Digital Sketching for Architects

1. Course Overview: Hi everyone. I'm Moshe Katz and welcome to Advanced Digital Sketching course. Have you ever looked at an amazing digital sketch and wondered how they did that? Well, you're about to find out. This course takes your digital sketching skills to the next level, helping you turn your ideas into beautiful designs. Whether you're a student working on a design project or preparing client presentation, this course will give you the tools and techniques to create amazing sketches. We'll start with the basics, how to set up base grid, choose the right brushes, line weights, and understand perspective. Once you've got the foundations, we'll explore some advanced techniques that bring your sketches to life. Learn how to create texture at depth and set the mood with light, shadows, reflections and colors. Each exercise is designed to build your skills step by step and help you develop a unique style. Then we'll move to sketching interiors, exteriors, and urban landscapes, and we'll add life to your work by incorporating nature, people, and other environmental details. I'll share the tips and techniques that I've developed through the years of experience as an international arch and because we know how important presenting your sketches is you learn how to use tools like Photoshop and PowerPoint to create three D collages and professional presentations that will impress your professors or clients. By the end of this course, you'll sketch with a great confidence and have a portfolio you'll be proud to show. So if you're ready to have some fun, let's get started. 2. Overview of digital sketching tools: Hi, everyone, and welcome to digital Sketch course for Architects. I want to welcome you, and thank you for joining me here. First lesson is the overview to digital sketching tools. On a personal note, I would like to start with the idea of sketching for me personally is one of the most beautiful expression of my mind and my soul and how I express my visions and dreams to the world. It is one of the most beautiful gifts for those who are translating the most intimate ideas and bridging between dimensions into the real world. Try to imagine an amazed client that sees your sketch or a mayor that is overwhelmed with the potential of your sketch, wishing for your dreams to be part of the city. I can tell you that this feeling is rewarding and is one of the greatest feelings as architects. The sketch is the first step towards making an architectural dream come true. And this is where you show how much you love people and want their well being, how free and creative you are and express your dreams for those who can't. So this is where everything starts. So the digital sketch as a tool gives you a greater freedom and saves you so much time and resources because it incorporates all the brushes, all the colors, all the tools in the same place, and it allows you to sketch everywhere in every condition. So the digital sketch is our tablet, our iPhone, computer software, the iPad, or Pan tablets. You can choose freely the ones that are more comfortable to you or just try all of them out and see which ones are better for your performance. So how do we draw? Usually, we use the digital pen for all the brushes and methods. So the digital pen serves as our main tool. To master that skill, we need to feel the power of the pen and how it affects when we push it harder or softer on the screen, how does it change the lines? How does it make the flow work on the sketch? So before you start, just try to feel the different sensitivities of the pen until you get really comfortable with it. The digital sketch allows us to do different styles of sketching. It can naturally feel as if sketched on paper, but you can also create a very accurate drawing similar to those technical elaborations and a technical style. So let's try to take your tablet, see how it works, try to figure out the sensitivity of the pen and do some examples just to feel the digital tool. And don't forget the most important thing is to have fun. 3. Examples - contemporary exterior buildings: Hi, everyone. This is lesson number 17, contemporary architectural sketching. In this lesson, we're going to learn how to draw an exterior view of an architectural design, a building, which is a contemporary architecture. The exterior view of a sketch is a process in development. It's an experimentation of different approaches on top of the sketch until we reach the most inspiring architectural expression. The sketch for us is a playground where we just experiment with different tools with different styles until we feel that this is exactly the building that we want to show. The exterior view of an architectural sketch represents the volumes and the architectural style of the building. It shows at least two facades at the same time, and its main role is to inspire and to elevate the creative feel of the architecture. But it can also show the journey of experimentation and searching of the design. So you can see the process in becoming. It's not a final polished sketch. It can be a very experimental and very free formed sketch with all the lines and the volumes and the searching for the shape and the geometry. So let's have some fun and start sketching together. Hi, everyone, now we're going to work on an exterior view. We'll make a nice conceptual sketch of an architecture with a nice three D view and some environment, but mainly focus on the building itself. So we'll have at least one full facade, and the second facade of the building will be in three D. So let's look at it. We'll create a new layer and work with the pen. As always, we're going to start with the Horizon line. On top of that, we'll create our basic image of the front facade. So try to do that with me. Start with the point on the ground and just go with a continuous motion almost as a hard shape, but don't close it altogether in a point. Just open it up. So if this was a heart, so like that. So we're going to cut it here. Well, let's enhance that. So next to that shape on the sides, let's create another round shape. So we go down with that, continue and go up like that almost as a drop shaped structure. Same thing on the other side, a bit bigger, and maybe another one a bit longer. Just enhance the ground level. So we have those circular drop shaped next to the building. Let's work on the main facade of the building and create two big openings. So they're going to be round, again, a drop shaped turned on its head and another big one on the other side as well. Like that. Let's create the depth of this building. So we're going to go from this facade here and take a line into the back and then into the front again. Okay? So we basically have another facade, which is incomplete because we have that front structure, and that will have also another facade to show a depth. Same thing with this drop shaped here. And you can also create hidden line here off the three D feel for that drop, as well. Let's create a division for those glasses. Let's create other openings for those facades as well. So what I would do is create another round shape, play with echoing the same structure. Let's create a foreground, two lines going from the center, all the way to the front and just parallel lines to enhance the three D feel of that foreground structure. Let's add two basic trees. It's one that's two. So this is our building. These are our facades. Let's add some small openings as well. So one in the middle, another one on top. Let's create some of those here as well. Okay, let's create another layer and work on top of that. So let's work with a bigger pen to enhance the lines that are our final visions. So this is it. Again here. And the rest of the shapes as well. The windows. Okay, the ground level needs to be more stronger as a line. Always strong element. Now, let's create another layer to work on the shades. So let's take a marker. It's a bit too thin. Let's go up. Again, still too thin, we want to create a substantial shade and understanding of the depth of same thing for the other openings. So just in one side. Same thing for these ones, for that. On the other side, it's going to be on the contrary side. Okay. Now we have created the shades. Maybe let's do some shading just a general feel on the ground. Okay, create another layer. Let's do just some figures a and stylize them the way you want. On the other side, a smaller one. And on the front right next to the building, let's create a crowd of small, small dots which means that people over there are really, really small. Okay. Let's go back to the layer of the structure and add some of the glass divisions in the front, the frames the glass frames. So it makes it look more real. If you want to do that with the small openings, you could do it as well. So it gives a sense of true division of glass structure. You can always add a double line, which is actually the real way to do that because in structure, there is no one liner. Always two lines to show that the material has a certain weight. So do the same thing for the main glasses. So double line it Okay. Next thing would be the colors for the glasses, so we'll have a real feel of that, create another layer. And let's work with different colors. So let's start with the blue for one window light blue. Let's take the wet brush and take the layer and take it down to 70-80% of opacity. So it's not too dominant. I'm leaving just a small part in white, just so the reflection is more evident here. Let's take another color. Let's work with an orange. Stronger one. Same thing. I'm doing on the other side with this glass here. Let's take the whole layer back behind, so the lines of the structure are more strong. Let's continue. Let's do maybe another color on the other side as well. Maybe yellow. Yeah, that's not bad. Okay, now, let's work on the trees as well with the same. Let's see how it looks. So the more we add color on top, it becomes more dark and creates a three D feel. It's okay if the colors go beyond the limits of the line, gives us a nice, natural abstract feel. Let's work a little bit with the purple. You know, let's do purples. I can make the brush much bigger to work on larger to work on a larger scale. Now, let's make it smaller and go to the building itself to the facade of the building. Don't worry about the different stains. We're going to go and create some nice texture out of that. Same thing for the other facade. Go slow. Again, if you go on a second round of coloring, you'll see the change to a darker color, which is right for this facade, it's in the depth, which means the light is not as strong as in the front, and it's okay to see that. Okay. Same thing with the structures next to it. I like to keep those helping lines that we did at the beginning, those black ones. They make it look like a natural sketch and also give it a very interesting personal feel. Again, here, if you go on a second and third layer of coloring, you will have a nice depth of shade. Okay, let's take the eraser and create some nice feel off the ground. So I'm just working with hatching. As you see, let's make it smaller. So the lines are thinner and it feels more of a clean texture. So just play with the hatching until you feel that it's enough or the intensity is enough for you. Let's try to see how it looks. If I hatch that also on the building structure. So as I go and enhance the feeling of the movement of the facade of the surface or the round one, I'm basically sketching still only with erasing the color. So I'm basically just creating a sense of motion of the facade. So I'm creating as you see, parallel lines and some hatching, crosshatching. Okay. Let's add some background just for the general field. So another layer will go to the pen tool with purple lines. Okay. So as you see, we're just creating some small arches to have a feel of nature on the background. It really makes our sketch jump out and since we have a background, there is a depth. So it's a beautiful combination. I think the colors can be worked on a little bit more and the front facade, as well. So let's add that and the background, of course. So let's try to work on that. Let's change the color to a darker purple. Let's continue the hatching just to give it another depth. Let's try Yeah, let's take the pen again and work on the texture of the main facade here. So again, as you see, I'm just taking those lines and filling the spaces with cross hatching. So it gives it a sort of a material feel could be it's a very special way to put bricks on top of the other in this way. So let's go on all the way in between the openings. So I'm continuing with the same direction. Not too intense and close to each other because the cross hatching will create that intensity as I fill it. You see here? Again, it's not about being accurate. It's about creating a feel. So the more I am adding hatches and creating that intensity, it will give us a sense of shade and a sense of texture. There we go. Now we can see it slowly reaching that intense place. Okay, let's add some Let's make a bigger size. Let's take another layer and another color. Let's work with a yellow create some light reflections. So I'm just playing with the lines in different places, especially where we have some openings in the windows, but also on the different surfaces of the ground, because the building would have certain light elements and street lights and so on. So we'll have some nice reflections. Let's add another layer and a green color to balance the whole picture with purples. No, it's too big. Let's take a smaller brush. And underneath the trees, let's create a continuation. Of that green feel almost like green spots on one side. So we see a certain connection to nature. So it's a nice balance between the very strong purple, which became very dominant in this. So let's try to balance everything. And let's strengthen the shades a little bit more, make them more evident. So another layer, let's go to the marker and take a black color. Let's try to do that with the brush. Is a nicer stroke. We'll take that back all the way. And let's do some shading in some parts in front of the building also underneath the people, the trees. Just a nice arch. Let's take the pen and create some flock of birds, some small lines next to each other. It gives us a sense of depth and distance. Okay, let's work on the background a little bit. We use the same purple gradient or pink. You know, we have here light pink. Let's create another layer and use the wet brush to fill the background mountains. Can also a little bit here. Same thing on the other side. We'll take this layer back so it won't affect the front colors. Yeah. Here it is. And we can take the opacity a little bit down, so it's more bright. Let's create some shading of the background. So we're working just on the top part of the hills. So it has a nice feel of shade. It's as if the building echoing the environment with the same colors and the same round shapes, and we have that nice connection between the environment and the front. Um, so let's add some nice reflections. Let's take the layer of the coloring of the foreground and the textures. Let's take the eraser and create just some short stains of white background as we erase that, create some nice reflections. Put it on the trees as well. And in the facade, some nice reflections. Okay, let's take a nice purple color and work with a charcoal to add some nice strokes on the top of the hills. Just to add a sort of nice texture or feel of emphasis on the top. Now, as a last thing, what I would do is try to play around with the background. So let's go to the background layer, and let's see what happens if I change the background to a nice bright color. Since we have a lot of strong colors in the front, if we go to the strongest colors, you see, then it's a bit distorted and unclear. So we should stay with the brighter gradient colors. Let's go through the different options and see which ones is complementing the most. So I feel that the yellow gradients are complementing the most to this image. As you see here, and yeah, this is our sketch. I hope you enjoyed it. Play around, try to work still on the facades, on the ground level. We can add some trees in different parts still just for the sake of scale. So you can add different people, can work still on the environment. If you don't want to do these mountains, you want to see an urban environment, feel free to add some cubes, some structures of buildings. Like that. Just some cubes in different heights. So it shows it has some sort of a depth into it, and then it feels differently because then the building is connecting to a built environment instead of nature. So feel free to add maybe some towers. This is our sketch. I hope you enjoyed it. Let's see each other in the next lesson. Hi. I hope you're not tired yet, because there are so many more interesting lessons coming up. Remember, architecture is all about passion and inspiration and finding the child within you. So grab a coffee and see you just around the corner. 4. Examples - interior spaces: Hi, everyone. This is lesson number 19, sketching interior spaces. So the sketching of an interior space is the way to bring the interior life of an architecture into a clear vision and inspire by showing the potential of the life within a space. It gives out the sensations and the feelings we want to transmit to others by telling them a certain story of how the life within a building is actually and what are the potentials of that interior space? For us as architects, the interior space is a generator of dream. It is the manifestation of all the hidden secrets of architectural spaces. After being watched from the outside, you see a facade. You see a certain part of the building from the street. But then you imagine and you dream, what is the life that is happening inside there? How will it feel if I just get in and will look around and see the different shapes and forms and windows that I perceive from the outside? So the sketch of an interior is the glimpse into that experience that started from the outside and now goes all the way in and completes the whole sensation of the spatial experience. It gives us also the understanding of the magic that exists within all the components, if whatever we saw outside is also represented inside. So let's see how it's done and sketch some interior spaces together. Hi, everyone. So in this lesson, we're going to draw an interior sketch. We'll do it step after step gradually. And let's create some inspiring interior. Let's start with a new layer and choose the pen small with Yeah. So if you remember from our previous lessons, the interior perspective starts usually with a frame and then all the lines go towards the same center, same vanishing point. So we will usually have a certain frame of wall or a surface in the distance, then we will have a horizon line, a vanishing point. And from that point, we will start building our room let me see here. And within that we're going to design our interior. Let's start building that grid, that frame and work layer after layer as we develop a nice idea. Okay, let's start with a baseline of the ground level and try to divide it into three parts. So we do that with a layer of the helping lines, try to be as straight as possible. And let's create some of the elements that we see in the front surface. So let's imagine we have a column that develops a column that develops into a roof, something like that. So we go up, turn into a curve, make it almost an elliptical shape, then go more or less back to the same height. And down again towards the bottom. It may seem a bit difficult to try to do that maybe once or twice on different layers until you reach the right size. Once you have that, let's go to our next step, which is creating the depth of that shape. So let's start somewhere in the beginning where the curve is starting to turn and create reversed curve, almost an arch that goes from here all the way to the other side. So now we're trying to create this arch, maybe more further. So a line that connects these two points, you can create this line to help you do that arch. So all that is left to understand the depth of this space is to create a structure of the curving surface. So we start really narrow here very intense, then slowly move the lines further away from each other. And as we go to the next corner, we go back into an intense parallel lines. It gives us a sense of curvature. Now we create a parallel line to this arch. Let's create another one, starting from another point which is here, that and another one. On the top. So as you see, by creating this geometry and structure, we have the understanding of almost a dome feeling, so the space is entering inside that element. So next thing is the walls on the sides. So we have one here and we have another one on the other side, but let's start with this one. So let's take a line somewhere after the arch is starting to open up towards the ellipse. Let's create a line to connect this wall with the corner and move from the corner up in an angle. So we make you understand. Basically, this is the vanishing point that we have. So all the lines all the horizontal lines will reach this point here. If we want to have a higher view, our horizontal line will be somewhere here, and this is then our vanishing point. And from that point, all the corners extend towards the viewer. This is our wall. Let me take back. It was just to show you our wall geometry. And just so you understand how it works on the top, let's take another line from the bottom here from this column, go up and extend towards the top. So it's almost parallel to the shape going up, parallel parallel. Then when it reaches instead of going on the side, we're continuing almost back following our interior wall here. Now, let's divide the wall into different glasses. So let's take these lines that we have here from the top. Let's take them down. Same here. Continue also here, more or less with the same intensity and distance from one another. So this is already structure of our wall. Well, let's create another layer just so you see it. I'll pick a bigger size. Now, this is the lines of wall, the visible lines of our wall, final clear touch round the ground line, we can also give it a strength, and this is how it looks. Let's divide the lines again. So we create three parts, one, two, three, and continue that structure from our vanishing point. We have one, two, three parts here as well. So this is our glass facade. Let's create parallel lines. So it seems like a real structure of the glass. Same here. In, now, let's create some continuation of that wall to the other side. Let's imagine it goes all the way here. Maybe we'll have on this side, a nice window with a drop shaped structure with a certain depth of the wall. So from that corner here to the corner somewhere here, you will continue this line because this is our front facade, and let's connect the vanishing point with the frame. And this is our structure of the second wall. Right here. Now, let's enhance some lines and work a little bit on the walls as well. So this wall here will be a wall that has no glass. It has a frame. So let's take again from the vanishing point and connect these extreme points of the line and build a frame. So this is it. A line inside goes down. And again, from this point to the vanishing Point will go up. So as you see, we have built a certain frame and we can put a picture inside. So let's put another line somewhere here. Again, all the way to the vanishing point from the bottom and the top. And here inside, there will be an abstract image or picture. Just feel free to create a certain picture of your imagination. Let's go to the layer of the thicker lines and connect all these strong lines that we have done here. This is the thickness of the wall of the frame that we've created here for the picture, like a niche. We can show some light fixtures above the picture. We can also enhance the shape of the window. And what I would do is enhance the structure of that column right here, there you go. Also, the beam. Let's make it nicer. No. There you go. Okay, let's create some nice divisions, small walls that divide the space. So let's start with the bottom here. Create a nice arch that goes all the way to the front. Starts from the bottom connecting the column, same thing, parallel line to it. Let's go up just a little bit and create the same line, but a bit higher. So what you have is small division on the floor let's do the same thing from the other corner from here. Create a nice big arch, even bigger. Again, let's do a second one, go a little bit up, create another parallel line, and connect it with the straight parallel lines here. Same here on the bottom. So this is our division. Let's create a person in the middle that gives us sort of that gives us a sense of scale. Let's create another layer, do the head, more or less in the height of our horizontal line. Now, let's create the body and legs and some arms and a small hat. Now let's create You know what? Let's do some corrections. I don't like that window. Seems very strange here. So let's take the eraser, go back to the structure. Let's erase that. Let's erase those and create a new window. Let's go back. Let's Let's do a round window. Small one. Yeah, maybe like that. Okay, let's go let's go back to the visible lines are stronger. So here, we have that round window. Let's create some of the elements on our background. So let's start from this window. So basically, we will see just a slight sense of mountain background. This line would go all the way down. So let's imagine this line going down and it meets this place here, so it will go a little bit down then up Okay, so we have that background. You can see from across the window. Now, let's add some of the furniture just so we have a feel and a sense of scale. So create another layer. Let's go back to a small size pen, and we'll start working on that. Let's take one line coming from the vanishing point all the way to the front and find the center of the space. So this is the center. In that central place, let's do a round table with some chairs. So let's go up with that line so we have a reasonable height. And create an elliptic. So as you see, we already have the tabletop. Let's create another parallel line just for the plate, the feeling of a three dimensional and a leg, which is made out of two lines parallel to each other. Now, let's create the different seats. So let's create the first one. It would be reversed cone round shape, and then we have another arch closing on that. And a triangle with a round circular elliptic shape on the bottom. Let's do the same things a little bit on the side. So we have one, then we have another chair around here and maybe another chair around there. So let's do that. Same shape, reversed cone, see some structure, then a triangle, and like that. Same thing on the other side. Here, we won't see anything because of the tabletop, but we could see the bottom part. Same thing here going down. So we won't see it because of the table, but we will see the round element. Here we could do another one. Before we strengthening all these lines, let's look at the shape and size of that. Let's create another layer and work with a bigger size pan. Let's start with the chairs. So as we do that, we can add the lines to enhance the shape of the surface of the chair. So a small elliptical goes down, closes and has the chair seat and the round shape on the bottom. So let's create the lines. Here we can do these lines that determine the direction of the chair. So elliptical going down parallel cross hatch and on the ground. Same thing here, parallel cross hatch on. Parallel. And what's missing is the table. So let's make the table line come more visible in between the different chairs. So some of the lines of the table are missing because the chairs are in front. Small connecting line to another parallel arch of the table, and also here small strokes to show the shape of the table. Same thing for the table structure. Let's do the same thing on the other side. Let's create another layer. Small size of the pen. So let's take from the vanishing point a line that determines more or less the middle part. Same thing here. So we feel the center of that space. And let's put some nice element here. Let's create some nice element on the other side. On this element, let's show the negative part. So let's do some stairs on the floor. People can sit and watch the background and mature. So let's create an elliptic shape. We move from the vanishing point, find the middle, more or less. And create an elliptical shape around it. So this would be the hole in the floor. And then let's create three or four steps to take us down. So we start with the middle part and create a parallel arch, a bit smaller than the ellipse and go all the way to the front until it vanishes in the front. Let's do another one, very close hopes and another one. So this gives us the feeling that we have some stairs on the bottom. Let's create a person sitting there. So we have the head a little bit above the stairs. Then we have the body and a curving line all the way to the bottom as if sitting and two hands. Maybe another one. So this posture going down, take the feet down. Some hands. So these are the two people sitting on this element. Let's create another layer and draw it a little bit stronger. So now we see only this line, so the people are in front. Then we have the arch, second one, and the third one. Let's create a stronger pen and draw the lines of the person again. Now let's work on some shadows and the feel of depth in this interior sketch. Let's add some nice elements as lighting fixtures, maybe around the ceiling. So we'll create different elliptical small elliptical. And as they come closer to us on the ceiling, they become bigger. With some interior line that shows a depth, usually those fixtures have a small depth. Let's create another layer and work on the shadows. We can take a marker. So let's start with the main element in front of us. Make the marker smaller. We'll start with a nice gray color and follow the lines of the structure. Yeah. So as you see, they're expanding towards the front. Let's do the same thing with a stronger line only inside. So let's choose pink or purple. And we do it with straight lines coming from the outside towards the inside, all the way down. Parallel lines. It's okay if some white spaces remain in between. It gives us a sense of movement. So wherever we can go fast, just do it. Let's add the glass. So let's take the blue light blue. Let's try it with water brush. So this is a small one. Let's make it bigger. This is the glass facade right here as well. So if we don't leave, the pen from our screen, it continues the same character and the same layer. If we do take it off our screen, it will create another depth and darkness. Same thing for the top. So these are our glass surfaces. Let's work on them so we have a nice feeling of reflections and depth. Let's take it back. To the layer of the structure. So we see the lines. There you go. Instead of the colors. Let's create another layer and work with the marker. Let's take it back and draw with the grays. I can have a thicker marker. So this is the frame of the glass. So as we go closer to the viewer, you see that it becomes bigger. Okay. Now we have that frame. Let's take the eraser. We can create some nice reflections on that. Let's go to the glass layer and create some nice lines as reflections on our glass. On the top, let's do it with arches. Same on the round surface. Let's go back to the shadows, take the marker, and work on those small divisions. Let's do some shadows. Of the stairs and a small shadow of the people. So shadow on this window. We can also add a bigger marker and create a shadow on the wall. Top as well. And we can create a small shadow underneath. Let's work on the floor textures materials very quickly. Let's take another color. Let's see if we can work with markers here. So just create some parallel lines on the floor. So it continues all the way to the front. This top part could be purple as well. Same thing on the other side, enhance. Twice or three times, has some stronger feeling. Bring it up and then another layer of color. Okay. Let's take the furniture and use the same color for the table. We can leave some lines. We can leave some spots free with whites, so it gives us a reflection feeling. Let's choose a complimentary color for the seats. Could be a nice orange. Let's take it down under the line structure. And we can take the eraser and create some reflections and the shadow underneath as well. Let's take the marker and a gray work on the ground. Okay, let's take another layer underneath all the other layers and work on the background. Let's take a green colour, see what we get from it. So we just fill that with color. Same thing on the other side. Enhance the color on the top part of those hills just so we have a nice shadow. Let's take it all the way back and maybe change the opacity so it's not so strong around 85. Let's find a nice color for the floor and ceiling. Maybe the yellow tones. Let's try to take this yellow color, another layer, bright yellow. Let's work with the water brush. So we'll do these walls and ceiling. Okay. And let's do some of the floor as well. The other side, too. And let's give it some second layer of intensity and depth. In different parts and corners, especially, so it has a sense of connection and under the table, wherever there could be a shadow. So let's do a second and third layer of color. So we have some transitions. There you go. So we see a very nice gradient like that. Let's create some image for the pictures. Let's use the red one. Strong. Okay. So let's use another brush with a black color on a new layer, just to enhance some parts. So I'm just going over some lines as you see, just to give it an emphasis on the corners and some elements that need to be more clear in their structure. Now, let's work on some textures. So since the walls are yellow, let's take the pen, big size, yellow color on a different layer. Some nice hatching and strokes to give you a sense of some texture, you know, much bigger on the bottom, as well. So just some hatching. As you see here, same thing on the ceiling. So this is, like, a little bit of a style to give it more sense of texture. So you just don't have these planes. So it seems a little bit more freehand and elaborated than just plain clean or too hesitant. So let's take the purple and do the same for the middle part. Just parallel lines. Let's do the same thing for the background. Another layer, work with the green, but a bit darker. So just some hatching. Again, cross, take it back all the way back above the layer of our background. Click on it, take it down to 50%. So it doesn't take over the image and just continue cross hatching until we reach a texture. A very thin net. We can take a nice charcoal and work with that as well. Make some lines more more fluid and full. So let's create another layer to work on the seats. And let's take the marker and the purple color and work on those seats here. Filling it with some color. Let's do the people as well. Let's give them some black or dark gray feel. So they have a volume and a depth. Let's do that for all people in their hands, head, and body. Keep some parts white just for the reflection. Let's do the same thing for the background as well. Some shadow. Okay, let's do some shadowing. Let's go to this charcoal color builder and take a dark purple and work on the top part here to create some nice shadow. Same thing from the other side, going with the same direction of the lines parallel on the floor as well. Take the table, work on it. So we have more smoother surfaces in some parts. Let's do some additional shading, create a new layer, use the same charcoal with the black. Let's take the layer to 30% opacity. And work on the different divisions of the glass. And you see it gives it a nice sense of shadow and depth. So in some corners, some parts of the glass, the bottom floor, the wall, and the ceiling in some parts. So let's use the same charcoal again. Another layer. Let's go to the yellow and work in different parts of the ceiling free hand just going over the different parts, ceiling wall. Some parts of the floor, some stains and spots. So as you see, we leave some parts unfinished. Some parts we work with some stains, and it gives us a nice sense of mixture of techniques. So let's finish up with some nice light effects. So let's create another layer, put it on top. Take the marker and use the white colour. Let's go wherever we have some light fixtures. Let's do some vertical lines to create some nice lighting effects. So we have them here on the top. Maybe we have some nice lighting from the bottom here. Same from this side. So nice light effects. Maybe add some of them some additional ones. On the windows to enhance the reflectivity on the bottom, too, play around with those reflective lines. It gives us a nice sense of light hitting the different surfaces. And as last thing, let's create another layer. Take it all the way back there to the green surfaces of the background. Let's take the same charcoal, take a lighter green and work on top of that a little bit more just to create another contrast. Of the green in the back because it was too dark, in my opinion. Let's give it a nice bright green. So as you see, some parts we can leave unfinished. Some parts have different stains of green, which is a variety of nice vegetation. So it jumps up out of the glass facade. It looks much nicer when it's brighter. Using these colors, I think the green needs to be much nicer and visible, not so dark. Yeah, it. This is our interior. I hope you liked it and managed to follow. We'll see each other in the next lesson and we'll work on details. Hi. I hope you enjoyed the course so far. As you take a break and maybe drink some tea or coffee, I would like to share a story from my book about my journey as a student and discovering the City of Florence through the architect's eye. The story is titled Secrets in Light and Water. There is a hidden square in the city, the kind of place most people overlook. It's small, almost secretive, with a single arch that seems to hold the weight of centuries. It sits quietly at the meeting point between the Uffizi and the River, a tucked away corner of beauty that feels like stepping into another world. Few notice it, and fewer still understand its magic. But if you stand there at just the right moment, when the sun is high, the day is at its peak. You'll see something extraordinary. At noon, a single beam of sunlight begins a journey. It reflects off the river bending perfectly as if guided by some cosmic hand. The light dances on gray stones, crosses the water, and lands on small dome above the arch, igniting in it a quiet burst of brilliance. This square wasn't meant to be just another landmark. It's more like a stage, a place where the ordinary can turn magical in an instant. It holds the power to transform the everyday rhythm of life into something extraordinary, like a well rehearsed play unfolding in real time, but its charm is subtle. It doesn't demand attention. It awaits for those who are willing to pause to see. To stand at its center is to feel the essence of the city compressed into one small, perfect moment. It's the kind of place where if you let yourself, might even have a quiet conversation with God, or at least with your own heart. I first stumbled across it by accident. I was running, dashed through alleys and cutting corners, dodging the chaos of the city past Santa Croce, the market, the courthouse, and the Turkish shawarma shop. I was moved like a character in a painting, rushed, dramatic, propelled by some unspoken urgency. And then I arrived. Just as the clock struck noon, I stood breathless at the edge of the square. The sunlight touched the dome, the light unfolding in its quiet, miraculous way. For a moment, time seemed to stop. It's a reminder that even in the chaos of life, there are moments waiting for us if we dare to stop and notice.