add one layer which is really liked and go with the shadows which are darker in learning. Or you can go with a darker values of that particular shape tool for creating those shadows. So these are the smaller aspects of shading painting, or you can tell that these are the important aspects of learning. This is 185 GSM paper, as you already know, and that's one of the reason is my dry out faster. You will see how I struggled a bit with my sky Next when I start painting it. But that's absolutely fine because over here we are just having very light washes. Light washes do not demand a lot of colors to be added on. One or two or 4 trillion cartoon you see to being added on. So it becomes easier for anyone to walk around it. Fine. I guess this looks so perfect. And then let's just do the rest of the sketch that is left. Once you are done with the sketch, I will help you to add the smaller box on the left and on the right. As well as we will have one or two smaller buildings that we observe on the right. This is a simple, easy as well as you can practically loan one single perspective through this painting. That's very important when you go to perspective. And other part is the proportions and scale, which becomes very easy when you ask them this painting, you have to restrict yourself to the proportions that you have decided. You cannot go beyond that. That's for sure you cannot do. So. Yes. If you follow the proportions that you've set for yourself, you would be in a position to nail this painting. As I said, that the sketching is the base. Once you are done with the sketching and your confidence at the sketching, believe me, painting is nothing painting part. Yes. We have to spend more time on it because there is chi there is some bottom reverted or whatever is there. That's fine. We're not going into detail of that, but every single thing needs to be looked into compared to if you weren't done with a grid sketch, it becomes very easy to add the colors. That's something which I have always call this kept in mind when I work. And you see it has been, I mean, an eye-opener for me a while back where I was struggling with these cityscapes or these kinds of monuments and planar, everything I was struggling with like a few years back. And when this one single thing I kept in mind that the proportion scale, the drawing should be perfect. And then you can any painting of choice. Okay, that's, I think the height of the older now. So let's move on to the next lesson now. 11. New York Day 2 Part 2: Okay guys, it's time for the final thing, and it is all about painting. Now, I know you guys are set with the sketching. You have done excellent, but you're sketching, but so believe me, when we start with the painting, you will be amazed yourself how beautifully the colors move around, how beautifully you get the final outcome. Before I go ahead and with anything right now, I would ask you to first to wet the entire surface for the sky left-hand side, I would pick up complex because I do not want a lot of sky colors to flow over there as I want to paint the torch. And I'm starting with Winsor blue. This is a beautiful color. If you have this color perfect. If you do not have, you can even use Taylor Blue oral so you can use cobalt blue, whatever blue you have available with you. It is just the sky that you have to paint. I'm dropping some colors. The speed of the video is 1.5 x. So you can adjust the speed wherever you think it is necessary, or you can even stop wherever you think. You want to stop and go head and painter bit by bit, picking up the colors in few of the areas. Now, I would go head and had some colors towards the bottom part. If you're seeing right now, I'm struggling as the parties hold very, very dry off. So I have gone ahead with home paid off my brush, and then blended the color over there. That's how I always do it. If it's not wet enough to just use a damp brush to blend it. Once you are done with this part, Hi, I'm using some amount of my Prussian blue. Now, if you do not have this Prussian blue, it's absolutely fine. Mix some amount of your indigo with the color that you have already applied and catcoq value, which is different than what you have applied. That's something which I always say that the ghetto value that is different from what you have applied. This is really important. The sky is very simple in and around the Statue of Liberty. I'm adding the sky. I'm not going to add it at each and every place. The sky is not exactly same as what you have absorbed in the photograph. I do tweak the skies to an extent possible, but that can be a reference point. You're painting coal waste. So go ahead, use it for your reference. But do not go by it completely. As there are few things which we will do a bit differently compared to the photograph that you observe in the painting. Okay. I guess this look so great. Let me go head hand just some amount of the blue color, even towards the bottom right-hand side so that it looks more even like your paper dry off then had some amount of your royal blue for the water area. Now, royal blue is a very light color from seemingly, or if you do not have this color, go with civilian blue. The lighter shade of surrealism blue can work well for this part. I think these are the options. So for the blue that you can use orals, any light blue that is available on your palette is good to go, even the sky color that you have applied. If you want to go ahead with the same colors, that's absolutely fine. Just to like the value of that will work. Which means that more of water and less of pigments into it. Just adding some darker values towards the top. This is either the Winsor blue that you can take photos, you can go ahead with heartwarming. Now, ultramarine is one of the beautiful and the most favorite color of mine. But as you, as I've told you also that in granulate more hand side like to use it less cell compared to the other sheets that I had for the water area. I've used or damp brush to make the bottom area a bit more lighter for the water. And in and around it. I am now going ahead and using the darker blue. Now, this blue, of course, can be any shape that is available on your palate. The top area is, of course, tried off and we will go with yellowish green. For this area. I have mixed some amount of my yellow into the green. That is your yellow green. And I think that's one of the reasons this color is more lighter. And the yellow that I have taken is practically Sennelier, yellow or yellow, whatever is available on your palette. Now adding some more yellow if you absorb and green to make the shape. It's simple. If you see, you can always make the shapes that you observe any person using. It's just that the shade that you make might be off a bit change than what you absorb right now because the pigments that each and every company uses for their particular shade is a bit different. And that's one of the reasons in India might be bit different than Magellan. Magellan might be a bit different than insulin Newton. So these are the things that you will observe as you go head. One thing, try to use only artist grade pigments. Artists grade pigments. So if you use will give that glow. Your painting as you are working on a 185 GSM paper, if you are not using artist crepe pigments and only going ahead with student grade pigment, it might not be the best thing to do. That. That's all hi Can Save because it will turn way lighter. You know, we cannot do go with multiple washes on this kind of a paper, which is, I'm going ahead with n washes or four washes or five washes. The people will give up at 1 in time and which we really do not want. This paper is really amazing for two or three washes. And you should try to go ahead with that. I have ordered the values of green and I have added it towards the right, towards the left side. Along with it, I'm taking cobalt green. So there are 34 kinds of green that you get in the market. One is the cobalt dream is to have tailored, of course you can add a bit of white in it and you will get a color that is something similar to this. Whereas if you have other colors like Verizon blue, then cobalt green, turquoise, they might be quite similar to what you might have to add a bit of white into it to get a color that is lighter like this one. I am going ahead with very, very light wash if you see this as more of water in it and less of color in it. Wherever. I think that I want more lighter colors, I would go ahead and just add some water in that space. Now water really helps the colors to move around. They will really move from this case where you want it to move and that's how you can make the space more lighter. Okay. I guess this is a color that we wanted and now I would go ahead with my Naples yellow. You have to add a lot of water into your Naples yellow while you add to your painting. It's a very simple process of addition of Naples yellow. Now since I'm going ahead with some very, very light wash, I will cover the entire space TO there is a top area, which is also in cobalt green. But when I come back to what I tried to add the cobalt green, I would be in a position to the width. So that's a mistake which I did initially, but it did not The backfire or it did not come back to me as the wash was so light that it did not make much of a difference when you added or any other color. Now this is the first step after the first year to practically can't say that you will have the best outcome. Believe me, there are times where we give up after the first year, and that's one thing which I always say to everyone who have had a meeting with me or who have any kind of workshops I'm giving them who have been my students and never give up on your first year. It's nothing. When you start adding your layer two, layer three, layer four, you get to understand how the painting is turning. So I'm using my darkest value of green. Either it be when I say green or either it be any other green off your choice. That's absolutely okay. Whatever is available on your palette, the colors that we have discussed, you know, we are using almost all the colors that we have used during our color palette. There are major colors Sarah, always say you should own, and those are the colors which you can use for all your paintings. Though, each and every painting comes with their own challenges or may require a few sheets, which usually we do not get to see commonly, like here there is cobalt green, which you usually do not use very often. Those are the things. So I guess you might feel a bit lost. But you can, of course, search for yourself how you can make the cobalt green. Here. I cannot really go head and work with the color mixing pad, but I would add a small video later on in the footnotes section where we will see how we can go ahead and make the cobalt painting of this part. I'm using my size two brush for making the smallest strokes everywhere and wherever I want to blend it, I'm using my blending brush for those aliens. Few of the areas I change the value as you see, even when I keep adding the colors, I do change the value to a large extent, some of the areas, I don't add any colors altogether. That's how I like to keep it. It's time for the second layer on the Statue of Liberty. We are going ahead with one shade darker with the cobalt green or her, I said blue as I have told you, any color you can choose and start adding it to your painting. Once you are adding or make sure that you're not covering the whole area, who are only covering a few spaces where it's important. And you make few strokes like these lines along the sketches that you have already done. Everything, as I say, doesn't need to be perfect. It has to be few areas which are darker. It has to be Q areas which are vital. That's how we go about it. There is no best way you can say the way we have to paint it. It's just one of the ways in which we paint. Now I'm adding the cobalt green to the place that I have told you. Or else it can be even turquoise. You can add white into your turquoise and get a color that is similar to this one. Fine. Once you added the colors to most of the areas. So go ahead and even added on the book part. Let the band dry off completely. Once it is dry it off, we will go ahead with the brown and then come back to the spot. Okay, I think I would add some of my burnt sienna into the palette and start adding smaller lines towards the bottom area. Now this is a very interesting part over here. If you see, now you keep adding these lines and you will practically blend it with the same brush that you also, this piece is really small. That's one of the reasons you have to be more. When you add two colors, though, if they even spread to go next space, it's perfectly fine. You can always use a tissue and pick up the Congress. Something that I want to tell you as a trick is, when you are less confident about adding the colors, go ahead with the darker spaces. Now, the darker spaces you always know will be darker. So there is no way you will go wrong and the painting becomes bit more darker, or the spaces become more dark. You can always go ahead and add one more layer, even on the lighter parts. So that's one trick which I have been using for many of my paintings and I really like to even share it with everyone. It's easy and it's done Very nice flow that you absorb over here. Okay? One thing is adding a few more lines here and there, just continue with the process. This over here. I don't think there's much of explanation that I need to do. It's just simple colors that we are adding on the darker side, which is towards the left and the lighter side is on the right. That's the only thing which we follow when we add the columns. Going ahead with my brown again. Now, if you see on the left-hand side I have gone with a flat wash, whereas when I'm going towards the right side, I am finding bit by bit back area is under the light and that's one of the reasons. So I'm going. Altering the values over there compared to what I have done on the left side. This is it, I guess it's just more about altering the values and getting exactly the painting that you want to do. I don't find anything more complex. I would say it's all about how you perceive it. If you can perceive it, well, if you know, if your basics of perspective scale is right, I don't think that you can go wrong with anything. It's just a basic drawing which has to be correct. You're just adding the colors. Painting. Of course, anyone can do it. If you have a bit of a knowledge. I think you can need any banking. So this is what I'm here to tell you how to work through the perspective part, through the sketching part, to the drawing part more. And I feel that that's really the base of any kind of painting though. We are always good with the bad that we have to sketch, we have to throw, and then we have to go ahead with painting. But if you can have a bit of patients with this painting, I can tell you the painting is just 30% of what the major part wholesalers, so the sketching and drawing, everything will work on its own. We are going to add some darker values of green now in few of the ideas, as I always say, that you should give your people the time to dry off on it as 185 GSM. That's one of the reasons when you move in and around, like you are completing one part and then moving to the next, the first part becomes salty, dry it off. That's the best way you can actually avoid all the time you have to give for paper to dry off and come back again and then camping. That's one of the reasons the painting becomes quite easy. And you can quickly do it rather than waiting for quite some time on a 300 GSM paper and then again getting back. So this is one thing that I really liked about painting on one AD five-year assembly plant. That's one of the reasons I have been seen to each one of you because we will be working in there. So it's important to go ahead with 185 GSM rather than 300 years. Going ahead with the somewhat darker value. This is very simple. You know, at every space I will not be adding this. Going with some of the darkest value. It is something like Van **** brown, whereas a very light version of Van **** brown that I'm using for hunting tool. This part of the painting, lots and lots of water and less of a Nike brown. If you do not have been **** came down, you can always go ahead with your sepia now, but NCPA, you have to add some amount of your bones here and now so that you get a color that is similar to what you observe right now. Okay, I guess I would go ahead and make some more lines with my brush. So this is the third year that practically we are adding. And I think I'm still happy to see how the painting is turning up slowly and steadily. I give the painting the time. It takes some do not rush to not hurry up. It is already a lot of effort that has gone in to this painting. It's just about 60% to 70 per cent you are already done, which is the last few minutes. Iqr, which is all about 2025 minutes that you observe, or maybe 30 minutes max that you have to wait for the painting to complete. And in that majority of the part is all about adding lines, adding those black things. Live washer, something that I have been very vocal about in many of my other paintings to now live in wash. One part is that you are going ahead with the adding lines and then with the wash part. Whereas over here, I like to do the wash simultaneously, which is how I go about it. It's like that you are not adding the black ink in the beginning, whereas you are adding it later on. Whereas in the lightened, the pen and wash, what you usually see is so pen and wash, you will see this ink. Coming in first and then the wash welcome. So this is more of a hybrid model where we are adding the black pen, then the white ink, etc, everything towards the end. Rather than adding all that highlights towards the beginning. Okay, going with the darkest value. Now this is the fourth layer here, believe me guys, the more Eulalia you're painting, the better outcome you will have. So that's something which I have also launched with time. It's not that it comes with the first row. And it takes a while to understand when you are working with lesser GSM paper, as I have told you earlier, you need to go with major. What she says dries up very, very fast. So that's something you need to keep in mind. But along with it makes sure that you're not getting any hard edges because hard edges will make the painting look absolutely. Not that great. I mean, if you have this guy which is so soft, Why do you want to go with hard edges of the sky? That's something which I don't like or I particularly don't prefer hand. That's one reason I always, always use arches paper or Fabriano paper. Both of these papers are very good to use. Even the Fabriano 200 GSM if you plan to use it, please go ahead with that. That's one of my own favorite papers to use. Finally, I think we are going to add a few more dots here and there with the ductus value. Every time when I'm adding these lines, they are not same or they are not equal. And that's something which ideally want to tell you that don't make it equal, make it broken in some places and make it more straight or make it more longer in few places. That's the only thing. I guess. There's less to explain right now. As I progress, I can only tell you that slowly and steadily you will get a hang of it slowly and steadily. Even know everything that you paint will become easier for you. It's just the first one that we were doing and it is not a very easy one. I will tell you once you are done with the painting, please, please make yourself feel good about it. You have attempted something which is tough. It's not an easy one hand. You have practically nailed it. Whatever you have done is the best that you could do today. At least, you might have to actually paint it. Again. That's absolutely I get this painting two times myself before coming up with final painting because it is not so easy. And I do get that point. The whole of travel sketching or the whole of this part has never been easy to anyone. It's just that we want to break it more and more and breaking it makes it more easier. That's the only way what I can say that I always tried to break as much as possible for each one of you. Everything that you paint, because that really helps you to go through smallest steps, easier steps, and progress with your watercolor journey. Here we are. We have to add the darkest value and a lot of quotes that I have. I am going ahead with potato turquoise from sending via. You can also go ahead with Taylor Greene. If you do not have the state or turquoise, that's absolutely okay. Something similar to it as good to go. I am painting the darkest value you have seen. This is the third day or that we are going ahead and adding every time I lead, I tell you that this might be the last layer or this might be Next clear or etc. So this is something that I have learned. As I've told you, the light and shadow works only when you layer it. And that's one of the reasons we have been doing this part more often with this kind of a painting. Once you finish it, you will be very proud of it. That's all I can say right now. Adding the shadows, you will keep adding it. And then let's work on the top part, where we have to paint the face as well as we have to add smaller yellow light on the torch. Time to add some ripples or lines. Now, how do you depict the rebel set is majorly the lines that you paint, which will give called Lakoff ripples into the water area. Going ahead and adding these lines are all very, very easy and simple way. I am just hiding simply few of the areas I'm breaking it up for you are not happy with the brush that you have. Go ahead with the smaller brush that would give you more confidence. And that would really help you to add these colors in a better way. I'm picking up the scene darker value of the color that I have used for the sky area. It is simple, easy. Believe me, you can go head with any way that you want. You do not need much of worked through horn, this one. It's just going with the flow, as I always say. And then add the darkest value towards the top area. Going with my Lamy pen. Now, if you do not have this pen, please use any gel pen that you have available with you. And then keep adding these lines as you observe me doing for the darker spaces that we want to add to our painting. Now these lines are basically the highlights as well as they are the basics of your painting. Be frank when you are adding these lines, it helps to show the exact structure of the painting in a better way or the exact structure of a drawing that you have done in a better way. But as I told you, this is a hybrid between an ink and wash over where you have ink throughout the painting and then you can go for a light wash. So this is majorly or hybrid in-between. Now, this ink can, is water soluble. Therefore, if you add water to it, it will become soluble completely and you might smudge it. So if you are not very confident about it, go ahead with permanent markers. They are better off at this point in time. Once you are more confident with them, then you can go ahead with this. I'm adding some more lines now with my pen in fewer behaviors. So as you see, it's more of ink and wash. Right now it's whole inking can embed I'm going to apply and make the highlights give the structure possible outlook. And this will highlight the structure as I've already told you. It's just a few lines here and there, and that's all. Okay. Let's add some lines on the tackled values of even the Statue of Liberty in view of the spaces where we live to the word. Then once we are done with this part, we will try to add some people into the painting. Now how do we add people? It's a very simple way. You will have to use a Posca marker or a Gua Sha or anything that is quite opaque in nature. And small, small dots here and there as you saw me doing it. Then now again, a simple process of finding a few lines. So with the help of your pen, that's all. It's some really simple just that though. I think it's within us that we want to complicate a subject or we want to practically ease out on any subject that we pink. This, I have realized over time. Then I started off with any of these sketches are used too complicated so much. It used to take at least four or five hours of my time when I started making it. As per what I explained it to you nowadays, it hardly took anytime. It of course. I'm not saying that it will not take any time, but it would take about 1.51 plus ty was tagged max, which I think all of us can give if we are even spreading it over to the process, you can give that much time to finish it off knowing the fact that this is not such an easy process and travel sketching has never been easy to any one of us. It takes a while to get a handle third time, don't understand it. Therefore, we need to dedicate some more time to it compared to any other subject that we want to be good. This is something which I have realized and I have practically worked hard enough on that part. Although what you see right now is yours of work that has gone into it. But all I can tell you is that you will be in a position to do it very, very well. I'm using my Gelly Roll white pen for adding these highlights. Now, it is majorly on the darker areas where I want to show it. Once we are done with this part, I have already told you we will be adding the people. Okay, It's time to now go ahead and start adding the whites came to our statue, as well as you have seen me adding it in a few other paths. This is the Jelly Roll pen that I've been using. And you can also use Posca markers if you have for white or any other acrylic marker which is there in white. Those are the markers that can always be used for your paintings or for adding any kind of highlights. Guys, now, if you see the whole painting has taken a shape. Whatever details are we are adding right now is practically it's true. It is just to make the painting look more. I mean, it's technically it would look more beautiful. That's how I would like to see. The structure, highlights. Everything is already set. The perspective seems to be fine. Hand, I'm going ahead with Posca markers, as I did tell you earlier. Now, this has Hey, bucolic in Canada. So I'm just making some lines. It's random lines with a few of my colors that I have. And once I have added these smaller lines, I would go ahead and change the color to yellow. You see how I am altering the colors. And after alteration of these colors, you will absorb even other colors coming in light, blue, purple, etc. Because most of the people where different kinds of shades and I really love to add this kind of additions to any of the paintings. It's just that few people are standing far away and you just get to see the address. That's it. And I had the head and just add the legs. That's it. You don't need to define anything more for this. But that's one of the most easy and beautiful as well as amusing parts. I would say you have depicted everything, but you did not need to do much in this. So yeah, I guess that's good. Go ahead and keep adding until you are satisfied, but don't go overboard with it. Just like when we have galaxies guy, we keep adding the stars, stars and stars. So that's not how we go about in this place. It's just the head as well as the legs that we need to show. That's fine. And then have a final look at the painting. I'm pretty sure you will fall in love with it. You will literally love how the whole painting has shaped up. There is a bonus lesson with it. High would be releasing that lesson day after tomorrow. And you can paint along with me. There is pencil sketch, which is the need. And it would be of course, again 1.5 XP that I would be adding this video too. But I guess you will like to add something like this to any of your paintings because not only it shows the detail, but it really helps you to bring out something more rather than only your watercolors. Finally, you guys saw the painting has shaped up and I'm so proud of how it looks right now. I think that you guys have also need your painting. It's just that there might be one or two attempts that you might need. But I can tell you this is a real easy one. It's just that you have to know that you have to work on April which can take two to three washes. That's it. Few highlights with Ben. And you are all set. I hope that you have enjoyed this lesson and I'm coming up with the bonus lesson next, as I've told you, the bonus lesson would be off much more used to you. As we have less exposure to the drawings that we do. Add something that I really like to teach us how to draw and how to sketch. Because practically that is the base for all our paintings. And this whole structure, or this whole class structure, is based on the idea of drawing, sketching, and then painting. Hence, I think this particular exercise would really help you to go. 12. New York Day 3 Part 1 : So we had the tree of New York and today we are going to paint the Brooklyn Bridge time. Oh, I promised you the bonus lesson. And of course it's a bonus lesson, so you will get it as a bonus students. After the Brooklyn Bridge, we will do our view from Central Park. That's how we go about it. Now, this is a 2 perspective, but frankly, I really did not want to introduce it so quickly to you guys. But as we progress in this journey, I know it is important to even known the two-point perspective over here. I am not going to tell you how to work on the one-point perspective as you have already noted, and you already have seen how the one-point perspective works. On the left-hand side, there is a one-point perspective. And when you have to draw on the right-hand side, there is another one-point perspective which works. That's one of the reasons setup dole. It's not two-point perspective. I would give you some of the ways in which you can, of course, work through the two-point perspective. But right now, let's go ahead and just add a few lines. You know, the base, the grid part of drawing any bridges or painting branches, it's pretty flat. And these are just based on a few lines. If you can get those lines correctly, then there is no problem. You will get your final painting quit the left-hand side of the bridge that I'm making that as the slanting line which you see from the left to the right, they will converge towards one single point on the right, whereas on the left, and it's not on the paper plane. That's the best part. I have been telling you this that sometimes you will not find the lines converging on the paper. And there are times like this which happens where you will not see these lines converging on the paper, but when they go out of the paper plane, they are converging. So this is one of those areas where you can very well absorbed the lines are not converging to one single point within the paper plane. Once this part is done, we would go ahead and just start adding the other lines of the bridge. This bridge has got a very nice shadow in it. And that's one of the reasons I did choose this one for my painting because the shadows really look amazing in the spot and how to color mixed or shadows, how to paint it. That's one of the things which I really love to teach coal-based the light and shadow effect. I hope you're going to enjoy it, but in the meanwhile, try to just draw along with me. See the drawing is not very tough. I can tell you that it's just lines and you're making those lines, but they have both the scale. That's another great part of this painting. We are not going to use our free hand drawing lines, though. Most of the others still the same and they draw it freely with the hands. But over here, there will be a lot of overwhelming feeling if he started doing all that right away. We will continue to do what during our last few days where we might go ahead and draw a vague feeling with our hands, those things, so you can always look into the future, a handout, make it for yourself that I will leave it for now. I'm going ahead and just drawing these inner side of the bridge, you see these beautiful structures that is inside and the people pass through that. So these are kind of gates, are open areas so to which two people walk. Last time when a visitor at Brooklyn Bridge Street was in around 2017. And really it was so beautiful. It was mesmerizing. And hence, I just wanted to add it to my At this time I wanted to really paint that. At that time I was not into painting much. And I just went like a tourist, had a look at it and came back when I painted. Now I can relate to it so much more. The huge bridge that saw how mesmerizing it is to paint with your own hands and make it look so beautiful. You know, capturing whatever you see is something that I can't tell you how beautiful it is and how much memory is it can get back to you when you finish it or when you go to a place and want to just go ahead and paint anything that you want. You have the power and use yourself you want to create or that kind of power gardening nurtured. That's what I say. Your intent should be to create. And rest. Everything will fall in place. Believe me, guys, everything falls in place. You do not need to practically learn everything. I have learned. I have literally struggled for so many years before. I feel that I can give a class like this where you can come and learn something from me. It takes a while. I will not deny it, but if you are at it, you will surely get through it. And this class is surely a guidance to whatever you want to think. Yeah, I might not be reaching your right now the angles from which you should sit, what you should see, and how you should think and rethink will come when you are progressing through these lessons, we would go ahead and even not go on the location and paint some things. So those kinds of experiences are also coming in. It's just that we are trying to build in a base for our future lessons. And if you attempt these sketches and painting, I think that's more than an app. You should not eat meat, you should not try to get everything perfect at everything amazing. That's what is not the intent of the class any time. What you have to learn as the sketching is the base for any painting, the drawing becomes a very, very important in this. And hence, you should focus on the drawing part called lot more before you step onto painting. You know, patients is the key and patients in something that you really need for any urban sketching. And as you progress through the ears, these catching will become quick. I really remember I used to take for five hours for one urban sketching when I started it out. Now it has come down to 1.51 hours. And maybe as we progress through the lessons, you will observe that this timeline is producing more in this one or that we can construct a whole structure painted and just like get it done. It's all about the practice and knowing the right things. I must say that knowing the fact that you are going wrong somewhere in the perspective is very important. Knowing the fact that you are not going to add everything that you see in the photograph is something that we should always focus on. I have never thought that I would be capturing everything that I see and I do alter the photos to a large extent. The wipe off the painting is basically fall season or you can say autumn season at that time. And what I would be painting is more of the green areas, etc. Therefore, there is always a gap which are absorbed. But I like to do it my way and I like to add those greens into my painting. This is it. I think that's what I wanted to tell you. If this bridge looks difficult to you, then I can tell you you would be absolutely rewarded in the section where we would be covering France, another section of France, you will see a lot of easy paths coming in as you have already experienced more difficult parts. And I have even introduced watercolor inks or sketching things in that part. And I would love you guys to have a look at it. It's one of the, I think it's one of the most beautiful parts that you can. Of course, go ahead and check out and try to paint on your own. There's so much more to learn than we are using a car loadings are drawing in some, it's not similar to how we paint with our colors. And there are a lot but things that you have to keep in your mind, then you start painting or drawing it. Anyways, I'm going to introduce that later in the latest stages. So that's not right now, get diverted. And as I've told you, this is two-point perspective. As such, whenever you are drawing the readings and believe me, there is not only two-point perspective, there are multiple points perspective which you will get. It is one side of this, one side of that. And then you will have multiple vanishing points to all of that. All of that I think that I do not want to introduce right now and I do not want to make things more complex away. You just allow to sketch through the structures that you observe. The structure is, as I've told you, it's not tough, it's going to be simple. And most of the areas, of course has some trees and also we will draw those twins. I guess now I'm pretty much a good width, or how does this toning up? And I think I will not too much of a change over here with this structure is almost ready. We would go ahead and just add some more finishing lines and get done with. Few more lines that we need to add for the top or the bottom of the bridge, which is practically holding it. This is the ropes and the line's not you need to make things are the major ones. Some man, you know, I may go wrong. And yes, there are times I do go wrong, but sometimes I do even change it as far my requirement, like over here, it's bit different, whereas when I added to my painting, I would see it a bit more differently. It is not going to change anything much, but it's just how I want to add it to my painting. You will not even find any change when you see it separately compared to the one that you love. So right now, okay, on the left side, as well as on the right side, you need to add all the lines. Once these lines are done and have a look at the sketch, do remember that the main structure lies in the middle and rest or whatever you, the structure that you are drawing on the left as well as on the right. Those are just Tom to support the main structure which is a nonmetal. It's not exactly in the middle, It's a bit on the right side. I usually don't place some main much of a structure in the middle because that really doesn't give us very good vibe. That reading that, that is not the best way to actually place your object when you are having a look at it. But sometimes you know the photos, etc, or wherever you are at the location, you would like to do it that way. So it's not that it's like these are a few rules that you should always follow compared to you not following them. Okay, I guess this is it. Let's move on to the next lesson where we will paint them. 13. New York Day 3 Part 2: Let's go ahead and apply some water towards the top area or two with this guy area and then start adding the blue color. Now, many of you might be confused with the blue color. It can be Windsor blue and a bit of ultramarine in it for the sky. But you can use any other color of your choice for the sky, there is no best color that you have to go ahead and use, as I always say. So you can also go ahead and use the royal blue color. That also looks perfect for the sky area. These are few of my own go-to colors which are used for my sky. Arrest. Whatever is available on your palette. Go ahead. But that, That's how I always see the colors that we use for in our painting. Okay, I'm taking it a bit below and then we will start with the bridge wants this part is completely dried off. It's time to start adding the colors to your building. And I usually like to use my bone sienna, and I mix it with a bit of yellow to make it look more lighter in shade. I had this yellow all your thumb from the last painting and I just used it. It was the first painting that we did about maps. So yes, I had a term that I am adding the colors and then just taking off all the extra things into the water and using the water for the blending. I do this very often than ever. I need to add the colors for the first layer, it's important to go ahead with the darkest value that you, whatever you want to apply and then you can add more than one water, two, even on the paper to make it more and more light, that's the great way to work around. I feel this is very strongly that you don't need to always go head and keep painting everything at that point in time. You can just use water, even on the paper for blending your colors, for making it lighter, for even making the colors look more lighter in shade compared to what it should look like. So that's, that's very great way to actually say that watercolors, the main work is not of the pigments. The main workers for the water that you add them better water you can apply the better understanding you have about your water. The veteran outcome you will have. Yeah, pretty much. It's all stuff you might not have discovered it. Or if you are new to watercolors, you don't know about this. But frankly speaking, that's what goes into watercolors when you work with it. Going ahead and adding the colors here and there. If you see sometimes I add a bit of darker value and then I bid bit of lighter value. Now, I always order the values so that it shows up the wear and tear anywhere, whether it be bridged, whether it'd be any kind of monuments, buildings whatsoever it is, it should show that wear and tear and that were in there is very important. Time to add some darker values fit with my size two, brush that I would go ahead and add it very simply. I go with the darker part over here, and then I am using my size two brush as the painting is very small compared to like it's an A5 size painting. If you see, it's not a very huge painting that we are doing. Seed, the more bigger we go in terms of the size of the paper from a five, the longer it might take for us right now. But you will see that we will work on A4 size paper. This part of the bridge that we would be painting on an A4 size paper. So I will use both the sides of the paper for doing that bridge. Those kinds of things are going to happen. And the major part that I want to tell you over here is to create the shadows. The reference image, of course, I've uploaded in the resources section. So please go ahead and have a look at the resources section for the reference image. If you see, I just walk around with two shades over here. One is the brown that I'm walking around with. Another one is the dark color. It is my Van **** brown or else you can also go head with any dark shade of brown that is available with you. Whether it'd be CPR, whether it be any brown shade of it, like you get, you can go ahead with any shape. But the major intent of painting this part over here is to show you how to mix the colors and how to alter the values even within the place where you are painting. It's simple, easy, just that sometimes we are not aware of it and we just don't know how to work around with it. If you see my first layer, once it got dried off, I have started adding the darkest value. Adding the darkest value is like going with the boldest moves. If it goes wrong, it goes wrong, but if it goes right, Oh my God, the kind of final outcome that you get would be super remains to see that. Going ahead with, again, the darker part. Another thing that I wanted to tell you, what's that? I'm even mixing some amount of my indigo or else you can also go ahead with Payne's gray. These are two colors that I always go head, but when I am painting old buildings or whenever I have to paint rocks, this is something that I really, really love to do. Fine. I guess. This is it, blending it with some brown color. Now, this brown color is very pretty and it's from PWC that I'm using it. Though there are other sheets which I use from when sin and Newton, and that has been my go-to color for so long. But when I was introduced to PwC, I just felt that this color looks better than the ones that I've been using. It's just a personal choice. You might find it good. You might find that I'm not as good as you see me using it. So it's all, it's all perspective again about how you see your own colors. And that's something which I always say that it's all about perspective. Okay, you see me using my brush to create those beautiful shadows and it's simple, easy. And I'm just creating that line. I like to create that line as a guidance for myself, how I have to go about this. But the beauty is we have created the first layer so light that whenever we are adding those shadows there, so well-defined. And you can practically see that this is the one that you would like to add this up. This is one part of it when you go to this drawing, it's not, I know I'm jumping the topic, but when you are working with those things. I can tell you we are, we will work with only monochrome. And that particular painting you will fall in love with. One is, the structure is pretty simple in terms of how you want to go about it. We will just create a quick structure and then we will start adding the colors. But more than that, it's working with one single color and that one single color for your travels catching is something that is less explored. And I really feel like you guys should try to do that when we are working through the France part. And that is it. I mean, I am super excited to introduce you guys to so many different mediums. It's a mixed media class where we get introduced to so many mediums, but not using them together in one single painting. That's why I did not need from you. Yeah. I don't do those things consciously keeping the fact that I know I would be using inside would be using many more things like markers, et cetera. When we are going ahead with so many things together, we have to always keep in mind that we will not make any mistakes. We will not mix so many mediums that it becomes so confused. Initially, I will introduce its sole slowly to you guys, every small, small thing and believe me, you will fall in love with it. Be there at me. I'm telling you each and every day is going to get better from here. Well, I can see right now is whatever you would be doing would be pretty much a repetitive, an iterative process because it takes a while to add all the colors for the building to work through the major shapes and sizes. Therefore, I would ask you to go ahead and keep adding all the colors along with me. Do not try to get away with any step and be there. Have the patients. I can tell you this would be one of your best paintings because the Tyler shadows that we created over here, we haven't done it ten date. And this would be one of the standout paintings that you will have. So let's just keep adding all the colors. I use my size two brush pretty often in this sketch series altogether because I have sizes, size two which are to travel brushes. And they are one of my favorite travel brushes, which I have been using. Though. I want to own a few more good travel brushes in future. But this is what I have and sometimes I just go with what I do on myself. As every time I do not like to spend our money on buying new things or buying new brushes. It will happen over time. I give it the time when I need it, I will surely byte. In the meanwhile, I'm mixing up the colors. This is a very important aspect. If you see I'm using some brown. Sometimes I'm using the darkest value which is majorly your Payne's gray. I will have this coming in. So well, some pair, the wear and tear off, this particular building is shown up so clearly and so few places and ductile values, few places and lighter values. That's how I like to go about it. You know, the basic structure is already done To be frank, during the first 15 to 20 minutes, you practically do not need to do much. In this case, it's just one part that you want to walk around with. Once this part is done, the whole basis set, if this part comes out exactly the way that you observe, frankly, once you add the second, third layer, everything will fall in place. So I would ask you to hold on. And if you are getting this or if you are here, painting this part makes sure that you get at least the darker and the lighter value contrast. Well, That's it. Once the contrast or set, everything will make its own way. I'm switching my brush and now it is the thinnest brush that I have. This is for making the lines. Though. I was not very happy with how it went. I don't know why I could not work. Very innovative, very thin, thin line weight. I could not work. And I was a bit disappointed though, once the whole painting was done with the lines that I made to afford the top area below, which is basically the lines for the string. It's septum. And somehow it did not come out or well, and therefore I did change it on my brush to my Princeton. It is the liner brush by Princeton Aqua light. So you will see that I would be using that brush and during my next few paintings. So when we are in France, though, these, these brushes new order a bit sometimes, and I usually stick to the same number of brushes which I've been using. It's just a change in the number or the change in the liner brush which I would be using. That's the only thing that I do. Okay. But making it better, I feel now you can see most of the things have dried up. We are going ahead with them more and more details, but that's starting. The initial part usually sets through during the first few minutes only. What you are left out. Over here is majorly all those small, small aspects of painting, which is how bad detailing, how about adding the shadows are, but adding the highlights, et cetera, et cetera, et cetera, How bad term like there's a light shade of green which you have added now, there will be two mode shapes that you've come through on it. So those are the aspects that you will concentrate on maybe as we progress. Because the structure was set during the initial part, the drawing. You get the drawing correct? You can get everything correct then was the major colors that you had to add, which is also done. Only smallest part that is left, right now is to add those small, small windows on the left-hand side. Add those lines which would define the bridge in a better way. And few of the areas I'm adding the darker values met my liner brush. This was just to make the contrast a bit more better. I will add two smaller dots and smaller lines for the top area where you have to make it look like stones. And that's how we go about this. We have to add those stone kind of structure or the texture. It's very important. That's one of the reasons I keep adding these smaller dots. And somebody says I don't like it and I just blend it. Those things do happen, guys. Believe me, it's not a perfect thing when you continue working on it, you will figure out a lot more things that you could have done better, that you would have done better. As we progress through the journey, you will do better than better. Yeah, I you know, when I made the airplane, I was never sure that I put one day go ahead and fade at aircraft. That's what I cannot even believe about myself. But yes, I did it. I did it after lots of practice. I did it after lots and lots of experiments, failed experiments, etc. But it's easy. It's just that the intent of creating should be there. Add that intent of working through whatever comes your way is very important. It's not about getting the perfect outcome, as I always, always say, never try to achieve perfection. You will not be in a position to achieve it through the use of practice, through the time that you worked through, through these 80 days, you would be in a position to get the best outcome. You believe me today or not. But once you are done with these 80 days, you will figure out that you have improved and Tampa long way through all your paintings that you have done. I did tell you earlier that we will have one more darker value of green coming in. And I really like to add that for my paintings. It sets the tone and the mood very correctly. If you go ahead with multiple layers, it would help you to show the various values in a better way as, as this is one effect GSM, I have told you, you do not have the option to walk around on one particular layer for a longer period of time. And I feel that is better when you are when you want quick washes, when you want to walk through the layers pretty quickly. So in those aspects, I think this is one of the perfect way to experiment. Going more bolder with my painting, the shadows. Now, all the shadows of the left side of the building is falling on the ground. And that's one of the reasons I'm using my brush. Few of the places I'm leaving the same as what it was. And I might have to go ahead and change the brush while I go towards the top because we have to add the thinner lines. And right now it should be size two brush that you should use for those lines. Okay, I guess this looks so pretty much how I wanted it. And therefore, we will now go ahead and just add the darkest values. Even on the right side, the building has lot of windows. On those windows needs to have those nights passing through it and that light which is passing through what actually is creating the shadows, even non giving those shadows a better view. I must say. There's one good way to get a darker value of green. And it is mixing some amount of blue into the green that you already have on your palette and get those darker values. Add one or two drops here and there, and that's it. It is done. We would go head. Now on the bridge. We will go back to the bridge, start painting the bridge again. Few of the areas wherever we need. And then we will start with the definition, defining the last few things. So which is very important with the pen, as well as what the white highlight though. That's, that's what I look forward very much. The structure is set. What you can add more is something that you have to always decide using my size two silver black velvet brush so you can go ahead with any size two brush for this part. You do not need to go with self-absorbed velvet brush for this part of the painting. That's absolutely fine. Whatever you have available with you, it's size to write. Sometimes I do auto my brushes as I see, and then just go ahead with the I would say strokes that I want. That's it. Okay. Hiding the darker values and for the, for the left-hand side of the building. And once you have added this taco value, they will be the whites that we would go ahead and add the highlight. Now, if you do not have the highlighter, then you can go ahead with wash or those. You can also go ahead with any kind of acrylic markers. These are something which you can have answered option. Or even the titanium white, which you get in watercolors, is opaque in nature. And if you are using the titanium white, you will get these highlights pretty easily. Whenever you are making the highlights, try to make it with the liner brush. If you are not having the pen with yourself. That's something which I would like to tell you, creating some structure extras for the ground. And once these textures are done, we will make one or two lines. So just to show that there is a one-point perspective which is dead over here. What happens is the lines which you see on the road or else so how do I explain it? It is majorly the few parts that you'll see on the road. Wherever you are standing and you see a road, it would converge to one single point far off. If you're standing even on a ground, you have to show these lines as I make it right now to make it work as if the vanishing point is in the horizon and or else it's somewhere above the horizon. So vanishing point can be anywhere. There are multiple vanishing points, as I've told you. If you see the bridge has two vanishing points, then for this part of the other structure, that is the left-hand side of the building that has no vanishing point. The major part that you have for the bottom area will have, that is the ground that will have another vanishing point. This is basically the tiles that you have on the roads or any kind of structures that you see on the road, you have to add those months Marty shows on those lines to show it that it is meeting to one single point. Yeah. I guess. Now it's time to add the black pen over here. I have very less thing I would say to explain. It's just that few of the areas where I feel I need one more slit of light value. I just go ahead with my brush. Size two and just add that layer. That is important. I think the whole painting looks pretty organic. It looks as if it's the same structure which we have absorbed in a photograph. So it's pretty much show them how it it was in the photograph. We have made it the exact way the background buildings will come up later on. And I'm not much worried about it as it is the background and we will have just some light shades coming in over there. I am now defining each and every line that we did draw. This is something that I really look forward to when I am completing the painting. This is the point where I exactly know that I don't have much time left right now. Once I am done with this spot, I would be very close to completion. And that's what the whole thing. But still. Guys on throughout this entire painting, I have added a lot of music because of the simple thing that there is more of an iterative process which I am explaining not only from the first or the D1. This is the same kind of things that we have done earlier. That's one of the reasons I have tried to add more music so that you guys can seriously enjoy that time that I'm giving back to you. And you can also focus on your painting rather than listening to me all throughout. Yeah, this is you need to focus, you need to see, you need to paint. So there is a lot of work that goes on on that. And I practically can't take away all the time from you. I would always say try to absolve. First how I'm going about approaching the subject. Because the approach becomes very important. Every painting has got its own unique approach. Each and every artists have got their own unique approach. Someone likes to go ahead with lighter value fast and few of them meeting like to go ahead with just two layers, going with quite a dark value first time and then going ahead with one more layer to just make it look more detail. That's, there are many times or there's just go ahead with two washes too. So these are the things that you will get to learn as you progress through your journey. It's not that every time it would be as you observe or as my approaches, that's the best approach. Maybe you might get your own approach as you progress and that might be the best for you, or that might not be the best for you. You might figure out something else as you progress through a few more days. So it's all about time and effort that you'll continue adding to your things and that you continue giving to any hobby or anything that you'd like to do. If you can dedicate time, I can tell you it is going to be the water. Very, very rewarding when I still think about my initial days, I still think how much a knife I was. So while I always used to keep painting and thinking the master artists, how they get along so well, how they can make the structures, how they define the shadows, how all of this works so well. Now when I see myself, I'm like, okay, I can also set the basics very well. I can add those shadows. I can add those slides may not be the exact way that they are doing because all of us have got a different style and that style needs to be intact. There is a voice that every artist has and you will know this unit style of that particular artist by observing the painting that they have done. So overall, when when someone asked me that how we should progress, how we would figure out that voice. It takes a while, it will come to you very well. You keep experiment, experimenting with various styles. And then there will be a blend, one single style, which would be your own. And that style is practically your own voice. So you have to experiment. Experiment is something that you need to do. You need to practice, you need to experiment. These things will only come once we're done with that, but, okay, I guess so how this looks so great. So now let's just continue working on it. And I would just tell you when we have to add more people. So penny of you might be thinking that I have been stressing so much about how to draw, how to sketch and do those things. But majorly, there are lines that I have told you, you need to focus on. So what do you mean by these lines? This is something that I need to tell you a bit more in detail. It is all about generic shapes and sizes. So over here, if you see the generic shape is like a rectangle, but it is elongated towards the bottom. So which is how I see the structure of the bridge that majorly comes through. But this rectangle is more like a cube. And that's one of the reasons we are saying that it has 2 perspective. So something that I would like you guys to understand is how the basic shape works. Is it a triangle that is there, is a circle that is, that, is it a squared that is there, or is it a rectangle that's there? So if you can get these basic shapes and sizes, well, you wouldn't be in a position to actually understand how the whole thing should work. I would give you a better example as we progress. And I would even add some nodes in future so that you exactly know how we have worked through these structures, up through, through these entire structures. If I introduce a lot of things right now, what happens is we do get confused and that's one of the reasons I'm trying to keep it more and more simple. As we progress, you will get to learn a lot, lot, lots and lots of more things. I'm using my Mac pen right now. It's the brown pen. I would be mocking a few areas with the brown. That's it. It's not that I always need these pens, etc. It's just in few of the places where I think it's important, I just use them. That's all. You may even skip this part. That's absolutely okay. If you want to go ahead and skip this part, It's time to work around with the Posca markers. Again, let's paint some beautiful people and I like to add these opaque markers. So over here, you can go ahead with goulash or even acrylics is fine. You just need to add a bit here and that's it. So do not think much when you are going ahead and adding it. It's just the opaque thing that you need for these from these markers. That's one of the reasons I am using these. Even kidding. So it can elect markers are good to go. You can even use that. You can use Bosch, you can use any other medium of your choice, which will give this opacity. I would say though head and the legs of the people. And that's it you need to do for this part of the painting. Once you are done with the people, but you would see it's easy to paint people within a composition. It's just that you have to measure them, diopter know the scale at which you want to add them. If your scale is correct, your painting will have the people like over here. It's a very simple way. We are adding people because we are not going ahead with a very huge scale for painting the people and making all the details over here at some, very simply the approach it. But there are times where we will have more complex things coming up on those complex things may have to be treated very differently compared to what we have done over here. Okay. I guess this is it. Let's go ahead and had some more highlights and few of the places and post that we have to add the buildings in the background, which you might can I both have multiple forgotten, we had completely taken away by the bridge, by the building that we are painting. So I guess that's what is the next step. Once you have added a very light wash for the building, it's important to just show a few lines that they have. These structures of windows, etc. That's it. And a few of the places these touch cloth and darker values becomes very, very important for the background ones. I think I am pretty happy with how it has turned out. Let's have a final look at it and be proud of ourselves. 14. New York Bonus Lesson: For everyone who might have taught at drawing and sketching can be tough. I think this bonus lesson is for you. He'll basically, I'm going to give you the tips to sketch, which is majorly how to just approach your subject first. Divide the subjects into few basic shapes like rectangles, square, circle, etc. Over here it's mostly rectangle that you beloved. So the second is how to break your main subject into simple shapes and then draw the hand which has stopped. So let's first break the torch into all gone. Once we are done with the cone part, divide the hand holding the torch into two basic shapes, which is rhombus and rectangle. There are two rhombus and there is one rectangle along the diagonal. You have placed your finger. This is it. This is the max that you need to do before you start sketching. Now, I have taken 14 centimeter for my painting. And within that 14 centimeter, I would divide it into seven hours into seven. Or else you can also go ahead and take it as ten centimeter, five centimeter, and five centimeter. That's half how I decide that half would be my top area of the torch and then the bottom area of the torch would be the last half, as I did tell you earlier, going ahead and marking about 2.3 centimeter on the left and 2.3 centimeter on the right. This is how the whole of my sketch is divided into centimeters, et cetera. But frankly speaking, I do not like to tell you about the centimeter. I like to tell you about how to approach your subject, how to divide it into various shapes and sizes so that you can approach any subject of your choice in the similar way, going ahead and making a small oval looking circle. And then I'm just marking one single point on top. Every detail that I mark, you will observe that ICU pretty so. I stepped back and relax and then I start adding the whole of the video is real time, which is one of the best parts for this painting. Hand, the sketching process. Basically we are doing mostly sketching and it is all pencil sketching that you have over here. I did not detail out all the sketching details that you need because you just need a basic pencil. You'll need of your drawing. Drawing pencils like HSV-2 before B6, B and AB. Now these are the four or five different types of pencils for shading that you need if you do not have that, do not worry. This part is not about the shading part, are not about getting the perfect torch, are getting the best Statue of Liberty hand. We're over here to discuss how exactly you can approach a subject for your sketch. And that is my bonus lesson for this New York, but we are left out with one part that I very well know and I will be discussing that on Monday. But many of you came to me and wanted to know how I divide my basic sketch into various centimeters or various shapes and sizes. And that's something which I wanted to discuss. As, I think. All of you are a bit overwhelmed with the subjects that you have painted till date and somewhere or the other. I don't feel that that's the best way to approach anything. If you are fearing something and if you're fair, skin tracing, that's not the best way you have to go without any fear. And this lesson is going to help you to achieve that. Okay? Going very slowly through each and every part you can see I'm making small, small laugh kind of structures. Now, this is just various easy, simple details that I want to add on the torch. You will see these when you are trying to draw it. It has somewhat like this kind of features. I will not say I've exactly done it. Well. I always say I'm not trying to exactly copy the photo that I'm watching or exactly copy what I see. I tried to interpret it and painted or make it in the way that I feel is the best for me, are I simplify it further and then do it. So this is also in the similar way that I have done it. So you don't need to worry much while you approach this process. It's just that you have to trust me and be with the process. I can tell you it's real time. You will find this painting to be amazing and you will, you also be very satisfied once you are done with the painting. Now, cancel. I think I would go head and just to give you the time to absorb everything, draw along with me and have this final sketch ready for yourself. It's time to make the flame. Now, if you observe, I go away slowly. File, I add these lines. It's low approach as I always say, you do not need to go fast whether you are sketching or whether you are painting over here, defining each and every structure is very important, as I have told you. It's important to understand where exactly and how exactly you want to place each can everything proportions becomes one of the most important parts. Plan. That's one of the reasons when I was initially trying to tell you how to divide your upper structure into various kinds of rectangles and the Lewis structure into one single cone. Even the hand weeded divided into three equal parts, almost, almost equal parts, I would say why? Because one part is you're from the top area, which is practically a square. The next part of a rectangle, because along the diagonal you have to place your finger. And the next two parts, a rhombus. Of course, those rhombus are not of equal size and shape, but you have to just put all of this together into these basic shapes and sizes. It's always great to put those basic shapes and sizes on top of the cone before you start adding the structure of the hand. That would really help you to guide you through the entire process. And I hope you find this catching way more easier compared to what you have picked struggling with till date. I know each of these lessons have not been very, very easy to get that completely. Therefore, this would be more refreshing for each one of you and this lesson, once you are done with it, you will get a better idea about how to even divide your structure into various shapes and sizes would be even giving the various shapes and sizes for the view or from the Central Park, what we would be drawing. And it is what we would be observing from the front. So this might be one of the quite easy lessons. I think the painting part is pretty simple, as I've always told you. The major part would be the sketching part. Sketching part is the most challenging for everyone who has tried or wanted to try urban sketching or even traveled sketching. Even if you have not tried these kind of structures, shapes, and sizes, It's a good exercise to go ahead and sketch in each and every destination. I am trying to put up one simple sketch for every destination so that by the time you're done with 20 destination, you will have a few sketches, so much ready biocides that you can go ahead and check them out before you approach any other subject. Or if you were trying to approach any subject king becomes pretty easier for you. Okay, so for the cone area as well as for the hand area, these two are something which you will love being very simultaneously and that's one of the reasons I bet try to explain it to them beforehand only how to actually overlap it. Okay. You will see that I did cool free hand on the spot. But you can, of course, go ahead with the guidance that I've given you. You can also download one photograph from the resource area. When I did break it down into further details, there are steps that has given to you and how you approach the final painting. They are the same photo so that I have shown you of initially, but yes, you have that guidance or given off and then rest. I guess this painting looks something that is very amazing to me. And this was really difficult for me. I'm not a person who does sketches very often, but I have started adding it to many of my paintings. And seriously, I am falling in love with it completely. This whole thing of painting, sketching together, adding your markers, using join gangs and whatnot. It just makes everything looks so aesthetically beautiful and nice as well as it's got different approach that you take towards urban sketching. Now, urban sketching or travel sketching, or you say plein air, you can do it in any style of your choice. That's something which I have taught and I did even try to explore myself. That's where everything I am sharing with you guys that try, try all of this with your own style. Try to develop your own style, which so many different things that you learn from the class. Because the more you develop your own style, the better would be your own artist voice. And you will get to know what you want to try out better. Whether it be your pencil sketching or whether it be your shading, whether it'd be charcoal, whether it'd be anything else that you have thought to try out. I guess this is simple, easy, always be told by everyone. But somehow we don't get to understand that and somehow we don't absorb it. It doesn't go in well with us. But when it does, I think it's some new favorite thing that we do. Okay, I guess this is done now and let's just continue working on the hand. Once we're done with the hand, I will guide you through the entire shading process. That is something which is not tough, but it just needs a bit of experience in terms of how you go about shading the entire part. I am not going to blend it a lot that I have thought about. I'm just keeping it pretty easy, simple as someone would like to keep it that way. It's it's my thought process. You can of course, go ahead and shade it if you really want to do that. But I do not want to do that for sure. And that's one of the reasons I have told that I would keep it pretty easy and simple going. Okay, I guess this looks great. Now let's just make it a bit more detail. I didn't I'm going ahead with my six feet or you can also go ahead with your full beat. That's up to you what pencil you want to use. This is just a very, very simple shading that I'm doing. Sometimes I'm applying very light hand, since I'm going ahead and applying more pressure, It's all about applying pressures to get those darker and lighter values. Changing the values becomes very important and more than, more than the value, et cetera. I would like to tell you it's not about the various pencil that you want. You might even go ahead and apply some amount of pressure to get the lighter value from four beats off and upper value from four pizza. So it's all, it all depends on what pencil you want. It doesn't depend on what pencil you own or it's immediately about the intent to sketch, the intent to draw. And that's where the whole idea of painting real-time. As I really want you guys to understand that it doesn't take a lot of time. It just needs that intent. It just needs, needs that kind of thought process of approaching a particular lesson in a way which is very beneficial for each one of you. Practically, believe me, if you can draw well, your whole painting will fall in place irrespective of the painting that or the painting part that you attempt, because they're drawing is perfect. And when you are drawing is perfect, the painting part automatically becomes perfect. There is no way you can go wrong. There are, even if you go wrong to an extent over there, it would not practically change a lot into your painting possession, I would say on the whole painting session will be more, I would say easier or free flowing when you have the sketch, absolutely ready biocides and you are so satisfied with your sketch. I guess this is it that I wanted to convey. I want you guys to just go along with me, see where I'm applying more pressure and where I am just releasing the pressure. If you see right now on the sides, I did apply a lot of pressure. And while I was coming towards the bottom, I did release the pressure. That's how I go about it. Few of the things as I've told you, I do not keep the same and I change it to an extent. Still, it looks like the same. So it doesn't matter. You don't need to paint or draw exactly the same things and it should be something similar. It should be able to reflect what you want to see as a story. I always like to write something about the particular monument or about the particular place that I'm visiting or that I want to capture. And that's one of the reasons I have even added it over here. There will be few lights that I would be adding at the end about this particular statue of liberty. So over here guys, there's a main catch that I want to tell you. Over here. You will observe that I have already added the sketch, some amount of some amount of shading towards the bottom side. And now I'm approaching the top side, which makes it a bit tough because everywhere you will see these marks coming up. And hence the easiest way to go about this, go ahead and place the tracing paper this way, and then start approaching your subject. This is one of the major aspects of my sketching or drawing and shading. When I do it, it helps me to prevent smudging as well as giving those dark marks and few of the other areas which I want to keep it white and simple. I think these are the easy ways to protect as well as once I'm done with this part, I go ahead and just keep tracing paper on top of it. The tracing paper really helps to save the sketching part to come over the other part of the painting. Yeah, that's that's how I go about. I'm adding some darker shades and few of the areas and some lighter shade. This is very, very intuitive. I'm telling you it's not how I see it, it's not how I want to do it. It's just that I have to fill up these areas with a few structures as well as shapes, sizes, and I go very random, even with the shading part, only those structures that have learned to define, I define it very well with my pencil rest. Most of the structures are very, very random and the shading is also pretty random. In this case. It's time to work on the light part of the torso. When we were drawing and painting the whole Statue of Liberty, the whole composition, there was hardly any yellow like that I added on top of it and that's it. But over here, it's going to be more than that. We are going ahead and adding some darker values and few of the areas and lighter values and other areas. You'll see even while I go ahead and had the shadows, the shadows are darker in few places and the shadows are lighter and few places. The darker areas seem to be coming up well, while it is towards the bottom area. And fewer barriers towards the top, of course, are even darker. So yes, there are darker and lighter values that I add to make it look beautiful as well as organic as well as it gives so much more. I would say depth into your painting. Light and shadows is something that you should always look forward to. It not only gives a depth to your painting, but it all hallways speaks about you in how much, I think breadth and length you understand your subject and to what extent you have gone to show those contrasting shapes, sizes, as well as the different contrasts for painting. It's, it's something that you understand in depth and you can practically show it to your, to the people whom you go ahead and any spectator who sees it, you would be if he or she would be very happy to see those contrasts. And that contrast really makes a lot of difference to your painting. Time to go with the final thing. I'm discuss the pen that I'm using, dependence from Lemmy. And I'm going ahead and just adding those darker values that I always love to add for the painting. Yes. You should always, always go ahead and add these darker values wherever it is needed. Slowly, steadily. You will observe that I'm adding these darker values keeps even much more depth to your painting and it gives a finished look to your painting compared to what it is with only the pencil. But you can also go ahead and add some white quash. But right now, we are not going ahead with that approach pilot would tell you how you can do that even in the future lessons. So there's a lot that I've packed for the future lessons. And practically if you were there with me, if you are painting along with me, you will see so much more coming up through this whole series. I hope you have enjoyed all these lessons that we did try to work on till now. Each and everything is detailed and realtime over here, which gives you an opportunity to paint along. There's nothing that you need to stop and work with. It's all simply going ahead with your wet with your understanding and just painting it. You're painting a lot of that's that's what I always say. Thank you at all. You don't need to think much venue approaching the subject. It's about what do you think works best for you. Make it work for yourself. Adding some more highlights and few of the areas. And then I think I'm good to go. I would just add some writing as I love to see a story about the place where I visit. So a few lines about the place with make things look so nice. Every place that you visit, you should have a story of your own that you should put up. That's all. See you in the next lesson very soon in the day four of the yolk. 15. New York Day 4 Part 1: Hi, We're on D4 of New York and it's going to be a rap for New York. After this, we are going ahead with France. Next time. There are lots of beautiful paintings or we think that. So I have taken a really easy sketch and this one has well, as it is, at one speed, I would be drawing two parallel lines. And the hard the towers that you are observing, it is the view from the Central Park hand below that there is going to be some amount of flora, fauna, or the trees that you can see. The reflection of the trees will fall into the water. This is the whole composition and there is not much complexity in it. It's just that you need to draw these two parallel lines. Well, and on the left side of both these parallel lines, once you make the tower, you have to decide that they are practically to rectangle boxes, to rectangular boxes being done in a simple way. And once you make these two rectangular boxes, you have to just go towards the top area and breaking it a bit more. Everything that you absorb needs to be broken into really simple shapes and sizes, as I have told you last time. So try to absorb what are the major shapes and sizes in your melodies. And if you can get through those major shapes and sizes, I think the rest is easy and everything is going to fall in place in that way. I'm making the same measurements on the left as well as on the right. Cough, this line that pays appearing on the left side. As well as I would go ahead and start adding some longer lines above kit. You can observe me doing this pretty easily. You have to take the similar, I would say, the number or the practical proportions that you have taken for this painting needs to be same to the one that you would be adding, even for the right side. You guys to be frank over here, there is not much which I can explain. It. Just start date are a few lines. Detail lines and shapes would be only adding once we are on to the painting directly. Rather than it's only defining the basic shapes and sizes, as I always tell you, either it is a rectangle or either there is some roof on the top of the building. There is some kind of any structure on top of the building. All these things we just decided in this case, rest main part that we are going to add to our painting is going to happen in the next cool. Then we are directly painting for this tower. And I practically like to keep it that way because of the simple fact that. You need to only understand the shapes and sizes. If you can understand the shapes and sizes, the rest. Whether it be your small things like Windows or some kind of a tank that you see on top of a building, like water tank on top of a building, or simple things like a flag, etc. This can always be adjusted at the last call. You do not need to, right now figure all this out. What you need to figure out is what are the shapes and sizes of the major structures that you are adding to your composition. Composition is the major, I would say, important part of this painting. And over here the composition was only about adding vertex. We're not adding people. So the scale of the people, proportions, etc, is not an issue at all. It's just a building that matters most. I guess. This is it. Now, we will go ahead with a few lines and structures, whatever is necessary. I don't have much to explain over here. Rather than I think you should just go ahead and follow how we continue to add these lines and then some other structures on the right as well as on the left. Time spirit, I do not continue or do not paint one single building. I do. Go ahead and start with the other building on the right or on the left hand, then come back to the main building that we were painting. This is part and parcel of how you paint. There is no best way, I would say to add. I mean, it's not reading, of course it's adding the whole thing off your sketch, but still, you will sometimes go differently. That differently is absolutely fine. It's absolutely random. If nature can be random, then we can also be random in few ways though this is not nature altogether, it's urban sketching. But urban sketching done in your own way is not exactly how you absorb all the structures, et cetera. I think the major lines shape you have already defined. It's just some small enhancement or improvement which you are doing in your easiest way possible. So I don't think that there is much of difference that it would make to your whole composition or painting in that way. Last two or three minutes is all about finishing the parts that you have added on the left side, I'm again, I didn't want more building and I do not care much about the details as I've told you, even though I'm not thinking about how do I go about adding the lines, etc. It will happen, it would come over time when we approach the subject. So over here, has this caused polio? Simple lines, shapes, etc. I'm iterating it again and again because many of you might go into the details. And really details is not what we are looking forward to. It easing out a few areas, whichever I think is not necessary right now and rest keeping it as is. Once we are done with this part, we will go ahead and just start adding the sky. We will work on the sky first, then on the bottom water area, as well as though few parts of the fluoride, cetera. And then we are working in various layers. As you already know, there are two or three washes that we do and then finally come up with the painting, our papers, 185 GSM. That's one of the reasons we do not go ahead with multiple layers. That's one thing which I want to tell you that do not try to go ahead with very, very heavy washes on this kind of a paper. It might be more irritating in that case because you will not get exactly what you want. Hence, try to go ahead with only three or four layers max, and don't try to go simply easy on each and every part. I think that's it I wanted to convey. Let me meet you in the next part where we are going to paint the entire structure and composition. 16. New York Day 4 Part 2 : So guys, it's time to paint the sky. The sky is going to be very pretty for us. It's going to be all in blue as we have done the left one. Again, I would be mixing both the colors that is in your Winsor, blue along with your ultramarine. Or else you can also go ahead with Taylor blue mixed with you are automating. These are the two basic colors that I really like to go head width when this kind of a painting actually whom I do because it's simple, easy, and I'm not thinking much about how do I go about this? Because It's not about making something that is like a masterpiece. It's just a very simple, straight loan and simple standalone kind of a view that we have from the Central Park and a cross it. I just see this kind of building and I'm just so happy when I see this. I want to just capture that essence of the painting is to sit, go very well about our thinking and painted. If you see the real-time video of the sketching, I think that would really help you. This part of the painting is very simple, as I've always told you. I'm mixing some amount of art from marine and then adding it towards the top area of the sky, just to differentiate the values of the color. And it really adds on that prettiness to your painting. I guess. I have been pretty vocal about the fact that every time you're sketching is basically the base for any of your urban sketching. Or if you do travel sketching, if you're sketching comes out well, I think the rest of the things will automatically fall in place. It's not about the painting really that with few brushstrokes also you can get it, but getting the proportions and the structure well is what I would always focus on. There are many more exercises where we are going to learn about two-point perspective, as well as how do we work with only monochrome single colors all put together? It's going to be something that you will enjoy as we reach towards future lessons. I guess I would go head with some green now towards the bottom area, and then mixing with the blue that I already have on my palette. The green is for the foliage that we have seen, is there towards the top area. And once we are done with that foliage part, we would go head and let the paper dry off. Once the paper is dry off, I think it's great to go head though with the other parts of the painting. As I've told you, it's a simple painting. It's A5 size. You do not need to think much when you paint. You get are only a few aspects that is important. I'm placing small tape underneath as I want the colors to flow towards the bottom area, whatever do its job had very quickly it dries off. You will not even understand before before even realizing it dries up completely. That's the best part of the painting. And I would go ahead and start adding a few more lines wherever I feel it is necessary. It's time to add some of the Naples yellow to the building. Few of the areas, of course, I would be painting very, very light wash of Naples yellow and few of the areas I would keeping it has such. I will mix some amount of that and a bit of brown in it to give a very light wash again to the other side of the building. As well as add some blue towards the top area. You see on the whole of the painting right now is with a very light wash that I have added. Everything is kept really simple. As well as if you are going to the left side of the building fever again at a very, very light wash in that too. So that when we are going ahead with the darker values, it's easier for us. I am adding some amount of my Payne's gray and the system very light wash of the Payne's gray that we have. So once you add the Payne's gray, you will get to understand that the whole of the painting looks very nice as such, as well as the top part, I am adding some amount of red into it or else you can also go ahead with a red brown. That's okay. And this is not it? Yes. The bottom area, you will need to add some yellow green models. You can also go ahead with the olive green. Once you add the yellow-green and the olive green basic bottom part, we will have some darker values. On the right side, I am blending it with a bit of yellow in it. The yellow of course, is normal scenario yellow or you can also go head with Indian yellow. Those are the two colors that are always prefer for my yellow. And it looks very nice when you add these foliage. Okay, I guess this is it. This looks nice. And I would go ahead with next layer for all the other parts. In the meanwhile, I guess next year that we add will have more of browns. And you should be aware of the fact that adding the brown will make the building look more organic as well as I'm not going to add it to all the parts. So if you are doing a flat wash, even in the second layer, it doesn't go work well. You have to have few darker and lighter areas so that we can show the contrast in a better way. You can continue working with your brown and you can console how I am painting. This one. The left side of the second building is darker in value as you can see, the shadow of the left side building falling on the right side. And that's one of the reasons I have added the darker shade over there. I guess so these are small, small who answers? If you keep that in mind, it can really work wonders for you guys. So this is one thing that you guys should always absorbed when you are painting. Going ahead again with the darker value of brown, I have added some amount of Van **** brown in it, now blending it with some water. Every time water will come to your rescue when you are working with watercolors. This is something that I have learned over the years. Watercolors really, really change the way you work. And it is so quick and fast, you know, the kind of results that you get from watercolors is seriously amazing. And they all work out very well. At the end, going with some more darker values. And the other line based areas which you have already added, those lines, go ahead with those areas and paint it. I am going with my size two brush for these areas, you can also use a size one, size two brush depending on the area of the paper that you are using. And you can add these smaller, smaller details over here. You know, adding the smaller details really doesn't matter much kids, the secondary or that you were going ahead with. Few of the areas, go ahead and add those darker values and few of the areas just leave as it is. There is nothing that is actually going to compare you. Or you can practically paint the exact photo, what you also have, even those in the similar way. But as per my understanding, it's not about painting the exact thing. It's all about letting it, letting it flow. Whenever you are letting it flow it. One angle to always also nervous. Even to know that you need to have patients for watercolors and travel sketching. Guess you need a lot more patients than if you are working with a very simple landscape painting or else you're going with any floral painting. This requires not only a lot of practice, but it also requests lot of patients. And if you are ready to eradicate that amount of patients, I think that's it. Your intent to create hand having that patients to walk around with the colors, as well as making the sketch. You can always go ahead with into paths, which I always used to do all you're going with the first part, which is all about sketching. And in the second part where we add the colors, it's not about getting that perfect sketch, that perfect color, that perfect thing. It was all about liking my creativity flow and stolen steadily. You will even figure out the style and the ways in which you want to paint. I have been creating this pretty often even in my old your odds where I was teaching you. And I feel this is one of the most important factors which you should always look forward to. The more you practice, the more you experiment, the better would be your understanding about subjects, about how to approach a subject that's most important. I feel well have added the windows and the smaller lines, whatever was tinkered with your size two brush handle with your we are here to now paint the foliage. The folding is something that I really like to paint always. It brings in so much of depth into the painting, as well as the pupil that it adds is practically uncomparable. Once you are good with the other party, any ways are the parts you will detail with pen, etc, where you do not need to think much about what you are doing. It's just that you have to relate your drum. I would say how you think about the process and how you let your creativity flow is what is most important. And that's one of the reasons I have chosen are easy concept and this one, you can just see it from the front and then just talk. Hide it in terms of adding the colors. In terms of adding the darker and the lighter value. I do not always teach everything which is tough. It's also about having an approach to your subject hand, approach to a subject or breaking your subject into various parts is one of the most important aspects. Going ahead with the darkest value towards the top. And as I blend it towards the bottom, I will mix more of color and water. What really makes a lot and lot of difference to our painting. And it really orders the value to an extent that you can practically absorb a lot of contrast and depth. Using the green and brown color for the bottom part of the branches color for the leaves and foliage that you see with the liner brush. Now, I have gone ahead and changed the liner brush in the future cases. Somehow I was not very happy with how it works. Ten PSI think of change because very much important. Again, adding some more lines with the help of my size two brush. I'm blending it a bit and then again, painting with my liner brush. Yes. So this seems very, very pretty and I am super happy with how it is turning up every time. It's simple, yet very interesting interests in how you continuously paint and how you can change your values, how you continuously improve after 80 days, I'm pretty sure about that. You would be so happy with how the whole thing has changed. You as a person, how you perceive your photos now and how you paint. We will even walk around with the smaller, smaller sketches. As we progress through each and every destination you will see there are different kinds of sketches which are coming up in New York. Devin Moore of buildings, etc. That's one of the reasons we have captured those. Whereas when you move more towards the France and then Greece, we will have doors, we will have flow rules, we will have all these coming up pretty fast. And those you might be more interested in, but this one really helps to set the context initially. This contexts can act as a base for your future paintings. Those paintings you might find pretty easy compared to what you are right now, attempting. Going with some darker values of brown and then adding the darkest value in the building. Again, I have mixed some amount of my Payne's Gray Oral so you can also go ahead with your vendor. I kept out whatever is available. You can use that. Now I must say it's mostly about detailing. It's like adding those shadows into the water. It's finding those small, small lines is just to make it look more organic data tuples in the water. And it's the moving water that you can see. Of course, I'm not going to add a lot of ripples. The broader ones would be towards the bottom and thinner ones to the top. I'm using my size two brush to add these ripples at once this part is done, we will go ahead and move to the retailing part of the building. Now building detailing part is something that I really, really want to do. And as such, I want to tell you how easy it is to detail few of the ideas you will see. I just feel absolutely that num and add the darker values. It's not about thinking which lung to approach on, how to approach on, just go away. Now randomly add these contrast to your buildings and that's it you will see it will work for you on its own. I will add some yellow for few of the brighter areas or the warm sites, as I've always told you, I like to add the yellow for the warm parts of the building. And once you have added this yellow, just make sure that you go ahead with your brown pen now, if you do not have a brown pen, It's okay. You don't need to use the brown pen at all. Just go ahead with the black that you have with yourself and start marking on the brown pen. In this case really helps to actually address a few of the areas where I think it is necessary to add the darker values. As well as I do not want to go ahead with the darkest value right away. That's one of the reasons I have taken this brown mapped pen for myself and gone ahead with a few lines of the areas you might not even see the lines are properly. That's the best part. You know, when you have the lines with the brown pen that everywhere you do not want things to be even seen. That's how I always say that whenever you are going ahead with Orlando value, which you do not want to be seen always. In those points. I think these kinds of pens are really helpful. Though. I always give you an option that go ahead with a darker value of the black pen, etc, whatever you have available, but you also have, you can also use gel pen if you do not have any of these options available. Okay, going ahead with the top area now and just adding some more lines over there. You will see alternatively, usage of these black pen tool. It's okay. I mean, we keep ordering between different colors and different pens as well as it is just to create that depth, that intensity as well as those outlines really help to see you through the entire painting in a better way. I'm now going ahead with my white marker and just adding a line. I will go ahead with my Vitamix Clavel. Use my blue and yellow markers to yes, just to add a bit of highlight. I think those markers are really work well. Entities, areas, and you can also work with those markers if you are having it or else go ahead and use just the work, white and the black pen, whatever is available with you. And in case you have cosh, of course you can go ahead and use coach with a very thin liner brush. And I think that will also work well in this case, I'm using my Posca marker and adding the blue line. Wherever I can add a few dots here and there, with the help of my scale, I like to use the scale in all these cases. See when you are starting out, I would never ask you to go ahead freehand completely. That's kind of impossible to work through. And that's one of the reasons I always say go ahead with the scale, the way it is available with you. Never tried to push yourself too hard. You have to be gentle to yourself and let your creativity flow. If you are trying to restrict yourself or if you are trying to push yourself too hard, then this might not be the best-case scenario even for your creativity. Take it easy, take it very light. It's an easy combination. It's an easy composition. Everything is pretty simple. It's just that you have to go with confidence. There is nothing much that can stop you in making these paintings. And once you have a full sketchbook ready for yourself, you will actually know how pretty it is altogether. So try to build that first-time. Do not judge yourself only with the first tier or the second layer one sentence down, try to finish off an entire painting and then have a look at it. I'm pretty sure about it. Once you are done with the full painting, you will be very proud of yourself. So those are the most important aspects which are always like to highlight in any kind of a painting. It's easy to get demotivated and not work. In a few areas where you think you should have done well or this could have turned out better. Try not to compare yourself. Be motivated, and just go ahead and paint the extent you can. Do not, do not push us up. One of the reasons I have divided each and every lesson into two parts. One is your sketching and another is your painting. Sketching for this one is absolutely real time so that you guys can sketch along with me. I'm painting is 1.5 speed, as I've told you, so you can stop it at any point in time. Change the speed of the video or rose pink alone. Stop the video again, paint along like that. You can also do. The third option, which I always say is to exercise. Go ahead. Do not try to jump on. Just see how hanging off your instructor is working out. Once you have the view of how they're working out at any speed, you can watch a video, then analyze it and start working on. That becomes a very, very easy and beautiful approach because that way you can not only save a lot of time, but also have the best of the outcome. This is one of the approaches when I used to do it, okay, So still I do the same thing. I watch a video very quickly, maybe ten, few minutes, whatever be the highest fee. Just to understand how the structure works, how the sketch works, and how the final outcome is. And then I start adding my painting or that I start working on it altogether. So that's an approach also which you can always use Play-Doh. Go ahead and add some loose branches on the right-hand side towards the top, heavier hand, then just make the stem. As you observe me. And these branches are based simple. I am going up totally random, three or four branches here and there. And we will make some loose leaves. But before we make the loose leaf, so we will go ahead and add some white highlights into the building to lose leaves, etc, are basically the last portion of the painting, and I'm pretty sure about it. Once you do that, most most of the painting is complete and there's not much that is left. In this case. We'll be back wetted. We need to make the lips and the main bag. You can just listen to the music and let's take long. Let's make some loose leaves. I'm going ahead with a yellow green and then with some of my olive green mix. Once I have taken that onto my brush, I will just keep adding it on the top part, on the top right side of the tree. And along with it, I will now have some darker values in my size two brush. Once I have the darker value, you will see how the colors bleed into each other. It's loosely saw something that you do not need to even detail a bit. That's the simplest way you can go about in this painting, I think. Okay, I guess this looks perfect now, we will just let it dry as well as just to go ahead and add one or two drops here and there, just to show those leaves, as well as our highlights that is left that can have a look at the painting, remove the tape and just mark the colors which you have used for the whole of the painting. I sometimes like to add a color chart in my painting and I would be doing it even now for one of my France paintings that we are going to attempt, yes. There is a bridge that you are going to paint along with me. It's a pretty easy one, but I think you will really like it when you paint that one with me. O key of this looks perfect. Let's have a look at it. I'm waiting to have a final look at. It's already done To be frank. It's just here and there but of lines and that's all. You can even remove the tape right now. Go ahead and just mark the talents that are used. 17. France Day 1 Part 1: So guys, here we are on the one of France. Yes, we would be drawing I filled out, but before we go ahead and paint the Eiffel tower that you see on the left. I would like to tell you something about the first page of our sketch book. The first page of my sketchbook, cough, particular travels CDs. I try to make it as interesting as possible. Which means not only having the main details like your Eiffel Tower or how particular painting, but also trying to add something more than that. Like over here, we will be drawing an aeroplane. And for the aeroplane, I am going ahead and trying to take a measurement of a circle. Now, the circle is probably around two centimeter that you see. I'm adding it with the help of my campus. Once I have added the so-called, I would go ahead and extended towards the top. Towards the bottom, you will see that breaking of particular photograph came too easy and smaller steps is way better than just trying to paint it. All of a sudden, what happens is when we observe something, we just don't know how to approach it. As I always say, the approach for the aeroplane is very different than what we usually do for any other buildings, etc. Over here, you will absorb that. I'm trying to make an oval, which is mainly an X-shaped. And even towards the bottom, I would extend it a bit. I am drawing a middle line for this one so that it's easier for me to draw that. We'll sketch. So once this part is ready, you can say the extension towards the top and extension towards the bottom. We'll get the whole of the piece together. K, Let's now again divide it further. If you observe, I have been pretty vocal of how I go about the Henning sketch, as well as this is completely real time. If you are painting along with me, you would exactly know how I work towards it. Every time when I observe something, I just see that how I can break it further, is it basic shape, size, etc. While we're here, I figured out that in the center there is a kind of a circle that I can make handfuls that I can extend it on the top, as well as to which the bottom. Dividing your main subject into smaller pieces becomes very important. Okay, I think I have said n alpha-bar, this one. Let's just keep sketching it. And I will let you know once we have to extend it towards the bottom as well as on the sides, it is time for us to make small, small windows that you see and console on the left side of those sketch part. As you know, that we have to sketch the entire flight hand, it will take some time. It would be about 15 to 20 minutes. You would need for the entire sketch. Guy says, I always say sketch is your basic for any urban sketching or any travel sketching, anything that you want to do without much of hassle in your future painting part, I would say the sketch is the main part. If you can get your sketch correct, which takes about 15 to 20 minutes on an average for any outside drawn sketch that you are doing, you will get your painting effect within the next 20 to 30 minutes. Overall, it's an exercise of one hour max for each of the series that we are doing. If you were trying to do it on an A5 size people, I can tell you that you will be successful within an art to actually nail the whole of the painting. We are working on a 185 GSM paper, which makes it even more easier for the layers to dry off pretty quickly. Sometimes it even happens for me that I'm working on one part and the other part is quality data and dried up. On top of that, I can go ahead with my second layer. So this way, you know, not only I go ahead and save some time, but also have the best outcome for myself. Just adding some more lines. If you observe that there are lines towards the top. Everything that you observe on a flight will not be exactly same as we add on a painting. Now there are some differences which will always remain hand. That is also because every artist is different and we're not here to create an engineering drawing. That's for sure what we're trying to create a something which looks creative and beautiful. The creativity is all it takes and it is within you. You have to find the creativity with a new, believe me. The creativity that you bring from within yourself is what is always required. Going ahead and adding one more line here and there wherever it is necessary as I observe it on the sketch or as adsorbed on the photograph on the left side. Now, this photograph is also taken from a copyright free website. So I have been particularly taking photos from pixel then from Unsplash and few other websites. Have been using them very often for almost all of my paintings. So whatever you see over here is copyright-free. Yes, there might be few of the paintings which I do it from other spaces, which I might not be even sharing with you, but those are pretty easy things that we would be painting. You can follow along with me and I'm pretty sure about it. You can name it. Okay. I guess it's time to make the wheels. I am not perfect. Believe me, I am really not perfect at drawing. It's so much of a hassle for me to draw these things. It takes so much of a far from my end. I am most of the time a landscape artist who has found interest in travel sketching and urban sketching in plain air, etc. Now, if you have an interest, you would love to develop it into your hobby. And that's something which I do always. I have started loving this piece so much that I really want to give love myself into an artist who can see anything and paint. That's where my whole intent lies. And it's not that I don't love, like painting landscapes. I still do like painting landscapes a lot. But my love for travel, sketching, or anything that I see also from a photograph is something that I can't think of. Myself and Susie, that's that's where my whole Lovelace. So yes, you'll see most of it coming through. Okay, I will keep adding the wheel. You observe this very closely on your screen, guys. I would ask you to observe it on a bigger screen that is either your iPad or your laptop or any other bigger screen that you have. Because they are small details in this painting and you might go ahead and mess them out if you want not absorbing it on a bigger screen. When you are on solving something from the front. That is not much of her work in terms of whether it is three-dimensional or four-dimensional, these kind of things don't come across. You can only make it two-dimensional as well as when you want to make it two dimensional, it should be in a way that it practically delivers the intent. It is that we have to make a flight over here, which is going to France, which is taking you to France. That's the basic belief which I have on this painting. That's why we are doing this. We would write down a bit about France and this painting, as well as I would add a few colors towards the bottom area where I am going to add the shapes that I've been using for this painting. It's pretty simple as I always say. It's just that the fear of not being able to draw something that you observe, believe me, it's just internal fear that we have. If you can get over it, you can draw anything. Anyway, and there is nothing that can stop you. Okay. I guess. I'm good. Yeah, you might find a bit of problem. That's okay. We might not get the best of the sketch. We will see what's the best that I can do about it. It's okay, right. Everyone makes a bit of mistake here and there and we can always fix it later on. That's never a problem. I would go ahead and add two lines towards the bottom area where exactly the wings of the flight or the wings of the aeroplane lives. And once you make the wing, there will be these two smaller wheels on the back side, as well as these round structures that we have to go ahead and make two, What's the area? After all this is done? Yes, there is a bit of a background that you observe, which is mainly your mountains, but I would turn it into a bit of green. I like the greens that get added within a painting. So yes, adding a bit of green will be nice. In this case. Make some slamming lines on the left as well as on the right, on the extension of the wings. And once you have added these extensions, you have to even make it a bit more products. And smaller two circles as I have told you that you need to meet in the front KTM. Whenever you are seeing this photograph, you will see that every thing is converging to one single point and with ease, which is into the painting and that is a vanishing point which I always see. It might be a bit difficult for you to right now absorb it, but I can tell you as you Thank you will understand it in a better way. I'm almost done with the wing spot. Once you are done with the wings, you have to make the wheel status in the background as well as draw the horizon line. Now horizon line is basically not much important over here to be frank, but it helps to define the base as well as the sky in a better way. So adding a horizon line would be helpful in that way, as well as it really helps to basically differentiate between your line as well as it adds a bit more depth into the painting. I feel those are the important parts because of which I am adding the horizon line in this case, because I'm not sure exactly if I can go through the vanishing point from the middle point of the horizon line, that's what I do not think that how it works in this case, there are multiple lines that I have to add as well as in every painting, you will not only have one vanishing point, I have been telling you about this. There might be multiple vanishing points, two, though, in this one we have only one single vanishing point, that is towards the middle part. If you point and then extend it on the left as well as on the right, the lines. You can see that there will be only one vanishing point that you would reach. This, this imagination of one vanishing point and how you do it. It might be a bit tough right away. But as we progress through many of the paintings, you can understand how the vanishing point works. I will be helping you out with the two-dimensional figures pair. We will have to point to a cube which has two different vanishing points. As well as you will have a two-dimensional figure, in this case, a three-dimensional finger too. So those are the aspects which I am going to cover photo in the soft France session. In every session that we go ahead, sometimes we will be covering skills, sometimes we would be covering Proportions. Sometimes you would be covering a bit more about drawing. How do you go about and what you practically choose to elaborate and what you do not choose to elaborate. So those are the aspects which I would be discussing a lot more. Do the front part is not so easy. I'm telling you beforehand there at two paintings which are very easy. The first one, I would say is the next one that I'm going to paint along with you. It is one of the bridges and it is an old bridge that we are going to paint. The next one would be your Eiffel Tower. Both of them are not traceable, but the bridge is really simple because it doesn't require any kind of an understanding much from the perspective point of view. So yes, that is not much of requirements anyone can try and attempted only we would be working majorly on the painting aspect. And there is a lot of stuff that I've covered in terms of the painting paths. We have used. Things like Posca markers, white, Jelly Roll pen, how to layer your painting, as well as how to add more depth to your painting. So those are the aspects that I've covered had, I think that would be a great exercise for each one of you. I'm pretty much done with the sketch. You can observe it that we are right now on the runway. And we will also look very much done in a few minutes. Yes, Guys. That's how it is. Now a major structure is already set. We are not trying to change it over here much. And I think it's just that my people is longer. And that's one of the reasons I'm extending it a bit more towards the bottom compared to I could have lifted the same, similar way if I would have had four more. Because sketchbook or I would have had a landscape died of a sketchbook. I am literally not thinking of owning a landscape scheduled because I just feel that that would give me the exact time of paintings which I need for this class. So I have gotten to get one, which can be a comparison to how we have been working on this one and how it can be approached in another way. So there I think Paul, that way it would be a good approach and a good way to look into it. Yes, there are so many sketchbooks and now I own and sold many paintings in each one of them. Overall, I think as I am progressing through this journey, not only there is an improvement in the sketching that you would observe, there would be even an easy way to paint that you will observe. There are not much that we are going to work on in terms of the painting part. There will be few paintings where we are doing monochrome or there will be few paintings where we are just going ahead very randomly with adding the paints to any bleeding or anything like that. Sign, just using your Pen tool, go ahead and demonstrate most of the areas. Overall. I guess it's more of a practice from the sketch perspective right now because you are building the base bus. But as you progress through the pace, there will be lot of painting experiments that we would be doing. The whole grease part is more about capturing the beauty of grease on various loads and loads of painting in that compared to less of sketching. And sketching is also very easy being broken down into very, very simple parts. Right now, we will go ahead and just add lots of water and sky area. Going with my size eight brush practically, to be frank, I'm thinking of purchasing a size two brush as my people is not very small and I feel that size brush will be a bit more faster and the whole of the painting will fall together quickly. Okay. This is 1.5 feet from the time you have started painting, as I have told you that the sketching was for your time. Whereas the painting part is 1.5 x going ahead with the Winsor blue, as well as ultramarine. Those are two of my favorite colors for the sky. You have already seen it. And now it's all about adding those colors to my sky with a very simple way of adding the left and the right side of the painting. It's always old. It has been based simple to be frank. It's just that I sometimes go ahead and add a bit of lighter values to like. You can see this royal blue. I have told you that high keep color-code this royal blue from scenario. It's very, very light. If you do not have this color, please go ahead with a very light shade of surrealism blue. That's something which is comparable to the toilet view which I am using. You can go ahead and use mass black for the bottom area. It's a very, very watery. Make sure that I'm adding rights now. My paper is already wet. So going ahead with very light wash with my largest brush and you know, the largest brush really helps to add the lightest tonal values in the first wash. The first wash is all about the lighter or tonal values. And I have been very creative about this process pretty often than we have approached your subject. There is not much of a change that I do in this case. So simple process of just filling up the spaces, whatever you see, since the paper is white, I would be using a lot of white. For this guy. You will observe that I literally leaps so much of carrier in white. I'm using my wash. Or you can even go ahead and use this white intense shade and add it to the top area. I told you that the flight to me doesn't look absolutely perfect. I would change it when I am going ahead with my secondary or when I am going ahead with my painting, going with the lightest shade of the blue as of now. And then I would even add the darker values slowly. I like to keep it simple as there is a lot of the way in which I can come back if I am adding very lighter tonal values for now. And then, of course, it gives a lot more chance to add the darker values as we progress. Time to add some ultramarine. Yeah, it's one of my favorite colors and I have been using it so often in many of my other paintings too. So, yes, I am using my size two SCADA Paula brush to add this color to my painting. Well, that is a very beautiful brush and I have been using it not only for watercolors, even for wash, even for gouache, this comes very handy. It is a very stable and strong brush, I must say. If you anytime often get to see or get to use this brush, do try it out. Or even if you are planning to actually invest on something, I think Paula would be a good choice for you to try it out. They are not very expensive. So I guess you can always give it a try. I am even hiding the same kind of color to the bottom area and leaving some parts in white. Actually, that is not the white part. It's majorly the yellow part that I have to go ahead and add later on. Simply go ahead and add the colors. The various blues that you have are from Maine and royal blue as well as the Windsor Blue other colors which I'm using. If you do not have been so blue, you can also use Taylor blue. That's another option which you can always go ahead and explore if you do not have payload, do try the cupboard. As you approach the bottom area, please use your Payne's gray or else you can also go ahead and use your indigo. These are the two colors that you can always use. First, use a bit of darker pigments can, then you can wash your brush, use the water in your brush for adding the lighter values. It's always great to progress from the sites, but the darker values aren't in the middle. You can always keep lighter in a second time or whenever you are coming back. In the second layer, you can add the darker values towards the bottom or wherever it is needed. I slowly progress even not to the other areas of the aircraft. These are the styles and then I would even go ahead with the wings as well as towards the bottom here where I have the tires. So those are the wings, etc. So everything will have some other, other color added onto it. And on whether people keep in mind that the white of the paper needs to be used properly. I always use the white of the paper. It's very nice to use the white for yourself. Just go ahead and use the white wherever you can, because that's the color that is available with you, without anything you can use it. So those kind of aspects, going with a second layer, if you can see I am using my art Romain that I did earlier and using it on the left side as well as on the right side. The darker value I'm adding on the left side and then I'm blending it towards the right side. Always choose one area where you want to add the shadows, another area which you want to keep it toward dark. Whereas if you observe this flight properly, the middle ear looks more darker, whereas the side looks more lighter. I like slowly, you can go ahead and do that. I've also added in the similar way, just observe and keep painting along with me. Do make sure whenever you are adding any lines or adding any darker or lighter values, you keep yourself motivated. Yes guys, never know, like your patients die. That's something I always, always say that if you have patients you will be in a position to nail this painting. There's nothing that is difficult than this painting. It might take awhile initially, but once you are done with these days, I can tell you you can near any kind of a painting that you want to paint or go ahead with. It's something that I have learned or what time. It is difficult to initially, but later on it becomes the easiest. Picking up the colors wherever I feel it is necessary and using my larger brush to do that. No, I have started adding the next year for my aircraft and few of the ideas I have not added any first layer. Majorly for the smaller areas like background where there is a hill or theirself dreamed that I wanted to add. It's a very, very small patch. That's one of the reasons I have all left it out in this case. As well as for the views to. So, yes, I think that's more random for me, but if you want to really follow a particular step, go with the first half, first layer, and then you can go ahead with the second layer. That way you will be more sorted out. But to be frank, I do not follow exactly the way I try to see all the areas are done in the first year. If you have the bits here and there, I left out, I will cover it up, then I am doing the second year two. That way not only I save a lot of time, but that way I even try to try to leave some nest type for many of the areas where I think it is necessary to give lesser time compared to some of the areas where it means more longer time for it to dry. So smaller areas will need lesser time, like I have told the mountains. Whereas the other areas, like the whole of the flight or the clouds would need a lot more time to dry off. That's one of the reasons we have the approach that first compared to the smaller areas which are still left out, maybe we will continue working on it as we progress. I think the darkest value. Now, though, once I am adding the darkest value, you can also factor. I would choose the darker side on the left-hand side because those are those shadow areas that I've chosen for myself. Now, this is something that I always do when I am looking on any kind of a painting part. Maybe it's always on the similar way. Sometimes you may observe in the photograph the light and shadows working a bit differently compared to when we added on the painting. Yes. There is nothing much that you can say I will actually work on the scale, etc. How you define the shadows for any object, how, how exactly it falls on the people, and how you should absorb it. So those all things will also come and later you might enjoy those sessions more compared to what you will do right now. That's one of the reasons to keep them separate and to give you guys are like not getting overwhelmed with the feeling that everything is bombarded it at one single face. That's one of the reasons I have kept it slow and steady. We would be approaching it going with the yellow green shade. It is more of yellow leaf rather than green. Yes. I'm on the background have told you whenever they're smaller pieces left, I approach it as we progress. So once I have added this color, I would go head with a darker value. I have added the darker value of green. And even for the runaway, I will, I'm in bondage. I will hide the yellow. Towards the bottom area, this is majorly decennalia yellow or Indian yellow or any other yellow that is available with you. Use that. For this area, we will be adding more of pen and white dome marking pens like as we progress. Now if you have Posca marker, That's the best in case you do not have past karma, whatever is available with you, like your goulash or anything else you can use it for making those areas going ahead again with the darkest value or for this for showing the shadow of the aircraft when it approaches towards the bottom. Using my black pen to add the darker values. It's majorly to create that depth into the painting and few of the areas I like to keep it dark. I will continue adding this as we progress further. I am using my scale to add these lines. It is more closer view compared to what you did also video. So go ahead and keep adding these lines as you also need to wing it. Okay. I guess this looks pretty much fine. And let's move forward with the other parts where we have to add, even though black lines, adding more of black lines towards the top area where we are defining the windows as well as some other parts of the wheel. So yes, it's simple, easy, and you have to continue doing it. It's more of an iterative process, but I have told you that it would be simple once you are done with the sketch part? Yes, sketch part is longer and it takes a lot more time compared to the painting part. You would be very happy once we're done with this painting. Believe me, once you are done, you would be proud of yourself that you have near this part of the painting. Okay, I guess this looks cool. And let's continue to add a few stamp marks where it says France. Guess I am excited to add those marks to the painting. That's the best part when I make my first page, it's the most exciting part for me. I hope that you do get to understand each and every part more in detail. I would take you through way more different kinds of paintings like painting or door, window vase as we progress to Greece and there will be more of towers coming up in Istanbul. We will move to Egypt and even to the Asian side. But once we cover the Europe part in a bit more detail, yes, I guess some wood that's all long before I tell you what to not do much. That's leaving your patients, okay? I think I have told you a lot verdict, but this is domain key. If you want to know what makes your dish. Great. Salt. Yeah, pan for painting. It's patients. So both of them are really neat. Everything do great. So yes, I, I am very, very happy and nice to see that this has turned out so well. It's not exactly like the photograph that you saw. And I am happy that it's not exactly like the photograph. I always like to take an inspiration, not create an exact copy. Let's just write the names of the major sheets that we have used for the painting. Blue, ultramarine than your indigo or else Payne's gray, the olive green which you also 18. France Day 1 Part 2: Hi guys. I'm so excited to be back on this session. It is our D2 are practically, you can say the one which is more extended hand. Of course, if it's France, we think of Paris and pass means Eiffel Tower. How can we let go of Eiffel Tower? We are going ahead with the I forgot. Well, first, I have taken about seven centimeters right now. And you can see that I am first drawing a line where I am in total taking 14 centimeter and then I am breaking up that voting centimeter into four equal halves. That is 3.53.53.53.5. It is realtime sketching, as I have told you and rest of the paths of course, is 1.5 x, which is more of your painting. I will just go head and try to see how high will really make this look more equal as it is a structure which is man-made, hence, that are less anomalies that luminous, which you can figure it out in this. Hence, we have to go in a way which is easy as well as you are not overwhelmed with Kenny of the situation. Frankly, this is one of the easiest paintings. It might take a bit too long and you might be wondering why I have gone ahead on a paper and then painting on a board. So what happened as I tried to do this on my sketchbook hand, I did spoil the page. So I just thought that it would be a good idea to try it on a separate paper. Then just to get on top of the page, sketch book page, which I already have, because there is no point letting go off a particular beautiful page of a sketchbook. And if I can't do it on the same page, let's choose to auto now the patients that I hope that really makes sense. And that is another painting. First, you will observe as we move to Greece, Milos, you will see that that is also done on another page and I did stick it later on. These are part of the puzzle which I also can see. Everyone makes mistakes and I do the same. So that's perfectly fine. Okay, going ahead and marking the middle. And you can see that I have gone to the top hand, Denmark cause small part there. Similarly, I would go towards lower part, which is about seven plus 3.5 centimeters and 10.5 centimeters. I go there. And then I mark of four centimeters, which is majorly two centimeter on the left and two centimeter on the right. I have given you the exact calculation of how I'm going about the whole of the painting. It's just that there are a few aspects of painting over here which I am truly doing with the help of my scale. Why many of you might tell me that you should go freehand and why we're doing it like this. But if you ask me when you were starting out, it's difficult to initially get a whole hang of the painting thoroughly with your hand and sketch it as this. So in that case, I always like you guys to take care of any resource that is available with you. Whether it be a scale or whether it be any other item that you'd like to use. For me, I have taken help of a scale as well as I would use it further in many of my other paintings. Still we are more, I would say it really. We are more pro at sketching and painting at data. Maybe I would leave it at that point. You can see very easily, I am going ahead and marking my lines. I can do it when it is towards the interior. Yes, I'm marking two lines and when it is towards the exterior, I am marking only one single line. That's the only change or odd, That's the only difference which you see rest everything remains sink. In the similar way. I would mark the lines even towards the top area. There's an optional dot v would be drawing hand. I'm mocking up two lines again from the interior on the left hand, then again joining it to the integer part only on the right side. If you see, I'm not starting with the most stocked with a line which is absolutely insane. I'm starting with the line which is one above the line that I have drawn inside. So that's how I go about it. You can see that the Eiffel Tower is coming pretty well. It's called Love, You know, sometimes in our head how we put everything together. When I tried this for the first time, I was so it was so intense, I was so tensed. How do I go about it, how do I paint it, and how this would come together? And they were so many different thought processes. It was the first time I was trying NOT IN hence a is pointless because it was all there in my mind. That's one of the reasons I always say, if you can think that you can paint, you will be in a position to paint it. How can someone paint the same thing in the second go very easily. It's not that I have changed, the thought process has changed all of a sudden. It's, you may say, it, the thought process has changed all of a sudden and I have literally told my mind that this can be done. There is no stopping. Therefore, that's one way to always try out too difficult things which you can solve. And CDC speaking, you can paint the Eiffel Tower in many ways as possible. I would take an attempt at this once more. Again, as I feel that I can do much more than this and I can paint it in a better way. It's just what they think and what I want to put together. And so that way I will say that this is something I want to try again and again and again. Seriously guys, the more you try, the more you understand the painting, the better it is. France is not going to be very easy. But believe me, all the lessons and Greece that we're coming up with is 30 to 45 minutes, almost. Practically, you can nail every painting. Everything would be real time so that you guys can paint along with me. And even the painting part would be realtime. So I would really, really ask you guys to get it along on France. And if you are finding it even a bit difficult, don't get overwhelmed with that feeling. Just tries on the grease spot and I'm pretty sure about it. You complete it. Let us just extend the lines on both the sides as you observe, as there is a route that is coming in and on the left as well as on the right. I would go ahead and add these two lines. These two lines will meet on a horizon line, or you can say add a point which is more like added distance. And it is the vanishing point that you observe on the paper. So there is a vanishing point and you can very well market with your pencil. It is somewhere inside the paper. And you can, if you extend both of these stable meet to one single point, That's what term I say would be your job. One dimension kind of figure that you would like Sketch. And this is not exactly how I would say there is two-point perspective and all this is majorly one-point perspective that I'm taking to account. The next painting that we would be doing or the next one that we would be adding is more about the two-dimension. And even the bridge that you would be doing tomorrow is not two-dimensional, it is one dimensional. The last day of France is majorly two-dimensional structure that you would be adding and CDC, you need lots of insights into wet in terms of how you actually work alone for two dimensional, stuff like that. Okay, I think nevertheless, let's carry on with the sketching. And most of the sketching is done to be frank. There is only some amount of sketch which were just needs a bit of change here. And then I'm just going ahead and adding those few lines into the sketch. This is just the details that I want to add for this part of the structure. It's easy, simple. I hope that this time you would be going by the exact stroke exactly. I mean, in centimeters, what I've told you, the different dimension. But you can also go ahead with a bigger paper or smaller paper. And depending on the paper size, you can seriously changed the dimension that would, that I would leave it up to you over here. I'm going with an A5 size paper. And accordingly, you can go with the dimension that I've given. In case you are going with an A6 size paper or you're going with an A4 size paper, you dimension for sure is going to change and you might have to see what, what suits you the best or how you want to go about it. Just remember one thing that you have to divide this into four equal parts and there should be some space even below where you would be drawing that road. So that's it. I guess this makes it more complete. And I would now just add some more details, as I have said even earlier. Then once I have added those details, we will start with the painting part. I would be adding a few lines. Now as it goes on though, I filled out well back, this is not a necessary step since most of you are starting out. So I just thought that it would be a good idea to go ahead and add these lines initially, it would be a guideline when you start painting. So that way, I think you can also go ahead and add these lines for your benefit. Once these lines are added, it would be easier to go in and around it or even go over it to paint this area. Thanks over here. I have less to explain. That's one of the reasons I have just left it as is and I just want you guys to follow along and just sketch along with me. These are more of details which I am adding practically, our basic structure is already set. We could have gone ahead with this even in the later stages. And that's one of the reasons I am not actually giving lot of importance at this stage to this part. But yes, Having said that, you should always go ahead and add these details for the later part. As I do understand that most of you maybe big nose or maybe starting out, or even at your intermediate stage, it's always good to have the guidelines absolutely ready with yourself. And when it comes at the painting stage, what happens is the sketch is basically your framework and that framework really guide you through the entire process of the final outcome. And that final outcome is so much dependent on your initial sketch pad. That's one of the reasons I always say that sketchpad is the most important aspect of a painting initially. If you can get the sketch, well, your final outcome of the painting is nowhere going to go wrong. And I guess that does it, which I wanted to share with you guys. Let's keep sketching. This part. Wants to sketch part is ready. We will move on to the painting. I think. Now it's almost time for the paints. I would have a beautiful evening sky for my Paris, this looks stunning as an ivory tower. And frankly speaking, when I was recording the lesson, I was not sure that I wouldn't be in a position to actually paint. I felt hour and shadows in such a short span of time, really speaking a few years back, I never thought that I would be doing these kinds of problems sketching, and I was never, never confident about all this. It was so much less in terms of confidence that I had through this entire painting process. I was always so much into the normal landscape and other aspects of watercolors that I never thought that this can be one of the major, major parts that can seriously make you fall in love with watercolors even more? No, it's not about only watercolors. That's the best part about doing up travel sketch. I have tried exploring so much more in terms of doing pencil sketch, doing pencil sketch, and doing using paints over it, going ahead with things. As well as we would be working with even watercolor pixels. This is something I would have never thought to explore. All your, if I wouldn't have taken up this whole challenge of 80 days around the world. And seriously speaking, if you go about these 80 days, you will find something or the other that interests you. Whether it'd be sketching, whether it be drawing, whether it be painting, whether it be anything else in terms of understanding the perspective, how to put everything together, you will have something or the other that you will make. And that would make you fall in love with this series. The series is so much curated for everyone who wants to give travel sketching or try and CDC speaking. Travels catching is something that I have always fallen in love with and I seriously want people to also explore this part. Travel sketching has so much to offer us in terms of the colors right now we have applied the orange towards the bottom area, and then we have gone ahead with the blue. The blue is majorly your non-trained blue or you can also go ahead with ultramarine and it makes your Winsor blue. These are the two colors that I have gone ahead with. I always go with the lighter shades initially and then I add the darker shades like purple or dark blue. Green, blue. So these are how I go about for my sky area. What you can do for the Eiffel Tower if you are not so confident about keeping that space well for you, just mask it out. Masking out what really gives you a lot of help in this case. And right now, I'm adding some yellow onto my backgrounds. You can see the yellow that I'm adding to my background is very bright and vibrant and I really like it that way. I have always been a person who loves to work with vibrant colors. It's only through the series that I understood that there are, there is locked that lies even lighter shades and even subtle and sober shades are these shades would say, which was never my take. You know, I have always been a person who can paint, who can fall in love with the colors, who can worked through the vibrant shades that you can CDC only find in major treaty of the paintings which are landscape and, or the florals, some something that I have always loved to walk around with. But over time, I feel that over these years I've fallen in love with the things that I never thought I would be painting. And one of those is this beautiful structure of Paris. I think this is the love that I have now for painting these beautiful structures. And then around the world, they are something that attracts me, that really puts me towards them. Going ahead with my smaller brush and adding these small, small clouds. These clouds are really simple to add. You know, what happens is when you have lots of water in your brush, the clouds become broader and they usually spill over. Whereas if you are going ahead with a thinner brush and you take off all the extra liquid on your liquid means water on your tissue and then applied, they will give you thin and beautiful clouds which you really want for your painting. Going ahead and add these clouds wherever it is necessary. I told you the colors that I'm adding, so there is nothing much that has to be done only I would say that I would be adding some amount of royal blue into the clouds. And you will see how I keep adding those royal blue color as well as the royal blue has a bit of opacity in it, which really adds that kind of a flavor to the painting. I will make a darker shade that as Elon three in blue and some amount of my other darker shade that is pulpal. Once I have that, I would make these kinds of marks. But before I make these kinds of marks, make sure that you have taken all the extra fluid onto your tissue and then only you apply it on the paper. That's how I go about it. It's a very easy process and do go over only the spaces which are still wet. Don't try to go with the spaces which are dry because that would lead to a lot more disaster that were truly lead to a lot of problems? Yes. And few places where I feel that I have added more colors than I require. I would take off the extra part with the help of my damp brush. I really like this part of picking up the colors with the help of their damp brush. And you can use it for any of your future paintings too. But makes sure that you blend it where do not make it in a way that it looks just out of the box completely. Yes, this is the place where it has to blend and we need those soft, beautiful clouds. So those soft clouds will only come together if we have all of this coming on top of the wet sheet rather than coming in on top of the dryer sheet. That's something you should be very aware of when you paint. Okay. Well, I did tell you about the masking part. I have done that myself and I did mask out some of the area towards the top and towards the side so that I do not go ahead and make any mistakes where I keep my colors onto the sky area. Key. I guess this looks perfect. Does car looks fine? I'm so happy with how it has come out and now I will go ahead and add some blue color into the sky part wherever I feel it doesn't necessary. And then blend it with my blending brush that has size two only. So that no one gets to understand that this is calculated Arctic compared to when it was like the initial part? Yes, that's that's how it is going to be. Simple, easy. I hope that you are following along. It's just that the sketch bought was a bit longer compared to when we are going ahead with those Skype at. The sky part is really simple. It's just the way you want to apply your colors on the clouds. And frankly speaking from here, even though I felt hour as well as the other parts will be absolutely simple. It's just that we are going ahead with some yellow, as it is, the bright yellow which I want to add for the Eiffel Tower. And then going ahead with the lightest shade later on. So all of those can be handled as we progress in our painting. It's just that I am right now adding the colors a bit slowly. I told you this is my second painting. Sometimes what happens is even if you try to near your paintings, it doesn't happen. And I did spoil one paper, so I have very, very skeptical about spoiling this B2. Hence, I'm going slower than it. But I would say the thought process of You're not being able to nail it practically kills the whole farm. If you can see VC thing that you can nailed painting, you can make it happen for yourself. I have added been sienna and yellow to the top part and now I'm going ahead with the darker values for the bottom areas as it has the evening time. And you will see more of the darker values for the road as well as for the other parts. Make sure that you are going ahead with the blue part first. And then if you need the darker values at those two, you're from I'm into the broader areas which you'll see. But if you are not confident right now that whether you will be in a position to get those darker, lighter, whatever values you want. Just go with a very, very simple wash As you also can me doing it. And later on we can of course, go ahead and add the darker values of whether it'd be Payne's gray or whether it be indigo, whatever you want to add. I'm mixing some amount of my browns and to the blues that I had. And going with the side areas of cool part for my billing, it is simple, easy, and as I have told you there is, this is not a rocket science, it's just a very simple way of attaining the best of the outcome that you really want to. It's just that there are a few things which you should be more aware of while you do this kind of sketching. That is, one part would be that you are going ahead and adding those browns as well as go mixing the colors as we did for our Brooklyn Bridge. And mixing those colors become very, very important whether it be lighter, whether it be darker shades, you know, when the whole painting dries up and then you will see how much change it comes. So go home pub, beautiful. Your whole painting turns up. I guess now is the time where I feel that the bottom part should be dark enough. So yes, I have gone ahead and added some more darker browns into what I am mixing the colors always when it is the site areas and all where I do not need to define much. Over here. I just go ahead and add the colors and I'm very, very random and easy manner. Simple and easy, darker brown for the foliage. You can go ahead with the Van **** brown or any other brand that is available with you for the foliage part, if it is the darkest brown that is not available with you, mix some burnt sienna with the blue that you have and then you will get the darker color that you want for the background. I guess that's it. And I would go ahead with the other values of the shades. You can very well see that there is some brown which is there, and I am just adding some color to them. But to the Eiffel tower, yes, Eiffel Tower is something that I have fallen in love with now. And I'm going with my size two brush. So this is the brush from a SCADA. It is the worst at our brush. But I must say that Apollo gives a better outcome in that way as it is more stable and it gives lines which are absolutely straight or IM, more, more well-versed with the polar part compared to these paths. So I guess that would be something that I can recommend you in case you aren't anytime willing to purchase some of the SCADA travel brushes than the polar would be the one that would be in your suggestion list from my end. So yes, go ahead and try out the polar series. That's amazing. And I myself, I'm always trying out 123 new brushes and recommending you guys about it. That it is helpful for you guys to try out. Rather than buying everything like this. You can go head and only try out the ones that is needed. Fine. I guess this is it. Let's just go ahead and add the lines wherever it isn't necessary. I already have the guideline ready with me, so it is pretty easy for me to go with that bought by building. I am just going with a very, very random color that is prompt. I will try to make it like I will auto between these places. So just pardon me for that. There are times where I just go with my mind. I don't think about like there's no mine than it, whether it's just the flow and it's just a creativity that really helps me to channel all my energy into something that I really want to create from my heart. This is from my hand and this really is something that I did fall in love with. Eventually, it was not initially that I really liked it, but has added progress with the painting. I like that more and more. It's all about adding more and more lines, whatever brush you're more comfortable with, where you can say that it can help you to paint very well. I think those, That's the brush you should use for the stage where who weren't handing those lines. You need to go very far with the painting and you have to actually go with the colors or veto way where you are more comfortable with time. Discomfort only comes when you have worked with a brush for a longer period of time and you are more aware of how it works and you should be more comfortable working with. This is something that I have realized over time that there might be many brushes that are available in the market. But if you want not very well-versed or you are not happy, or you have not painted with it. You might not be in a position to nail that. But the ones that you have already added on, the ones that you have already used, or you want to use whatever. Those might be the ones which new fond love it. Okay. I guess I would just go ahead and add these smaller lines. Now, once I have added these smaller lines, then I would just try and hide these small, small Trump chose. It's just the guidelines that I have already added and I have told you that I'm going to paint over it using my yellow posca marker to add these small and simple lines as well as some of the windows into the background. But eating something that I have realized this, the Posca markers can be used in variety of phase. So there is no one particular way of using the Posca markers. It's just many ways in which it can be used and you can practically nil it. I just have one set of Posca markers. And if you do not have these Posca markers, that's absolutely fine. You may have some amount of wash. If it's white, quash out a bit of yellow in it and you can get to a color that is similar to this one. It would give you that opaque opacity which you really need for unlike kind of painting. I'm going with my white pen right now to just show, give these buildings are shaped and similar kind of buildings will be there. So some of them will be in black and few rid of the bugs will be in white. That's, that's it. I hope that it's easy for you now to progress. Our whole painting has already taken a shape. It's just the last few minutes where we are going ahead and adding a lot more detail. And this TTL part is very, very important, I must say, because this really creates a lot of depth into your painting and the darker and the lighter values which you have been adding to your painting or the kind of blend that I'm creating because I have this lamb is soluble water. The paint or ink that that is there in the lobby pen is something that is water-soluble. So yes, I can go with my brush and then blend it a bit. So this really helps me to have a great outcome later on. Okay, good. I guess this is it. I would just continue working on it. Please do keep adding these lines with the pen. With the white pen that you have, Jelly Roll pen, et cetera. If you do not have these Posca markers, you can use the quotient as I've told you. And I am going with my black pen to add some more windows as well as some, some lines for creating the depth as I have told you. So it's the same process, just Iterative more and more hands. So you might find it a bit, a bit repetitive. Of course. Be around, we're almost done. Seriously, It's just last few minutes and I don't want you guys to lose your patients at this point in time, you have created a beautiful painting. And if you are here, if you have worked along till now, I think that you can nail any on the painting that you would be doing posters. This one was not easy, believe me, when I tried it, it was once a failure and then only I got this true. But the second attempt, I am already in love it. So yes, something that I want to tell you. Listen to your inner voice, listen to the voice that wants to guide you. That really wants you to create and never give up on one shot because the first one did not turn up exactly the way you want it. So the second one might not even be the same way. So the thought processes of costs wrong. If you try twice, you might be the best outcome that you would have thought. It would be. Loads and loads of lines are dropping in as well as I am using my size two brush to even blend it in a few places. This is how it goes about throughout the painting now. So there's less to explain. Just follow along. As I've told you earlier on, we would be adding more darker values towards the interior side, whereas to the exterior side it would be more lighter. You can even make it really dark if you want that, that I would leave it up to you. You can add some of your darker brown so that you have to work less in terms of adding the black marks on black pen marks when you are at this stage. So that kind of a decision you can always choose for yourself what you want to add. But for me, I tried to add the pen and then went ahead with a bit of my brush to blend it in a few areas where I think it is necessary. Going towards the top a and now I'm just blending it with the third darkest brown yes, Towards they needed but most of this area is with the black pen marks that we would be covering. So yes, that's that's how we are going about this spot. As well as we have a bit of blue from the sky, which we did miss out initially. So I am adding that blue into the metal part, going with my black pen now and then blending it again, you can see that this is a water-soluble ink. That's one of the reasons I can take this chance. Or else you have to go ahead with any of your darker value of brown or black. So to do this, making these smaller lines just for our Eiffel Tower and then num, I guess so. This looks so perfect Now, I don't know what to explain more. I think of most of the things I've told you. It's just few finishing areas which I think as of now, to make it look more beautiful, more detail, I must say, details is something that I always love to add. But seriously speaking, and it's so very difficult kind of a structure. I don't like to make it difficult. It should be treated in a way that you find it easy. This is something that I have learned over time that the difficult structures can be made easy. And you will find that the more as you progress into the last part of France. So painting where we are doing a very complex painting, but in a very, very simple and easy manner. Frankly speaking, that's one of the challenges that I took for myself that if we can really get something that is closer to it, but I guess we could. And how you can simplify subject is something that I wondered teach you there. Do not get afraid of what you see or do not have that fear in you. Just go about, just let your creativity flow and whatever be the outcome. Just enjoy the process. Processes. Something that I have always launched should be enjoyed because if you are not enjoying the process, frankly, you are not enjoying the final painting. All the main thing will never be a masterpieces every day that I paint is not a masterpiece. Every day that you will paint well on peer masterpiece and everyday is not the same. So there will be these which are top, there will be these that are easy and hence, just try to follow along whatever you can do. That's absolutely fine. After adding everything that I see, I want to go ahead with some darker value for the bottom part, which is majorly my road. And hence I am going ahead with my Payne's gray to add the darkest whacking onto the road which I am missing for the knights. And hence, you can also do the same orange leave it as is if you really like it this way. But I think I would go with those dark colors that I love to add for my road when it is the night. Okay. I guess this is it. We will just remove the tape hand. Go ahead and have a look at the final painting. You can do it on your sketchbook now, eyespots my sketchbook, that's one of the reasons I did over here and I pasted it. But I would really encourage you to directly do it on your sketchbook. I think you can seriously, seriously nail it all. I guess this is it. I hope that you are falling in love with the city of Paris, and this is one of the exceptional paintings that you might have done. Turnip. So tap your box and just feel so proud of yourself and have a final look at it. We motivated v will be due when the next painting very soon. So that would be our drawn from France. 19. France Day 2 Part 1: Hi guys. So we are on day two of France and it is a pontoon bridge. This is a giant bridge that was constructed around 19 BC to carry water to the city of nemesis, or what the Grand River in Southern France. It is listed as unesco World Heritage Site Three times of the lines to 47 Nieto Huck. And the structure was damaged in the fifth century, but it got restored in 1743. So overall it has got a great history. These where the few lines which I did pick up and wrote it down. I love to tell stories coming to the places where I visit. And this is a very simple story, but it's a nice one. Always knowing about the cultural, always knowing about the place from whatever you are. Painting is a great exercise and it helps you to even know the places in a better way, the culture, the food and everything in a better way. So why not go ahead and just start drawing this bridge? The bridge drawing is going to be real time. As you see, I would be working on A4 size paper. Quite what it means is that I am practically using both sides of an A5 paper and having to A5 size people, which makes cell A4 size paper. And then I'm going ahead with my scale. Just see absorbed on the left side, I have the photograph as well as I will add it even in the video or above so that you do not have any kind of issues while you are drawing it. I'm just trying to measure what is the structure. So the top part is practically onetime wolf. The two paths, these arches, arches basically is two times and then the top part is one part of that, so it's 1 third, you can say, if you are putting that up our Shan, the top small small holes part together. So yes, that's how I measured it. And then it's practically, you can say 2.5 times, or if you take five times and then divide it into five equal halves, the middle part, you can take it as two parts. On the bottom part again is too far on the top part again as one part of it. So it's five parts. If you divide it to endorphin, it's a very, very rough estimate of cost that I do. It's not that I am the best in terms of estimate or the perspective that you see. But there is a lot of practice and effort that has gone behind how I paint or how I draw. So as per my understanding, this is the kind of perspective. This is the kind of measurement scale that you should try to have for yourself. And I would go ahead and remove it a bit because I don't think that you guys can see practically the whole of my sketchbook. So let's go ahead and take the sketchbook in the middle. You can, of course, see the photograph on the top side of this video. And I would request you guys to please have a look hale of full size screen, which means either an iPad or you can go ahead and see it on a computer screen. So anything can do, but you have to go head with one of that. That would be helpful in this case. I guess. That's great. And as I've told you, I am going ahead and just adding these fewer lines now. Go ahead, go ahead, add these lines along with me. And once you are done with these lines, we will start adding the mountains. On the left, practically they are hills and as well as on the right, we will add these rocks, which is in the foreground. Now over here, you know, the time that you would take for finalizing your details of the sketch is more compared to what you come up. Has a skeleton on the sketch. A skeleton or the framework, I always say is the sketch, but sometimes there's a lot to do in the details can, which means individually drawing all these arches, which might take a bit more time compared to if he could have gone ahead with something more flat. Hence, it would take some time as I've told you. So b along with me, it's simple, easy, it's just that there is a bit of effort in terms of working around with these lines, walking around with the Payne's paper and everything. As well as there's a lot in the details of these arches at CDC, they might look very easy. When I actually saw this photograph, I was so happy to see that this is something which is really easy, but there was so much in the painting part. And then I realized that it might not be the best thing that I chose. Having said that, it's practically easy. Okay? So the easy part is Nowag going, but it's just that it will take you a bit more time compared to what you might expect. Otherwise. Going ahead with these smaller, small, small, small, small circles, keep adding them. I will get back to you once. I think that there are more details. So in terms of sketch that you need to. And of course, over here, now, you haven't touched your two-point perspective. We have only touched one-point perspective though we'll have worked around with two-point perspective, but I have not introduced you formally to two-point perspective. I would be doing that tomorrow for our thoughts sketch of France. And hence, I would like you guys to go ahead and just draw this one. It will be a good stimulating exercise for all of you. When you go to the Thought day or when you go to a bit more tougher day compared to what you observe over here, it would be really easy for you. Happily even the third day, what we are doing with the incus is not much tough. When we go to the fourth day where there is that is something that I would say. I never thought that I would be introducing so quickly to you guys. But it is simple, easy, lot of drawing, lot of sketching, and you are done more of sketching. I would say painting is the least in that maybe this 1015 minutes is all about the painting and the rest is all about sketching, drawing, shading. And yes, there are a lot of concepts that I'd like to introduce and what all I do in my sketchbook. I love you guys to explore all of that. I hope you're enjoying it and it would be more and more interesting as we progress. I know you guys have started drawing these arches and these artists really takes some good amount of time. When you draw it. Initially, you might, as I told you, I even thought that it could take less time and I would be done with this so quickly. But that was not the real case. When I went ahead and I started drawing, I got to know that yes, It takes a while for getting these correctly, as well as drawing this correctly is something that's very important. If you can draw this well, I think painting will never be a difficult part. Can, you can practically nil even the painting part. Okay. I guess that is it. What I wanted to explain you. Let us move forward and let us keeps catching all the parts. Wherever I need to intervene, I would go ahead and let you know. In case you are done with the top part of the arches, I think the bottom part is more easier and I would say has there are less number of edges compared to the top part. When I was going ahead with the top part, you know, one thing that I should have kept in mind is just to understand where I need to exactly monk these arches. And I just went without any plant. Whereas I think if I would have planned a bit differently, which is just mocking the areas where I want to add the arches. It would have been pretty easy for me to go ahead and draw them quickly rather than waiting and then drawing it, then adding the details and all of it. But it's always a learning and CDC speaking. It's not that I have painted this one volume, so it took me some time to get the full part of it. And whenever you are also trying out any new for graph, what happens is sometimes you might think that this might come off very quickly, but it takes a while. So never give up. In the meantime, try to be motivated and keep yourself energetic as well as the thing that you can seriously name it. This is not a rocket science. I always say art is something that you can pick up and it's only about practice. Factors makes a lot of improvement. You might not be the perfect. See, no one is perfect. You can be perfect in your own way. And I feel that's the beauty about the final outcome. Always try to enjoy the process that you go through. Try to learn through the process. There is so much of learning that you can have through the entire process that even thinking about the final outcome just doesn't work in these kinds of things where you have to actually work a lot, even on the sketch part and then move on to the painting part. Sometimes if we do not get the desired outcome v are broken. That's what I don t want for any one of you should keep yourself motivated and continue working on anything and everything that you feel is great and you should attempt. So that's it. I guess I would go ahead and continue working on this piece in terms of the sketch. Last four to five minutes left, I would ask you guys to go ahead and finalize it as I am doing it. If you are happy. Top part itself, do not go ahead and erase as much. It's just that I was not really happy with how it came off. So I have it in few of the paths. And yes, it is quite a lot. But I never mind doing it. I always feel that the structure, if it's correct, if even it takes much longer than what is expected, I feel the final outcome is going to be good itself. You don't need to worry at all about the final outcome. If your initial base or initial framework is not exactly how you want, then your final outcome, of course is going to be shaky. Do, do not really want that to happen to you. So I think that is it. What I want to convey. Again, I will go ahead and leave it over here. See you where once I need to add any further points are where I think that it's important to let you know the intricacies or some important points where hub which I feel I have missed till now. We're done now. So let's go ahead and start with our painting, but I'm pretty sure about it. You can do this and you have already done this wealth. So do not worry to go with the confidence and you can Frankie names as well. 20. France Day 2 Part 2: We are now on day two, and right now I am going ahead and adding some water on the top part of the sky idea. The whole of the video is at 1.5 speed, but you can, of course, go ahead and adjust the speed as per your requirement. Okay, I have taken some of my royal blue. Royal blue is from Sennelier. And I have added towards the top part of the sky. Once I have added it towards the top part of the sky area, I'm going ahead with whom mix of Windsor blue and royal blue ones. This mixes. Ready? Hi, am going to add it with the help of my size two brush, as well as pick it up in a few places, but they had both my size eight or whatever you are using. So for me it's size eight brush. I can of course, adjust them number or the use of bigger size brush. It all depends upon the size of the paper. Now since we are going ahead with an A4 size paper, which is double the size of E five. What you might have already seen that I have been using. I think of this, this kind of sky and all is okay with the size of brush that we're using. Going ahead though, with some of the other parts where I am adding my brown to the area of the bridge and then mixing it with some blue. Now, this is to add more depth to the sky area. You can of course, go ahead and do this. And in a few places if I sometimes don't like, I just pick it up. There are times where I sometimes don't like something which I apply, and sometimes I do keep it the way I have added it to the top part of the sky, going with some more darker value and the paper is too wet. It is 185 GSM Arches paper which I am using. And frankly speaking, I'm very happy with the whole process, how it is turning up. I hope you guys can also try this. So people which is of lower GSM has the all give very good outcome. Most of them, at least I have tried out the Fabriano and Arches paper, 100% cotton. That's the only requirement which I feel that you should look forward to. Orals. Your people will not be wet for the required amount of time which we need. As I've told you that, I sometimes don't like what I paint and hence I pick up the colors and then again, add a bit of the darker values and the areas where I want to, okay, I guess this is it. I would now go ahead and add some colors to the bottom part of the painting, which is majorly the water. And the water is also blue, which is a great thing. So whatever is blue on the top gets reflected in towards the bottom. But do remember that the left part of the mountain area is some non blue. It is more of greens. Hence, some of those greens will, of course get reflected in the water. And when those dreams get reflected in the water, you have to add those ripples in the green part, or else you have to add the green within this blue that you work currently adding. Now, I am using some amount of my horizon, blue or cobalt green blue that you have seen. This is a beautiful blue that I have been using, but in case you do not have this, you can go ahead with any other blue that is available on your palette. It's just that this blue is very pretty and that's one of the reasons I have been using it. Using some yellow green to add to the water area. Once I have added this yellow-green high, we'll go ahead and blend it with the help of my brush. Now, some of the parts needs to be improved further and wins. This part becomes more blue. You will understand how the depth will work. We are working in layers as always, and this is just the first layer that we are adding onto the water. Mostly you would have seen that this guy remains the same way. We're not going ahead with a lot of layers, whereas the other parts, whether it be your bridge, whether it be your rocks, whether it be the other parts like foliage or any other kind of buildings. You will see that we have gone ahead with players. In the meantime, I know that my paper is still wet and I can add some lines. So using the tip of my size eight brush to add these lines. I did go ahead with a very light wash initially. And over that I'm going with this darker color to add these ripples. Ripples actually make water I feel like as if it is moving. And I think that is a very important process for qualifies to show. Along with it. You can absorb that. I'm adding my darker value of green in few of the areas where it is necessary. I guess this looks pretty perfect to me. Going with some more greens in the other areas. And once this part is done, we will let the paper dry off before we touch the few areas of the bridge. I'm using some amount of indigo and indigo is a color or Payne's gray is the color that I've told you I would be using pretty often for my paintings. Time to add some blue within the arches. Now, the edges of costs have this gap. This gap is pretty much reflective of this type that you have painted earlier. In the top area, it's easy to go ahead with a flat wash of blue that would really help you to just define the cases easily as well as it would not keep the people white altogether, which we really don't want for this part. For this part of the painting. You can see far behind the arches. And these arches are only, only the places where there are arches that goes areas needs to be in blue. So you have to be a bit more careful while you are applying the blue. The whole process of these smaller application is a bit longer, as I've told you. Frankly, the whole painting is very easy. It's just a bedtime taking the sketches easy. The painting is very simple. It's just that there is some amount of time requirement for this different parts of the areas that you see the painting right now, naming, these are the simple stuff that you need to add and you need to make rest. I think you would be very happy once the final painting is done. I've gone ahead and apply the sum amount of Naples yellow and guests. I think you can change the Z and light. That's also because it's already evening. And hence you can see this change of light happening. But I guess it's good and still you can get those either colors properly. So let's go ahead with some yellow and apply it on the left part of the mountain hand. I would go ahead and start adding these colors just in a very random way. I would go ahead and add it to make it look beautiful and nice. I would simply go with my flow. And in few of the places, I will add some darker values and few of the places some lighter values. I always keep altering the values. Though you might not be in a position to see it entirely, but yes, when we are doing the rocks on the right-hand side, you can see very minute that there are changes and there are alteration in the color's going with the Naples yellow again over here with a mix of brown in it, allowing that to dry off a bit temporarily, I can say now this is not exactly a lot of dry. That is. So the colors are moving around to a lot extent. And just that I'm going with my size two brush. Sometimes I use my size two brush, which is from Paula, have a SCADA. And sometimes I go ahead with this brush for my painting. It is just an alternative that I keep doing. Everything remains the same. Okay, some amount of burnt sienna on the brush. And let's start adding the colors to our arches and to the bridge that we're making. I'm pretty sure about it. You will fall in love with the bridge has well, as this whole painting, one citizen, as I've told you, it is easy, simple, yet very, very interesting. You know, there is so much coffin than the painting. You will create. So many things like whether it be reflection, whether it be Rob's, whether it be creating the foliage, then the building itself. Still. It's a complete composition, yet not really tough, which you can't nail it. So go ahead, keep yourself motivated. It just a bit time taking. You can, of course do it on a smaller size paper and that could really need lesser amount of time in case you are. I'm crunch kind of a situation with sometimes really happens to each one of us. That's one of the ways to practically deal with time in case you have lesser amount of time with you available with you. As most of us have resumed work and this is the kind of hobby that we have. So that's another way to keep going at your pace and have a good outcome and make things which are really pretty. I hope that you're enjoying this travel series as there is so much to learn and so much to look forward to. I myself. Forward to each and every day. So to so that I can come, go ahead and upload these videos for you all. Not only you are attending these 80 days along with it, I'm learning so much in terms of how to simplify whatever I see from my perspective so that you guys can also adopt that and use it for your own paintings. This is something that we do learn over time. Simplifying whatever you see is not easy. It takes a while to understand. And once you start understanding it, where to stress on and when not to stress on, it really improves your full understanding of perspective. Or whether you say it is about urban sketching clean air, or directly painting from photographs. Everything put together, you will find it so interesting that it is totally falling in love with going ahead with some more areas. This has size two brush. That's one of the reasons who are taking so much amount of time to paint these arches. We do not want to go in into this blue area which we did paint audio. So yes, go a bit slower, but it would be interesting, it would be nice. One thing that I have learned over time and I have stressed even in my earlier videos, if you're joining me plus time with this video. So I would again stress a bond that is, try to have lot of patients with your watercolors as well as with the travels catching thought for sure. Because this is not going to be a very easy task. It takes a while to understand. I can try to simplify the process always, but there are steps that you need to follow, whether it be dividing a particular day into two equal parts, like first day you do with the first part, which is majorly the drawing, and then you go ahead with the painting part. All of this does take some time and you have to give it that amount of time which it needs so that whatever you paint, it comes out as the best for you. I would say that everything do lawn is a process. Like over here, you are altering the colors. Sometimes you are going ahead with the lighter values and sometimes you're going ahead with the darker values. Overall. You are just trying to go with the flow, taking some water and going with very, very random strokes. I am not even thinking how I want to apply it. Sometimes when I need the darkest value of the green, I co-head with the darker skin called the, add some blue into it. I will get the green that I want. I have kept a few whitespaces knowingly. Why? As I want to go ahead with my greens into those spaces, I would say that this part of the green is not. You will just go ahead and add it. You have to alter the shades of green. And that's where the whole intent of the painting lies. I have told you that the painting process is a bit longer because of these smaller steps that we are taking. Adding some dots here and there, you can just follow along. And I think you would be in a position to learn it. I have told you the mixed soft blue and the green for getting the darker values of green. You can use any green that is available on your palette. There is no particular green that I've thought about while I am having this, I'm mixing it on the palate and getting the colors on my own. Few of the areas I am adding some smaller dots. Some of the areas of course is wet so it is easier for me to go ahead with the sheets. And some of the areas are already of dried-up. Penn State are only few dots here and there which are higher than. The browns for showing the trees. Of course, it's not very close to us. Hence, we have to make sure that there are only few lines which showed them. Test. This case more towards the front part for what you can say. It is in my foregrounds because of which have two naked in a way that it looks more attractive as well as it looks more GPA. That's something I need to take care of while I'm painting. Right side of the trees, left side, you can go as you want. It's just that you need to keep in mind that there will be few darker areas and lighter areas. Over here. We are blending the yellow with some of our light green. And then I would be adding them all up, sent to work. Everything is right now wet. That's one of the reasons my paints are spreading. As well as I would be adding the darker value of green as I progress. This looks really pretty for me. So I would go head with some blue to make it more darker. As you from us, you will see with the progress, there are a lot of things coming up. I do alter between the left side and the right side as I want. The shadows, reflection, you can say mostly to come out really well. The water is something that I always focus on and I really wanted to look original, or you can say to look more detailed and nicer. It is more in the foregrounds rather than being in the background. And adding the reflection is one part of our process which really requires some understanding. If it is greens off the off the particular plants that we see, we need to add those directly onto the water area. You can't go differently in those areas. And that's something you need to keep in mind while you were doing this. So these are small, small aspects which pie would always go ahead and highlight. I can tell you these can help you even in your future projects that you were planning to paint. Inside of the arches will be darker as well as I'm adding some shadows even in the rock. You can see that I even go with the dry brush technique. Dry brush is nothing but taking all the water out onto your tissue and then just going ahead with the dry brush to make these kinds of lines or to make these kinds of x shows basically, these textures can be used for many of your mountain paintings, for your wooden areas, for your rocks, for old buildings. These, this is something that I have used very often in many of my paintings. And they look so. I can't tell you. It's a way to practically go ahead and name Lady of your paintings that you plan to paint. It's a great way to actually show the texture, the wound down areas, as well as some of the paths which are more rocky or which harm more into the darker sides, or else they're more into the lightest lights. Anything you can show off by using these textures. Using my blending brush to blend a few areas. Going randomly with my darker green. I think that I would go head with a bit more darker green and few of the areas wherever it is necessary. And then Huldah, my other parts, which is majorly the browns. The Browns will practically show the trees and that's what I want. It is majorly bushes that we want in this area. I have kept this area genuinely white, as I've told you earlier, I wanted to talk in this foliage and hence I kept it white. I'm picking up some of the colors. You know that this technique is great. Just wash all the extra paint from your brush, can lift up the colors from whatever place you wanted. I think the branches to the trees. But you can see now the foregrounds are lifted off in such a great way. Back to our background are majorly the whole of the bridge. That is not our main focus which we want to paint. It looks way more dull. So we have to go head with more layers into wet, as well as add more depth into it. This is one thing that you will find very often. Sometimes when this happens, you can seriously See that you need to add more depth point. You need to add more layers into it. Go ahead and do it, because that would really help your pay thing to stand out. And I have absorbed it over time that sometimes just adding two layers doesn't block. It needs three or four layers. And your paper is good enough to take it if you are using a 100% cotton, 185 to 200 GSM paper, I think. These kinds of paintings you can kneel, absolutely, there is no problem at all. I'm using a liner brush for all these arts. And it's very easy, simple as I've told you, going ahead with 12 blue lines here and there. Once that part is done, I will just hide some more lines towards the bottom area. Okay, the branches looked fine. Now it's time to go ahead with some more depth as I have told you earlier. So let's do that. Guys here. It's more of an iterative process where we are going with the balance. We are slowly adding the depth. That is nothing much to be explained. It's just a mix of burnt sienna and Van **** kept down or else you can also use some amount of your integral into your brown to create the color and keep adding these two together. Top part, I would come back to this part once we have to actually add the pen, that is the black pen marks or we have to add some highlights. Those are the areas where I want to guide you more over here, it's simple, easy. Go ahead and keep adding all these details. While you can observe that I am adding a lot of lines, lot of browns, because I just feel that I did not add the required amount of pigment which was needed for the painting initially. And therefore, it's always good to come back and layers rather than doing it at the first school. What happens in the first voice? Sometimes we are not confident enough for we go ahead with the layer that we're not sure of. And if it is Taco lifting up or taking it off, once it is dry becomes really tough. When it is wet in case you want to lift it up still, it's easier compared to if it becomes drier. Okay. I guess on the left side, the top you can see the photograph. By the way, I forgot to add it in the initial part where we were drawing or sketching. But you can surely go ahead and downloaded from the resource section and use it for your sketching part as well as over here, I have already shown at that on the left top side, though it might not be exact. I'm not here to always paint exactly the same. I have told this pretty often audio. I always try to make it my own painting rather than going ahead with what I see. I do not try to copy exactly the same things. There are times where I go ahead and change it a bit so that it is my composition rather than in pain painted directly from a photograph Can looks exactly the same like the photograph. That's what I have never approached anything with. I tried to see the subject. Can you use it as well as walk around with it in my own way? And you can make your painting my phone in any of the composition your own. In the similar vein. Here, there are different kinds of techniques that I have been discussing and I would be discussing many more techniques as we progress. It's only for your own benefit. You will understand that. Not only it's important to understand the techniques, but it's important to work with various mediums that you see. And these mediums can seriously help you to nail a lot of your paintings even in future Some days are where we do not want to paint with watercolors and we might only like to go ahead with any of the pencil sketching or any of the face, two shades, whatever you want to, markers, et cetera. I think on those days It's always a good exercise to go ahead with. What you want to walk around with. You should be more vigilant with lot of mediums or you should be well-versed with a few mediums that you want to use though it's great to have one important medium or one common medium like over here, or we're working mostly with watercolors, but why not watercolor pencils. Watercolor pencils can also help to create a lot of textures, lot of backgrounds, etc. These are smaller aspects which I'm going to touch upon and I hope they can also help you in your future projects. This is my favorite part of the painting when I exactly know that I have to come to Penn, hand highlights now, it really helps me to gain that confidence that almost I'm done with the painting. It's only a few parts where I'm adding these lines. And once I had these lines, my whole painting is coming too. Life altogether, I am using a 0.3 or uni-ball, as I have told you earlier, though, you can use fountain pen, laminae, etc.. Anything can work fine on this paper. So you can go ahead with any pen of your choice. You can even go ahead with normal gel pen if that is available with you. Okay. Adding some more lines here and there and wherever it is necessary to add those highlights, go ahead and use it. Sometimes I do break these lines rather than going with the flow. That's the way I like to add it so that I can show the wear and tear theory properly, as well as there are points where I just leave empty. I do not like to put the lines in total. Few of the times I just break it so that they look more original and the highlights look more real. I would say. Once we have done with the black highlights, we will go ahead with the white highlights and add it in view of the places wherever we think it is necessarily majorly, just to show the difference between the actual foliate as well as the water. It's a great way to separate it by adding these highlights. I'm using my Posca marker yellow just to add a few dots here and there. You can also use your gouache to do this. It's any opaque medium you can use to do this. Okay, Even on the right side, we will go ahead and add these kind of dots, four dots. Here. Adding the white highlight in a few places. I'm having a final look at the painting. I think you are pretty happy with how hindered not do sign your name, as well as some Adam, exactly the place where you what you have fainted. I think the name of the place or the name of the particular monument, whatever you are painting is very important. Even if you have figured out just to Cafe which you want to paint, name that cafe, where exactly it is. And all these freely gives you how you have progress in your pool of these paintings. I can tell you it's a progress. It might be a slow progress, but you would be in a position to Neil Cole, the paintings, believe me guys, today, you just carry on with these 80 days. Once you are done with the 80 days, you can see this DC, how much you have changed in terms of your painting and how much you have prompt rest with the understanding and with the knowledge of the pigs. Okay. Just adding a shade of what all either use. The first is my yellow. It can be scenario yellow or yellow that you have 2s. Then it's the Naples yellow, it's burnt sienna, the Van **** brown, or any other darker shade of brown that you have used, as well as indigo. That's very, very important. Along with it, yes, the color of the sky, which is majorly your Winsor blue or darker shade of blue, which you have used, along with the royal blue that I did particularly used for the lighter shade. You can also go ahead with surrealism, blue, as I've told you. 21. France Day 3 Part 1: Hi guys. We are onto our D3 and I'm very excited to introduce this lesson to you as this is all about painting with watercolor ink. What we will do, we will go with our base light wash of the same corner paper. Do make sure that the ink is not to staining. So I have added a lot of water into it so that it doesn't get absorbed very quickly. And I do not get these kinds of marks. This is one thing that I always want to tell you. The sketch Caines do have convey Hi, amount of steaming mess or while you're working on it, one way to work with it is to apply some water on the people and then go ahead with the ink audience. If you are working the way I am doing right now, use lot of water along with your coordinate change that you have. Sketching and then use it on the paper. That is pretty easier way to work it out as well as you will not get any kind of drive marks that you usually see. So I think this is the most important aspect of income using your sketching, I think that's one thing you should always keep in mind while you're using it. And other thing is these sketching to get dried up in the fountain pen. If you do not take them off very quickly, though, you might be seeing me using it in the Army pen, but I do wash it off or I do take off all the extra ink from my from the pen altogether row. Once I'm done with the painting, there's a chance that it might spoil my pen altogether. So if you are using any kind of fountain pen, make sure that you do this step. Audience. You can also use it in your dip pen that defend would be very easier for you to handle that way or get going with all very, very rough sketch right? Now, you can just mark these two lines or three lines that you observe initially, which is horizontal, and then there are vertical lines that I'm mounting. Horizontal and vertical lines put together can make up these small and beautiful love painting. Though I say it is more because it has done on an A5 size paper. But if you are planning to do it even on a bigger size paper, it's always a good approach entity. You can even do it on a smaller size people like a postcard or something like that, which you want to send across to your friend in a different city or in a different place altogether. It's always a nice gesture to do these kinds of small smile. I think these are very small aspects, but they end up making it really huge. Okay, I guess I would do right now, leave you with the fact that Let's keep adding these smaller lines. Do not try to go head and do everything right now, if you are unable to understand all these slides, just go and add a few. Once you make this and once you make your next painting, you would be in a position to actually manage any kind of these buildings on your own. It's just a practice session that we're doing right now. And believe me, the more you understand are, the more you are excited to paint these kind of monochrome paintings, the easier it will be even to handle any kind of a painting that you do in future. Every time you do not need to have a lot of colors with you to actually go ahead and paint. Here we would be using only two definite kinds of colors. One is this blue, and another one is the black king that I have. I am not going ahead with a blacking in total because I do not like to use it if I would have had an indigo and it would have been better, but whatever, I had tried to use it to the best possible extent and hope you will also like it. The whole of the sketching is real time. That's one of the reasons it's taking some good amount of time. And that's the speed at which actually I dropped. So you can reduce the speed. You can even increase the speed, whatever works best for you. You can go ahead and do that, as well as watching. Why do you continue drawing? I would like to actually take a bit of your time to explain about drawings. Drawings are majorly water-based medium. Meat from various plants and many kinds of Mendel colorants. That's one of the reasons I've been telling you that these are way more, I would say staining because they have a higher staining compared to any other kind of watercolor that we use. Any given ink me way in tone due to the purity and concentration of its ingredients. So there can be various tones that you can make just like monochrome painting where you can actually they read the various level of the tonal value depending on the concentration of the ink that you chose. Now, here the blue is not very high in terms of the, I would say the staining ness that I want. Hence, I would be using a bit of black to mix Senate and use it. Historically the inside have been used are brown then reddish brown, gray, black. But nowadays they are available in various different colors. And that's one of the reasons you have seen me taking only these two colors, whereas I have about eight colors available with me, we will be using a few of them even in future. We all know that watercolors are usually made out of two to three ingredients. Like you have the pigment, then you have the binder, and then you have some additives, pillows, whatever it is available. Whereas when you go to ink, there is a different aspect to it. We have pigments, we have reasons, we have boxes, and we even have Heritage Center. So there is a different way to use it. I would say that the light fastness, as well as the staining nice that you get in ink is very different than what you usually get in a watercolor. That's one of the reasons while you are working with ink, you have to be way more cautious about the properties of the king compared to what you usually walk around and watercolor paintings. Why we are talking more about things I would like to tell you a bit about pen and ink drawing on. Now why I say this? It's not that you are using the ink in the best way or in the same way as you would have liked to use it like using a black pen on a white paper used for hatching drawing and so many other things you do with that. But over here we are doing a hybrid model where we are working with the sketch pink to create different values for a particular painting. And I would like to introduce a few techniques over here itself. Like, I would like to tell you that the pen and ink drawing techniques, there are different tools and materials that you might need. But in this particular series, we are going ahead with the black ink as well as only the blue ink to create all of this. Now, most of the ink and pen drawing that you might have seen is usually completed in a black and white kind of a surface. And that's what the artists chooses to even create the contrast. Now, if you see about gradations, yes, it's very difficult to create those kind of gradations. That's one of the reasons when I say about this hybrid model, we would be even in a position to create those gradations because of the ink that we would be using with our brush. Whereas if you were only using a pen for this particular technique, then you might not be in a position to create all those kinds of gradations that you would like to see. Now techniques when you only work with pen and paper. There are techniques like hatching, crosshatching, random lines, and siblings. Now, I am not here to exactly tell you all these various techniques, or I'm not here to practically introduce you to all the techniques right now. We are going to do it as we progress. But I am basically introducing you to this technique when using the pen altogether. And I think all of these techniques, when you start using it, you will understand that they have a way better use or they can be used in a very, very easy and nice way compared to what we haven't been doing. And literally it can take us to so many different level of painting. When you start losing the fountain pen as a bank and you only add highlights, it's not the best tools that I can say. Whereas if you are using your pen, even for your sketching, even for your painting and all the other techniques that you have, then it's the best combination of a hybrid model. Hybrid model can create a voice of your own. And that's the voice which I really want each one of you to figure out for yourself. So, yes, I think that's the final aim of all the paintings that we are doing. Finding your voice with watercolor, finding a worst thing, finding a voice, but whatever medium you are using, I am only helping you to enjoy the process and to let you know all the steps that we use in the process. Everything else is upon you, how you use it, how you want that doubt. I think that is what I want to tell you. In the meanwhile, you can continue adding this arch, you can continue adding this lines. I would not take much of your time over here anymore. We will move on to the next lesson where we are going to discuss each and every step of how to use this new tuple medium, which is sketching for adding the colors to our painting. One thing that I need to tell us, the variation of the colors might not be the best if you are not using indigo. But if you are well-versed with the watercolor world, I would ask you to work with watercolors itself. Pre-check already one color or just take one color and you can use it over your for creating all the values for creating everything that you see. Rather than going ahead and jumping onto a new medium, bright, opaque, you can fall short. Take all the knowledge that I am trying to share right now. Whenever you think you are reading, you can purchase one small sketching and see for yourself how it can work for you. That's all from my end. So let's just continue adding these lines. Let's just create the first layer of our drawing. As I always say, drawing is the framework for any painting and it practically paves the way for our final placing. Be easy, going, really easy on destroying. It's an easy drawings. So you do not need to work much. It's just these lines that takes a while for you to understand and it might be a bit tough right now, looking into it, overall, as you progress, you will find more and more beauty in it, as well as you will start enjoying it. You know, I always think about the journey wherever I visit places, whether it be of the each location, whether it be a mountainside, whatever place I'm going, I just think about the fact how beautiful the roads would be. You know, every road trip gives me so much more happiness as I can pick up such small, small things, people walking on the road, how their colors are changing. I mean to say how the dress colors as, as well as how the pattern of what they wear changes according to the climate, according to the places. Not only them, their food habits also changes along with the kind of books that you'll find also James, plants, animals, everything that kind of houses that you see over there. It's very different than what you see in the plane. So wherever you are going to try to absorb, emit around you, there's so much of excitement that lies in and around you. You will not even feel that you are uninspired. There's so much of inspiration that's lying around us at how can we even forget that there is so much of food that you can pay? Seafood is a grid. Motivation in any kind of space. If you have some good food that will cause brings a smile on your face. And that's where I say that you should use it for your drawing. You should use it for your painting. You should use you should eat it also. Yeah, but it can of course, be painted with the help of your watercolors or with various other mediums that I can introduce you to. This particular series. This particular series is a genuine effort from mine to help you not only become more of the sketch part and be more well-versed, but the sketch part, but also to introduce you to as many mediums as possible. And you can pick and choose what medium you like the most. It's not about that you have only been introduced to watercolors. You have to work with watercolors. You can also work with pen and ink. You can even work with coolest shoe, can even work with any other mediums that you see another person using it, like watercolor, pencils. Or you can work with ink and wash. Whatever way you find that practically nil your paintings. Go ahead and use that for your own numb painting. I guess that's it. What I want to say and I'm telling you that I would be leaving you with this thought. But yes, there has been so much to share that I love to express what I want to tell you to these each and every lesson. Meet you in the next session, where we will start adding the colors to this Institut de France. One of the world-famous and students that's there in France, and I have written a few lines about it. I would share it in terms of a story. Next, in the next lesson where we are going to paint it back and meet your way soon. 22. France Day 3 Part 2: Guys, so we will work it out with light and shadow. So this is not the best example of light and shadows altogether. This is more of a monochrome painting that we are doing. Though the blue that I had is not a Nico and hence I had to go ahead with another color that is majorly your black to create the various different types of values and the painting. Once I have created the values and becomes more easier for me to actually have a final look at the painting. Each and every painting, whether you do it with sketching, whether you do it with your normal watercolors, needs various different type of values. If you do not create bamboos, you cannot actually give the light and shadows are the other kinds of impacts that you usually see in a painting. Those kinds of things can only be seen once you create these values in a particular area. I'm going with a really flat wash as you absorb. The stateliness on the paper is pretty high. That's one of the reasons I have to quickly apply the color, though this is the Winsor and Newton ink. If you have any other input, do you need to test it on the paper before you go ahead and paint around with it. This is something that high up absorbed over time that if you have a particular ink, you will need to go ahead and test it. Every ink is very different compared to what you have called. You use Git and they have got various different properties. You can see how the light fosters, you can see how as the sameness you can go ahead and also how it applies on the paper. How the values of the color difference and all of it you can only understand once you start using it on your own. Thanks to everyone who has not applied any kind of sketching on who has locked. I use jump, any kind of sketching before, and you only have watercolors, please go ahead. Let your watercolors create these kind of values and you would be in a position to neglect. You practically do not need these inks, et cetera. It's just my way to introduce you to various mediums. And that's one of the reasons I am experimenting with all of these. The medium is never the change in the painting, or it never actually gives the real life to the painting. What medium you use, how you actually paint, doesn't matter. What matters is how is the structure of the painting that you have created and how you are going ahead and using your values to walk around. I think this is what I have understood and I would like you guys to also have standing on the same. Okay. I guess I would now go ahead and leave it to you. I am working with the darker values, totally settled with the size two brush. I don't have much to explain in this particular lesson. To be frank, I would go head with the different kind of fountain pens or even add colors in the fountain pens one. So this layer is particularly done. Now, you need to empty your fountain pen for sure once you are done with the painting. Because these paints are really sticky and they sometimes for your fountain pens completely. That's one of the reasons I do drain out the entire link. You can fill up really less ink initially and then only go head with your painting. That's also another way to the word, I think all these fountain pens to have these options of using less. I think if you want to save on their part, I think that's I had to explain it to you. Meet you very soon when we are when I have to explain you something more that I feel is very important. You can see me going in the third layer right now where I'm using the darker value of this blue to create the various colors of the shapes which we want to win in the painting. And I'm using my size two brush. That's one of the reasons this is a bit lengthier compared to what we have earlier done during our discussion session. It was pretty simple because we had to just go ahead with a pencil sketch, but now it's more about the coloring phase. And we are going ahead with the colors and dealing with the columns more. Has to be applied. Different values are asked me apply different layers to our sketch. You will understand how the whole law painting is coming together. This is something which I have understood over time that the whole painting doesn't come together at one. It takes a while to get the whole thing thing together. And sometimes, you know what happened. We just leave it in-between when we're not feeling good or we do not like to actually go ahead with the painting. But there are many occasions where I have seen that the whole thing then clearly it looks beautiful once we have completed the painting after applying those tears. Because in this particular case, I cannot say that till you are done with the Fontan man highlights and everything, you will get the final result easy. It takes a while and it takes a bit of understanding to how how you can produce a final outcome. I guess that's important. Do not leave it in the middle, as I always say, try to paint the whole painting and then decide for yourself, even if you like it or not. Finally, if you even don't like something, try to get the process with. So understand the process like processes. Something that I always say if you understand where you can get the final outcome, very easy. Now, if you get the final outcome easy, what happens is that you can always Neil, any future projects of your own. And practically all these projects are done in a way that you can finally get through your own photo on your own paintings, sit at a particular location and paint. Guys, if you do not have a fountain pen, you can also go ahead with a dip pen or else you can also go head to toe with any of your jaw thinner brushes to create these various values of colors that you see right now on a pump. It's a simple painting, just tacked down. You have to create these kinds of manuals. And that's what makes the whole painting really interesting in this bond. I think I'm finally happy with how it is turning up and you can see that it's becoming more, I would say, easy to understand the structure. Now, come back to what it was when we started off. You can see my struggle with the pen. That's okay. Sometimes what happens is that the earlier the ink was a bit sticky and that's one of the reasons it just takes some time to flow. And it did not spoil my pan altogether, but do make sure that you remove these things. That's very, very important. I've been saying this again and again because I do not want you guys to actually spoil anything of this kind in terms of the pen, that's really expensive and I don't want you guys to spoil it. Okay. I guess I am particularly very happy with how this is starting up. So let's continue with our painting and we'll see how the final outcome. 23. France - Day 4: It's time to paint on the payoff phase. And this is going to be very, very interesting. Lots of sketching, lot soft. You can say shading, drawing, etcetera. Vaguely less than Mount of watercolors. Watercolors is just to lock your shading, etc. What you have done. Let's start. Acetals are already the time to draw the structure. Whenever I'm drawing the structure, I take one thing at a t