Doodle Sketch Your World - How to Draw and Paint with Simple Techniques

1. Introduction: The hustle and bustle of modern life. Creating art can get lost, can get forgotten, or put at the very bottom of our priority list simply because we don't have enough time or headspace to actually create to take our reference photo and produce something really lovely on our page or in our sketch book. Well, that's until today. In this class, I'm going to show you that we can effortlessly evolve doodling into doodle sketching, where we take scenes either from our imagination or from around us, from reference photos from our holidays. We create beautiful little doodle sketches from urban scenes, from rural scenes from anything around you, adding pen, adding watercolor, Focusing on enhancing the simplicity but still telling the whole story. My name is Toby, known as Toby Sketch Loose, and my art focuses on simplicity, focuses on shapes. And that is why I love this style of sketching that we're looking at today. By doing this, we can bring our world into our sketch book. We can fill a page with magical doodles, but just have to put aside a couple of minutes to achieve each one. We can illustrate a holiday, create a travel journal again without having to expand our energy and overdo it and overstress about what we're creating. Through this class, we're going to look at simple ideas, break down key concepts of ink, of texture, of watercolor. By the end, I'm confident that you will be confident to fill up your sketchbook, creating beautiful sketches, focusing on that simplicity, but capturing the world around you. 2. Section One - Background: This class is split into three sections. This is the first section, the introduction, and those key skills we'll be looking at, supplies, the project, and the basic ideas that we're covering in this class. 3. Supplies: The first thing we're going to do is have a look at the supplies we might use. Now for me, I'm using pen and water color, but you could equally use pencil and marker, or pencil and colored pencil. The idea is just to have something to make lines with and something to add those little touches of color which bring those lines to life. Here is everything you might possibly need for this lesson and more. So the first thing that you'll need is some pen. I'll be using front and pens. And in my fronting pens I have waterproof ink. That's important because with my fountain pens I'm adding watercolors. You can see the exact ink and all the water colors I'm using listed in the class project and resources. Well, I'll also tell you other supplies that I'm using. If you don't have a fountain pen, waterproof ink, you could use a ballpoint pen, a fine liner, or I've got other things like this, a food and sockeye pen. You could also even use pencil. There's nothing wrong with using pencils and things like that when it comes to color. I've mentioned I'm using watercolors, but you could use pencil, watercolor pencil. I've got examples in my little sketch book of things I've done using marker pens. So you can do these same ideas, create really fun doodles of all sorts of different things just by using a small number of marker pens instead. That brings us to the paper you might want to use. Here. I'm using watercolor paper. If you're not using watercolors, and of course you could use different paper. I happen to be doing this today on a couple of sheets of four. It's slightly larger than four or slightly larger than letter sized paper. But again, a sketch book would be a great idea. I've shown you this sketch book already where I've got lots of these kind of doodles in. And I've got another one that I've been doing recently where I'm doing all scratchy little doodles, some continuous line doodles, some Christmas doodles, all sorts of things. All taking the same ideas from this class. Lose of options for things to use don't be tied down to exactly what I'm using. The principles of simplicity is all that we're after today. 4. Pen Work Concepts: Now we're going to consider how to create those shapes with our pen. And we're also going to think about what the aim is when we're making those shapes. The aim is to find the simplest possible shape that can explain our scene. Not all the little details, not all the weird and wonderful shapes. Instead, the simplest possible shape that still explains our scene. Our aim is to be able to create little dual sketches like this. We can see a range of scenes from a village, perhaps to more of a city, totally rural scene na barn in perhaps a Swedish forest. There are simple ways that we can approach these things to be able to draw this really wide variety of scenes. It's all about keeping things simple, keeping things easy. To do that what we need to do is stop focusing on details. I'm going to give you an example. We have maybe got a lovely pub in front of us that pubs got all sort ornate brickwork. Perhaps we start by drawing Pub, but then we go in and we start trying to draw every brick like so then we move on and we start finding the windows. We get the windows and then we see the window frame. Then within the windows, there are perhaps all these little panes, and it doesn't take long. Well, firstly, this image is actually going to take a very long time before it builds up in complexity. But also, perhaps we lose that effortless doodle like feel instead of being able to just quickly doodle scenes around us. Because we're focusing on all sorts of details. Because we're getting too stuck in, it might start going a bit wrong. Although this isn't the wrong way to do something, it's not what we're going to try and achieve today. Instead, we're going for this effortless simplicity, which means that we can do a page, a sketch book full of things, and then perhaps develop some of those scenes into more complete sketches. Instead of focusing on all of this complexity, instead of building it up over a long time, what I'm going to suggesting is we take our pub and we go, right. What is the key shape? What defines our little? It's a rectangle. Great, We've got our rectangle, then it's a few windows and we can just avoid making them too complicated by just making them all nice and simple rectangles. At the bottom, it's got a door. This door does have a big archway. Perhaps we'll pop in the door as two shapes instead of just one. But everything is kept nice and simple. The windows are about the same. In front, maybe we've got lots of benches. And here we might have tried to draw every part of the bench. We might have tried to put the bench in perspective. We might have tried to put people on the bench. Now, there's nothing wrong with doing that, but today we're trying to make things easy. Instead of putting the bench in perspective, where we have to work everything out, we'll make it simple. The bench actually the bench can be one of those picnic benches and you just get the line of it, you get the little cross, and then you get the seats. Now we've got a picnic bench, and it's a pretty irrefutable picnic bench. It's just what a classic picnic bench looks like from the side. We can still add our people or we can just keep them nice and simple, incomplete shape. That's just a circle and half an oval. All we're doing, all we're trying to achieve is as we move around our scene, we're trying to identify the minimal effort that we need to put in to create an effective little theme, not detail. This isn't as necessarily easy sometimes as it looks. Actually, it's not a lesser form of art. It takes an awful amount of confidence, an awful amount of concentration sometimes. But when you have that confidence, when you have that concentration, suddenly you'll find yourself able to just sketch anything. You'll be able to distill it into its constituent parts and then just simply sketch anything that is the principles of what we're trying to achieve with our pen work today. 5. Colour Concepts: So hopefully you're feeling confident with your shapes now, whether you're using pen like me or pencil or something else entirely. Now we're going to have a look at the color. Now, I'm going to be showing you how and why to apply color in two layers. Now I think two layers is important. Whatever medium you're using, pencil, watercolor like me, markers. Having these two layers of color really adds an extra dimension to your very simple but lively sketches. Now, alongside simple shapes, we also want to identify the colors that we want to add. The colors which are going to make our seem just that, a little bit more interesting. The colors are going to come in two simple phases. Again, I'm going to encourage you to be really simple again, this pub, that we could have lots of different colored bricks. It could have lots of different colors. Maybe it's got some mold on it, maybe it's got something growing on it. But we're going to keep things really simple. I'm going to say, what's the main color of our pub? Well, the main color perhaps is a okaryange golden sandstone brick perhaps. Or perhaps it's orange because it's got sunlight pooling off it. I'm in this case this is Mars yellow, which is very similar color to yellow ochre. Just applying it, you see how thinly I'm applying it to see how it's such a transparent wash, I don't want to apply it as a totally flat wash. So it's not going to be a totally boring, monotonic wash. But it needs to be nice and light that it keeps that effortless doodly feel. It doesn't need to be perfect. It doesn't need to be super neat. But just neat enough to make it feel complete and purposeful can just use that same color on this distant house as well. Then we can move up, what can we identify as the key part of the roof? But it's a deep blue, isn't it? So I'm going to take a bit of ultramarine blue and then mix it with a brown. In this case, I've got some burn umber in my palette that will just neutralize down that blue and make it a little bit more gray and a little bit more of a deeper feel. Then we can just use that again, just gently color it in. We can use that same color to keep things simple. Using that same color just to get a little bit of tone in those windows, suggest that dark reflections the same in this background, just to keep things nice and consistent. That is step one done. Step one of our colors is a light and gentle wash. You can see that here, you can see these light colors coming through. That's all you need to do then we just wait a minute or two for this to dry. When it's dry, like it now is we can come back and we can do a couple of different things. Firstly, if we want, we can find those more detailed interesting bits. Perhaps we said there were some blue bricks on the side. Maybe now we just suggest those blue bricks by doing a darker layer on the top. So I've got a, just a bit of my ultramarine blue coming across. These are those blue details. Maybe we use that same blue on this arch around the front door as well. Option one is we can start adding in those details with a little bit of a darker color. The other thing is to find some shadows. We can do shadows two ways. Shadows can either be with a shadow color or we can enhance the tone or the value of this color by doing another layer. We'll do both as we proceed with this class. But just to prove that we can just by adding another layer of the same color, we can get a shadow. That's one we're going to do first look. If we just come down, we add a darker, thicker layer on top of this is my Mars yellow. Hopefully you'll agree that we're getting the idea. Now that we've got a shadow gradient going down our pub, we can use that underneath here as well to get that shadow coming under the eaves, for example, on top, we can use our same ultramarine mix with a little bit of our burnt umber and just create the same shadow. What we don't want to do is lose that lovely light coming through. We just want a little suggestion of shadow, a little bit to make this little doodle a tiny bit more interesting, maybe as well. In this sketch, what we want to do is we've got that fund, little shape of a bush here. Maybe we just want a touch of green in there to make it a little more interesting. I'm just going to come in and move that paint around, that light and dark feel, there we go. That we could call is our doodle done. What I'm going to do, just lift away a tiny bit of this paint to bring our people back into the scene so you can now see them from that paint. There's always little touches you can do. If we wanted, we could do little shadow in front here. This is the point as well. If you wanted that, you could go what life would be more interesting in our scene here? If there was a little bit of a sky, I'll just find a nice blue and do just a really gentle, nothing more than a gentle touch to suggest a little sky. In our doodled scene, now we have all the principles we need to start analyzing, going through different kinds of scenes. So we're going to spend the next few lessons looking at a few ideas for shapes in different classic urban scenes, classic rural scenes, Before of course having a look at some references where we can put our theory into practice. 6. Your Project: As we go through this class, we'll be doing loads of doodling together, trying out all sorts of different pen ideas, different color ideas, looking at urban scenes, rural scenes, and everything in between. Your project really comes in two parts and you can submit one both either. It doesn't matter. The idea is just to get you joining in. The first part will be to join in with these concepts. Creating all scenes from our imagination, breaking down our scenes into shapes, breaking down our scenes into a couple of layers of color. In doing this, we're going to fill up a page with all sorts of different miniature scenes. The second part of the project is to take some photos. Now for you, I've got some reference photos which you can download. And I'll be going through each of those reference photos. Having a bit of fun creating my doodle sketch version of that scene. You could submit those again. You could submit 12 or three of them. They only take a few minutes. That's the beauty of this. Or I'd also love to see you choosing your own scenes, something from your recent life, your holiday, your house, and creating your doodle sketch world around you when you have done your scenes. When you have done your sketches, your doodles filled up your page. Don't forget to submit your project. You can do that by clicking the Classes and Resources tab and then going to Create Project. Just uploading either your favorite photo or several different photos to show the range of what you've achieved today. 7. Section Two - Practice Makes Perfect: Now we're intersection two. You have a basic understanding, I hope, of what we're trying to achieve in this class. You've probably chosen your supplies, the things you might try and use and experiment with. Now we're going to break down these concepts into a number of steps. Looking at simple shapes, bold lines, different ways of creating texture and adding color. 8. Urban Shapes: It's time to break down our scenes and the first thing we're going to look at is urban shapes. And we're going to focus on a couple of things which are common pitfalls. Things which simplify too much and just don't make it feel real. And then we're going to look at the great things you can do, A few ideas from me about urban shapes. So we're going to start with looking at just some urban shapes. This is the definite starting point for our exploration of doodling our scene, doodling our life. Urban shapes are easy in a sense because as children we know how to do them. I imagine all of us at some point have drawn a house like this. It's a triangle and a square. Actually, that's the brilliant thing about children's art. They can see the simplicity, they can see the key features. They'll draw a circle with some arms and the legs, and that's a person. And we lose that. As adults, we lose the ability just to see something for its simplicity and make it recognizable without dressing ourselves out. The key is then to keep everything simple, even if this house has four different windows. To make it a nice simple doodle, why don't we just make them all the same? We're just trying to represent a scene here, we're just doodling a house underneath. One key thing to bear in mind is as soon as I draw a flat line at the bottom of my shape, it loses that sense of realism. It loses that sense that this house is actually standing on something. Instead, what I would suggest we do is we do our same house. And if we just repeat our shapes, get our nice bottom of the house, then we give our ground some texture. What's in front of this house, perhaps in front of this house, is a little lawn with a little path. So there's our path, there's the lawn. Now, this house doesn't feel like a child's doodle anymore. It feels like a lovely, simple bit of art. Now, I know what you're saying. Yes, it's very simple. And it is, and that's what's brilliant about it. But we can build that up. It looks very simple because it's just one of it. What happens if we do similar things, but we have several, We link them up. So let's draw a longer rectangular house. Keep this idea of windows the same. Remember at the moment we're focusing just on the shapes, not the textures, shadows, nothing else. We're just focusing on shapes again. Maybe this time we put a pavement in front. We'll do, we'll do a little pavement line, and then we just do a slightly wobbly line to suggest that slightly decrepit tarmac, which often comes in front of buildings, it's never quite perfectly neat, is it? Which is why this doesn't quite work. Then we continue it, perhaps add another house, the same. There we go. Then we change something up. Perhaps now there's a gap and we've got a little tree. Perhaps the next house along has a garage that's more of a square, which then comes to a different shape of house. Again, keeping things all very simple and we'll have this idea that this whole scene just makes sense. Maybe this house now has a fence. What we're doing, we are identifying the key shapes. Rectangle. We're just a couple of lines coming down because it's split, isn't it, into those simple things. There we go. Suddenly by identifying really simple shapes, we've built up quite a fun little street. These simple ideas can then be expanded for those more complicated structures. Perhaps let's take something taller. So let's take a church. Well, instead of focusing and worrying about all the crenelations at the top, a church might just be a big tower, and then underneath it's got this shape which overlaps into it, and that's the church hall. We come down, there we go, And I've made the mistake of making my line a bit straight, but that's okay. We can actually come and add little suggestions of plants in there, and that undoes that excessive strictness. Then just add in our door, for example. Now we have slightly different shapes. Probably going up here, maybe there's a circle for a clock halfway up. Tiny little windows, now we have big archy windows in the church wall itself. There we go, another simple scene done. We can even pop a little flag on top of the little flag, we can the tiny shapes. Now for a little crenelation, we are building up the detail despite keeping it simple. Another one which is a little more challenging than this would be to take a street, which is in perspective that can get confusing. Because we've got shapes which are no longer square, they're no longer just facing us. But if we just look at what a sheet is going on with the shape, what we'll find is it's just a rectangle with the wonky edges. We'll be able to identify that. We can draw our street. Suddenly we've got a whole street. Then we were the flat line. Normally the flat line is just at the top of doors. That's what we call the horizon line. The horizon line will also be, if this is a flat scene, the horizon line will be about where everyone's heads are. So if we wanted to start adding in people, that's where we would add our people. It doesn't matter where they are, that's where our people would come in. Then we again, just to identify those simple shapes going back those simple little windows going into the distance, we've got this street in perspective, we can add details to create more shapes. In the front of, presumably these are shops. The way we've drawn a shop front if we want it, there could be a roof up here, there could be little chimney shapes, there could be little triangles to get these roofs which stack up. All the while, we're just identifying within our urban scene clear shapes, even the pavement we can think of as a shape, just a rectangle going back. We might have another side to our street. It might be in the same perspective or it might be an even sharper or less sharp perspective. Let's make this one a little sharper. Our rectangle will just be walked a little bit more, but we'll still have this flat line going across, that's where the shop fronts are, that's where people's heads are. Then instead of having the shapes here spaced out, they'll just be quite together. Because we're looking at more of an angle along this. We don't need to worry about drawing in the structural lines. We don't need to worry about where's our vanishing point. We can just go right. How do we make this simple? How do we find the shape? If we had something in the back which was facing us, then that would go back to just being a really simple shape again, maybe with a chimney on top, maybe with these little windows. Now we've doodled the delightful little scam. We could add in all sorts. We could add in the shard in London. What's that? A big triangle, isn't it? Hence, it's called the shard underneath. You can't really see much because it's normally got loads of other buildings in front of it. So we can find those other shapes, put them in. Then on the shard, we don't really see windows, we can just add a little bit of texture, which is something we're coming to very soon. Just by finding key shapes, we can go from really simple, less simple because there's more of them. Less simple because the shapes are different. And finding perspective which normally scares us but doesn't need to. 9. Rural Shapes: Now that we've done our urban shapes, of course, let's have a look at rural shapes. We're going to be looking at things like trees, mountains, and farm yard animals. And just a few ideas again about how I might approach these kind of scenes. With that we can move to rural shapes. Rural shapes being easier, sometimes harder. It just depends on really yourself and how easy you find it to see shapes more abstract way. A great place to start with rural shapes is of course, things like trees. When we see a tree often, or we think we see 1 million leaves, but really the tree has a shape. The tree shape could be just a circle, simple circle with a simple little twig at the bottom. Now look, we've got our doodled tree. Can just remember, add a little bit of texture to the bottom so that we don't get this flat childlike doodle. We get adult like doodle something, which is a little bit more cultured. If we have a bunch of trees, we might be tempted to start separating them out. But what can we often see? How do we make this simple thing more complicated without it being challenging? Well, what we actually often see is just a silhouette of all these trees together. And there may be ups and downs. There may be little bits where they go round about. But really we're just seeing all these shapes. What you're trying to do, instead of identify lows and lows and lows of shapes, identifying the big shape. This big shape is an oval or a rectangle with some wobbles. As simple as that, it might sound silly, but once you start deciding you're going to identify the world with these simple shapes, suddenly it becomes much easier, much more identifiable look just like that. Pop those little twigs underneath little twigs and we can bring in a little field. Perhaps hedges might be underneath, there might be little plants, big grass. And we've got something just a bit more interesting. There's lots of shapes of trees, aren't there? The world is your oyster. You can think of these evergreen Lelande type trees, pine trees, they're just big triangles. Again, if they're all stacked together, you're just going to get this effect where you've got a rectangle with those of triangles poking out the top. That's what you might see in a really dense forest. You don't need any more than that. I don't think at least you need any more than that to create quite an effective doodle of a forest. You can of course, move on and start breaking the trees apart a little bit if you want, but the key is going to be stressing over doing things Then what other rural shapes do we have? Well, obvious things to think about are things like hills and mountains. We do those, we just find the big outline. And there'll often be a triangle just with a slightly soft edge. Then they'll often be a couple of triangles stacked together. Again, we don't need to split those triangles apart. We find the overall shape of what's going on. Perhaps there's a lake in front again. What's that shape? The lakes going to have a very naturalistic shape, isn't it? But I'm sure that you'll be able to identify that. Maybe it's basically a circle in perspective and suddenly you can get that lake in. Maybe the lake has some trees around it and now you know how to get your trees around it as well. Suddenly got the ability to start putting together these rural scenes. And you'll see what we're doing is we are flattening it. We're making it a doodle. We're not trying to suggest a huge amount of depth to a scene that can come later with colors and hatching things we're going cover later, but it doesn't have to. We can just create these really simple sketches which just give us a mindful break into, well out of reality. Now, many rural scenes won't be complete without perhaps a field full of cattle or sheep. There's a couple more things that we can think about when we think about a field often, Maybe we don't recognize that actually fields are just other shapes here. Our field might have, for example, a wall. The wall will just be, I'm going to draw dry stone wall. The thing we find in particularly the North of England and well across the UK, really. What is a wall? It's just a rectangle, isn't it? But underneath we are just remembering that we're not drawing a flat line, we're drawing the texture of what's in front of the field, the grass. That is all we need to do to doodle our wall. Then the field is going to form like basically a rectangle, isn't it? So we can bring that texture around and if we want bring the wall round. The wall again is going to have a bit of perspective. It's going to grow towards us. We just identifying that by saying what is the actual shape that we're trying to create? The shape is probably going to be a rectangle coming towards us. We don't have to finish off the shape they do, We can just do little bit. This is a doodle. We're just trying to get the idea of this field opening out in front of us. There might be hedges. So we can just draw our hedge ideas again as well. These shapes which are overlapping and coming together perhaps in the distance, or even a single tree just billowing in the wind back there. And then we can start adding our lovely little cattle or our sheep. Again, we just need to simplify. What's a sheep? It's a cloud, isn't it? Got a big cloud. We're the head. If you want, you can add little horns just to show. It's an animal that gives an idea of it being a sheep. Little stubby legs. And there you go, that's your sheep. You can move those shapes around. Now our little sheep can be facing that way. You've got one facing towards us, one facing away. Let's say a cow, that's another good example. A cow in profile, We'll get the cow facing that way this time to the cows out there. It's a rectangle, isn't it? It's just a big rectangle. Its heads also got a fairly classic shape, which is basically another rectangle. Again, we can give it to the horns give touch in an eye if we want they got quite funny, stubby legs. If we wanted to point the cow towards us, we got that same rectangle. Now we can make more of the horns, and then we got that same rectangle coming towards us. We've got two cows, we've got two sheep. And you can imagine doing the same with horses, with dogs, with all sorts. So there we go, really simple ways of portraying common things, which you might find in rural scenes. And we're going to do way more of those when we come to thinking about our reference sketching. 10. Bold and Fine: Having done the basic shapes, I want to delve more into more advanced techniques. They're still simple, but it just adds that life and that shape. In this case, we're going to be looking at bold lines and how that can add an extra element to your sketches. Now the next thing to move onto is the idea of using bold lines and fine lines. These might all look a bit boring, and that's okay. That is because they are all quite uniform. If we start to actually take these slightly boring things and define a little bit of the shadow with bold lines, we might find they're far more interesting. Just to give a simple example, if we come here and we draw a circle, we just looks like a circle. But if we draw a bold edge coming round, we're already starting to get the idea that this circle has a bit more shape to it. It's suggesting a shadow. If we then had a circle in the distance and we made it even finer, we can tell it's in the distance. But if we had one in front and we make it nice and bold, we can tell that this one, because it's bold, is in front. By having varied lines. We're telling a few things. We're telling you where is it? We're telling you how heavy it is. Perhaps this one looks heavier because it's bolder. We're also telling you something about the shape. We can stop playing with these ideas Now if we start, perhaps what we want to do is just show that there's light coming straight down on top of these, we do just a nice bold line and all I'm doing, pressing a little harder under each of the roofs. Brilliant, nice and easy. Perhaps you want to divide the houses up as well, we just make these lines a little bit bolder, they become a bit more important. What we don't want to do is make them overly rigid, so we don't want to press too hard and make it really straight. We want to keep that idea from the fine line and just elevate it a little bit. We can then move on from bold lines to bold areas of contrast blocking in areas. Suddenly you get something interesting just by having a bit of extra contrast that works really well in Windows. If we just block in these Windows, suddenly our little doodle is just taking on a little bit more atmosphere. Now we're working on contrast, Boldness of line contrast to having black and white. That should hopefully start elevating certain aspects of our scene. We can bring this garage in front of that tree just by making the line nice and bold. We can make these houses more interesting just by having tiny touches of contrast throughout them. We can make this less important by leaving it fine, the same here. But we can make our church town more important by making it bold. But we can also bring this roof forward by making it bold, suggesting a bit of shadow. We can make this set of windows in the door more domineering and more contrasting, more interesting, three simple touches of darkness. We can continue these ideas through the rest of our scene. Don't need to overthink it. Just playing with really simple ideas, see what works, see what doesn't. It is important not to overdo it. Of course, once we overdo bold lines, we can't take them away. To do sensible little touches and then move away and have a look again in our trees. What you might want to do is just to find an area of light and dark by having some bold lines perhaps at the bottom where there's lots of shadow. And also around here, we've got the light suddenly coming from one side showering down just by virtue of having some bold lines on one side. The same will work over here, of course. Little bit bald line, there we go, blotting in again can work in our trees just by having dark stems. I don't know why I keep calling them stems or twigs. Obviously what I mean is trunks of the trees, a nice dark line here. Hopefully you are. Again, what we're doing is simply moving around and increasing the interest. Increasing the intelligence to our very simple doodle. A bald line here might suggest a bit of a shadow. The bald line then at the front might suggest that it's closer to us. The same variation can have multiple meanings, if we're careful about it here. We might want bold lines just to suggest a shadow which is going to be at the bottom of our wall. Again, we might actually want really bold lines for our sheep and cow because our sheep and our cow are what I'm making our field shape interesting. I do notice now of course, our cow is not in proportion with our sheep, but I think that's okay. For the purposes of a hot little doodle here, what I would ideally have done is probably make my cow significantly bigger, and that's something to recognize for a future doodle, but not to get fixated on today. There we go. We've gone around, we've added bold lines and contrast in quite a few places. Now what we can do is think about texture. 11. Texture With Hatching: Having created that shape through bold lines. We can also look at textures, the first of which is simple hatching, which can imply just not texture but also it can add shadow. Everything has an enormous amount of texture. Texture is very easy to overdo, especially if we are simply doodling and there are lots of different ways to create texture. The first thing that we're going to work on is simple hatching. Simple hatching is actually well worth practicing. What we can do, we can come to one side and create a little rectangle here just to divide it up. So perhaps we have five different squares within that rectangle, One of them is going to be white. And then we just practice our hatching coming down. What we want to achieve is a nice and linear, nice and simple bit of hatching, which isn't too messy. Challenges that we might find are that if we're not drawing with a whole arm, if we just draw with our fingers, I repeat this and I just draw my fingers. Do you notice how all my lines curve and they're very difficult to control. If I come here and I really focus on it and I draw with my whole arm I'm doing is I'm actually moving at the shoulder. We end up with much more controllable straight hatching. It's well worth just practicing this then when you've practiced it, you'll find you can quickly build up relatively neat straight hatching. This hatching, the idea is to imply texture but also imply shadow. Having practiced it in that direction, we then got a value scale, this is zero. So the value is zero because it's line, this is one. We're leaving that alone. Then in two onwards, we're going to try our horizontal hatching. Horizontal hatching, here, here, and here again. Make sure you're not curving by using only the fingers. Using your whole arm moving at the shoulder will give you a much more straight rather than this curved. Difficult to control. Hatching number three, we do some diagonal hatching. Number four, we do some diagonal hatching. Then number four, we do diagonal hatching. The other way, what you'll find for me, I always do this one last because it's the most awkward. It's really difficult to move your arm. There's going to be a way which is more challenging for you, which just doesn't work with how you like to move. That's okay. Look here we've got texture and shadow. We can now start identifying in our scenes where we want to, a little bit of extra texture and shadow and how dark we want it to be. On this street perhaps, for example, we have light coming from one side, that means we're going to have shadow. We can now use that simple hatching and it just instantly makes the seam feel free D. We can then come down and create some of that same hatching to cast the shadow onto the road if we wanted to make it twice as dark at the top we remember we just cross over our hatching maybe in the background because it's strictly in darkness. We just have some really gentle hatching as well. We could do the same in the shard. The shard perhaps has some light coming from this side. Now we can just do a little bit of hatching and remember to move the whole arm, maybe we just cross that over. Now we've got texture, which might even start to suggest all those windows on the shard, but we've also got shadow and light, because we only have light if the whole page isn't white. We only have light if it's got something to contrast against. We can do really simple touches back here as well if we want. Just tiny, tiny bits of hatching can often be enough to lift your scene, so we can do that. We're going to move on to the next lesson now, where we will look at other ways to imply texture that we can apply to other doodles and some of these doodles up here as well. 12. Advancing on Textures: Beyond our simple hatching from the previous lesson, we can do more advanced techniques. Again, I say advanced, but we're still keeping things really simple, enjoyable. Which is what sketching should be. But let's have a look at a few other things we can do to mix and match with our simple hatching. Here we've looked at a bit of shadow using simple texture, simple hatching. Now what we're going to do is move on and start finding other ways to show texture. This hatching can imply texture like it could imply here, windows. Equally, we can use something a bit like hatching to imply texture and shadow on roofs. Here we could do simple horizontal marks. This time we make them a little more wobbly. On purpose, what we're doing is we are hatching but also suggesting tiles. What we could do to double that down if we've got this at the moment, we've just got little wobbly wavy lines. What we could do in a extra tiny little bit of doodle detail is we could start joining up a couple of them. We just join up little lines. We need to be really gentle, but now we're suggesting look tiles. It's not just horizontal lines, it's also little tiles. We can do the same here. It doesn't have to be complete. It can be these little touches, little waves coming in with a few little suggestions of tiles really simple and so much more interesting already. With those tiny extra bits of mark making, perhaps something we want to do is add bricks. We can do the same, but instead of focusing on lots and lots of marks, we just do these tiny things we're doing, basically lit a couple of bricks crossing over. There's lots of ways you could do it. You could focus on drawing the bricks out, but for me, I prefer doing it like a simple cross. Then you find the brick and you find another brick. Then we just do a couple of those. Just simple marks, very simple little doodle, scratches, tiny little marks. And look, all these houses are made of bricks. Same here. If we wanted, we just got to remember what's the flow of our shape. The perspective is flying down here. Suddenly these shapes that we're doing, these little bricks, have to flow down here. Perhaps the bricks are a bit different. They're a bit bigger. The classic old school giant bricks that you find in churches. Then we just do them a little bit bigger this time. Instead of doing little tiny scratches, we're drawing big squares and having them next to little rectangles. Very simple. Just need to be delicate and not overdo it. There we go. We've built up some ideas of urban textures. What about rural? Well, they're very similar, aren't they? In the idea of not overdoing it and just creating little shapes? Do our little tree shapes. So here we're doing just little leaves, little leaves. Just to create a tiny bit of texture. Don't want to overdo it, we just want to represent what might be there. You can combine this with hatching if you want. You can double down. And now we've got not just texture, but also a real sense of light and dark. And it's a doodle, so it's taken next to no time. Do the same here. This time we've got a pine tree, haven't we? We got more like pokey shapes instead of little circles. We got little scratches, pine needles there. We just build up tiny scratches. Again, if you want, we could do some hatching. Little bits of hatching would just build up a little bit more shadow going on in the water. Simple little lines showing those waves. As they get further back, they get closer together and more faint as they come forward, they get a little bit older, a little bit more interesting. We could start getting the textures of the grass, which might be around here. Textures of bushes, textures of rocks. It's all about tiny suggestions. Tiny suggestions, not overdoing it. Even our sheep little swirls, there's our little clouds and our cows, perhaps just little bits of hatching underneath to show that they're big, aren't they? They're going to have a lot of shadow underneath. Even the sheep we could hatch. Love. These dry stone walls are great places to practice our textures as well. Just like that, we've moved around our whole page of practice. Our whole page of practice is now leveled up from those simple, slightly boring sketches into actually little doodles which have come to life, which have real shape that without adding color. 13. Colours - Layer One: Next we add some color. Of course, the color we've already looked at comes in two layers. But here we're going to apply lots of different colors. We're going to talk more in depth about the kinds of colors you might use and how to apply them in that first layer. Now we have the fun of playing with some colors. I'm going to show you first what not to do. There are many things not to do, but one key thing is not to thicken your colors. If I take, let's say, this purple, I apply it in a really thick layer of paint. If the paint is almost like toothpaste, what's going to happen is we're going to just muddy everything up. We're not going to be able to come back and keep that lovely translucency of water color. We're just going to have a mud difficult image and all that lovely simple line work is already covered. The key, key thing is to keep your color really, especially in this first layer. Then just gently apply it. If we just gently apply it with lots of water, we can even clean our brush off and just move some of that pigment around to keep it really light. What we end up with is much neater, easier to apply colors which the glow almost. They're transparent. They let the lines and the space and the white come through. Another thing is to not worry too much of your colors. Mix and blend. One thing we can fall into the trap of doing is leaving a little white line between everything, just so that we don't join our colors together. But what I prefer doing is, especially this first wash, just plying them lightly and loosely. If it's really important the colors don't merge, we just wait for them to dry. But otherwise, if I just pop a little bit of green into my house, actually quite a nice soft watercolor effect, it's not a problem. And it can be something really magical, something really beautiful, bear these things in mind. These are my two tips that we'll concentrate on as we just fill up a few of these little doodles with some color. Now we can move onto our urban colors. This is where we're thinking about how do we get brick like colors? How do we get the accurate feel of walls? One thing I'm going to suggest is that it doesn't matter too much if it's super accurate or not. I don't tend to do a lot of mixing of my colors. I tend to do a little bit, but really I focus on getting a nice match which suits my mood, which I like. For example, we could just use something simple like an okary color. This is a Mars yellow, very similar to yellow ochre. We can just pop that on nice and gently. That is for me, quite a nice simple prick color. Equally, we can use other colors, like I've got Indian red here, which is a lovely brick tone as well. And plying that nice and gently, we'll just give us the feel of bricks or the feel of the underlying glow of bricks. If a wall is white, maybe this one's white, that's great, we can leave it white. And actually the way we then paint the wall without painting the wall is we paint around it. We now have this wall as a negative space. But we can tell it's supposed to be white because around it we have this lovely blue sky jumping up. When we're focusing on simple colors like balls, don't over focus on over mixing or matching exact colors. Just a nice simple was a light wash is all we need at the start. Now we can take that to the extreme. Things do not even have to be even vaguely plausible. We could have a green church, and if we keep the colors nice and light, then the church will still work. It will be not realistic because I've never seen a green church. Maybe there is one out there, we've never seen one. But it doesn't matter because what we've got is a light wash. It's a doodle that's almost a cartoon simply down here. We can start playing with different types of colors. Let's take something, we've used the sky before. A little bit of ultramarine blue. We can have that be our main color of this side of the street. We can then just go, even if this is supposed to be the same color, maybe we change it. Maybe we take our purple this time and didn't get any, just take our purple and we change the other side of the street to be something a bit different just to enhance our image. Rather than focusing on exactly what's really going on. We can also keep things simple. Notice how there's white gaps for me, that's okay for me. In fact, leaving white is a really bold, brave decision to make. Which can actually make your little doodle so much more interesting rather than trying to fill in. Every bit of information could pop a little red building in the back. And notice how little time all these little touches take when things are starting to dry. We can focus on slightly smaller areas of paint. So perhaps we want some blue to reflect into some of these windows. We can just touch that in there. Maybe over here, we just want to deepen a little bit of the blue before it dries completely. So we can touch that in there. Now, last in our urban scenes, we've got the shard coming here. This is where let's imply some light can be done two ways. It can be by leaving things white, or we can imply light by having the sun shining on. So I've got here a light with lemon yellow. If I pop that on one side, then on the other side I use a darker color. This is a bit of a funny color. It's called Sodalight genuine, but it's a neutralish purple color. Now what we've got is an implied shadow against implied light through that lovely, shining yellow. Again, they're going to blend and merge as things for our urban scenes. That is basically it. That is our first layer. Done. I'm going to jump straight on though. Let's have a look at our rural ideas. Again, we need to keep things light and loose, but sometimes it can also be nice to vary things around here. What I'm going to do is a really light wash of initially a deep green. This is jade genuine for those who are interested. Then I can pop a different green. So I've got a cobalt green here. I can just use that and mix on the page, and things will soften and move around. If I want to imply even more light, I could use, say, this Mars yellow or a bit of ochre. Let that mix and blend on the page. Now, we haven't just got one color, we've actually got three colors. Blending, moving around, mixing similar to this. We can leave even more bold pigment perhaps in our fir trees down here. Get that real sense of shadow. What I'm trying to do is work nice and quickly because this is looking a bit bold, isn't it? A bit like this, which I said was probably not the way to do it. But if we put bold down and then we come in with a bit of water, we can end up with a really varied wash of one color instead of all these lovely flat washes. Hopefully what we can achieve is a nice varied was, leaving a little bit of white coming through. If it's gone too far, bits are a little bit too bold. We just dry off our brush a little bit of water. You can hear my brush stinging against my water. There, you can lift things out. Do you see how just by working these things around in a really gentle fashion, we end up with this varied, interesting wash. Let's try another scene here. Sometimes you might not want to paint the scene at all. Here, I'm going to do some lavender. And this is just a lovely, soft lavender blue in the sky. Instead of painting the scene, we can just reflect that sky down into the water. And perhaps because it's water, it's got a little bit of a deeper shadow in places. We'll do some of this mixing here, a little bit of ultramarine in with our lavender. Now we've got our simple doodle just enhanced a little bit by not painting it at all. We've not painted any of the features we could. We talked about adding details. We could add touches just to imply here we've got these little bushes and things we drew and we could just add touches of green. We don't have to here. We could do something similar. Our sheep are basically white. Remember up here, we left the house white here. Maybe what we want to do is paint around them. Paint around them just to get them popping forward. If we have our nice green field, initially, I'm using the jade genuine, a deep green, little touches around them. Then we can come in with our other green again. We can touch that in here and there, little touches of cobalt green. We can even say this is a bit more autumnal. We can start touching some of those other colors like we use here. A little bit of Mars yellow here. Then in the background, perhaps we want to bring out a little bit more of that deep shadow in the brickwork. We can mix up a bit of a blue and a brown that ends up with something quite neutral. We can just add that into the distance. And then again, soften it, wash it around. Now we have our sheeps and our camels. Not quite the right scale standing up. Again, I know maybe what you're thinking at the moment is you look around and you think that's nice. But it's not fully there, is it? And you're quite right. Remember at the beginning we said we can do things in two layers. In the next video, we're going to be adding another layer and seeing why that's important and how much a simple extra layer of color can add to our little doodles. 14. Colours - Layer Two: Finally, we come to the second layer of color. Again, we've covered this earlier on in a really quick format. Now we're just going to have a look at lots of different ideas. For example, different ways to apply simple shadows. Everything here is now nice and dry. That means that we can come in with another layer on top and things won't move. That'll be quite fixed because watercolors are waterproof. They have tried. All we're going to do is start by saying, what simple things are we trying to apply with our second layer? Now one of the first things will be shadow. We can shadow by applying a second layer, we talked about that at the beginning. We can also show by applying a shadow color. I've got this neutral mix here. If I do that neutral mix in this house, notice how both these houses now have a simple shadow. Just through means different methods. We also talked about details. Well, now might be a nice time to add details that could be through contrast. By adding a bit of shadow, we can do a bit of shadow on our white wall here as well, that will still leave it feeling white. We might also add details through some really bold touches. Perhaps we take some of our mass yellow. This time we do make it really thick, but we apply it really gently just to these little details on our wall. That way we're just highlighting a feature of our scene rather than risking too much overdoing it. Same here, just little touches of extra color. Similarly, we might start finding like, do we want to add something else to complete our scene? Something else might, for example, be a little bit of tone into a pavement or adding a little bit of green into the background tree. But keeping it, this is for this tree, a soft layer. We're thinking about how to enhance these contrasts by gentle colors in the background. With that, we can move on. So let's go back to our abstract church, for example. We've got our nice green. What we can do is we can do the same thing. Again, I'll get my strong bit of green this time we just find some simple shadows. Maybe there's a shadow that we're running down the side here. Now notice what I've done is it's a bit of a hard edged shadow, isn't it? That means you can draw a line down. It's similar to here, but it doesn't make sense. Sometimes we'll make that mistake and it's fine. We come back tiny bit of water in our brush, just take off the excess. And look. If I run my brush down that line, we end up with this soft shadow, which makes a lot more sense. Then we can bring the shadow to the edge of that roof. Now, all the light is casting its way along. But there isn't a hard shadow. This is a hard shadow. That makes sense. Because the roof is casting it. This wouldn't make sense. There's nothing casting a shadow onto there. This church could be a really lovely one, just to add a pop of punchy color. Ty couldn't it? Because look, we've got this flag, maybe we want even another brighter red. So I'm going to take a car mine and just go what? Our abstract church has a little car mine in its clock there. Maybe the windows have a little carmine frame to them. These are the little touches we can do by coming in with a second layer. If we tried to do this in the first layer, these bold touches would just seep out. They would leak and blend, which is very nice like here. But they wouldn't form hard details. What else can we do? Well, in this scene, what we might want to focus on almost completely is getting that shadow. So if I just get a nice shadow color and I can use my stite genuine, you can mix more of the neutral mix we were playing with earlier. You can use colors like moonglow or pains gray. I can just bring down, I'm actually going to make it a little bit darker with a little bit of ultramarine blue as well. What we can do is we can come down and just apply that simple shadow. Remember we did that hatching, And we can apply that simple shadow overall. That hatching, we can apply to some of these roofs. Now our simple scene has so much more shape, we might want to do something similar in our spire this time just enhancing this shadow work we've already done. Maybe even just adding really simple tiny highlights of bright yellow. If we do that, hopefully what we're going to get suggestions of reflections of something behind us. We also have these little scratchy roofs that we inked in earlier. Maybe here's another time to have some fun with bold color, which will, what am I calling it, The shard. It will really make it stand out amongst these other things, amongst these other colors. Maybe we've got a little room for some little splashes as well. These are really effective parts of any watercolor painting. There's no reason you can't use them on little doodles as well. Let's move on. Let's move into our natural, and it's very much the same idea. We take our same color, this time we are applying a layer of darkness, layer of extra shadow. We could take some bright yellows and we can add them in as thick highlights, suggesting maybe even more of an autumnal leaf somewhere floating in around there. Sometimes I would say this is enough already. But what we could do instead to play with this image, is we could come in and we could find perhaps some of the woody colors in the grass underneath. Maybe this is a proper autumnal field underneath. Is that working? I'm not sure. Is it perfect? Certainly not. We can just come and play with something else. Just add a little extra touch or something warm in there, maybe in places you just want to deepen it again, a little bit of ultramarine mixed in with a brown will always make it much darker. And there you go, now we have a more interesting shadow underneath all our fir trees. Sometimes you might not want to touch much, but simple touches onto these lines might be all you need to do. Or you might decide what actually in this layer we are going to do something interesting. We could just take our blues and start adding bits of texture, little touches of watercolor texture, where before we left black, I notice we don't have to stick with realistic colors. I'm using blue on my trees, I'm using blue on my mountains. And creating a bit of interest there just through these slightly abstract colors, which are focusing more on the value, more in the shadow than anything else with our sheep. What else could we do? Well, similar ideas. Again, it's a bit repetitive because it's just simple. There's just really simple ideas which work really well, just create little highlights with some slightly thicker paint. Then our cows and our sheep can have a little shadow. If we get that shadow which we already hatched in, suddenly they're a little bit more realistic. A little bit more free D, May we haven't done skies, Maybe here we can use a little bit of cerulean blue. First time. Use this color in these scenes. Look, we can just produce a fun little bright sky in front of our little farm yard scene. There you go. Page full of interesting simple, easy doodles. This is a warm up. I think you need to start applying these ideas to scenes. That's what we're going to do in the next part of this class. We're going to pick some scenes. I've got a few ideas. We'll see how we take a complex image and distill it into a five or ten minute doodle sketch instead. 15. Section Three - Making Art: Now that we've gone through all of the theory, we've put it all into practice. It's time to take that practice and apply it to some reference photos. I'm going to show you three different scenes, one after another, where I take reference photos from a recent holla mine and create a little doodle sketches. 16. Scene One - Urban, Step One: Our first scene is from Kezitk. This is more of a urban scene. We've got people and buildings and let's see how we can apply everything we've learned, everything we've been practicing to a real life picture. Now we are on to our final little part of the class. We're going to be producing three different scenes from reference photos. I'm going to provide you reference photos, but you are of course, welcome to also use your own. I'm going to try and split these into a more rural scene, a more urban scene, and something in between as well. With that, let's just jump in, and I'm going to start on the left with a more urban scene. This one is actually from Keswick, which is a town in the north or east part of the lake district in the UK. Notice how I prepped my page with these three small doodle spaces. This would be great If you had an six sketchbook or an A five sketch book, you could do a couple of these. I've got a really big sheet of paper, so I'm going to do a little line of them. And if I wanted I could chop my paper and be left with an amazing bit of art. With that, we just need to remember our simple principles. We've got this scene for all sorts of shapes. We've got some funny perspective, but we've got shapes and that means we can do it. If we start, I'll grab the house in the middle. That's just a rectangle. I'm going to finish it with a little bit of a textured bottom. Remember key part of getting it feeling like an adult sketch. Then we've got the next house coming along. We actually can't see the bottom of it because of some people. So I'm going to leave that little space, that gap, for now. Then we've got another building. It's quite complicated, but if we just distill it into its parts, we've got a square, then we've got a slightly bigger square which ends in a half hexagon. I suppose it doesn't matter if you can't name the actual shape. It's more about recognizing that the shape is simple. The shape is something that you can do. Then we bring that side down and you notice how just by thinking about that shape, we've naturally got the perspective just about right. Then we can move on, we can find this next one that's just a rectangle which is already going to fill itself in a little bit of texture to the bottom to make it an adult feeling sketch, we can start adding in a couple of the internal shapes. So we've got this sine, which is a rectangle, and we've got these windows. Let's keep our windows all nice and the same. We can just keep them all the same shape. That makes it easier for us and easier for the viewer to understand what our simplification, what our doodle really means. Now going over here, we've got one more big shape. One problem we might run into something I've done here, which is why we haven't quite got the proportions right. My shape probably runs out there, doesn't it? If I'm getting the proportions to be the same as the photo, I'm not going to fully fill my page. That's okay. Because we can do one of two things. We can either extend our shape, because it's a doodle, we can invent something for that gap. So let's just pop in a little interesting house with a roof which is a triangle, and we can come there. Now one thing which is more frustrating is when you go too big, always try and start nice and small. If you're not sure, what I could have done is just underneath here. I could have just gone and quickly, just sketched in my shapes really quickly to work out the proportions I'm dealing with. Then I would have worked out that, look, I have this gap learning point for me, fail are really useful. But there you go. We can also just have fun invent things. Now there are some other shapes. We've got these people, people we can just do is very simple little shapes, a circle, a couple of triangles. If I do them a bit bigger, what I'm doing is a circle, a triangle, and a triangle that is a person. There are other ways of doing them, of course, but in simple scenes like this, that's all you need. Then we can find there's a window, you can see through here. There's a window here. I think there's one here, which we can't see, but there's a gap. So I'm going to add one in. There's a door, but we can't see there, so I'm going to leave it back here. We've got this other shop front, just a rectangle with some squares underneath. And then I can start on these windows. I make this window nice and big because it be silly to make it just a square back here. A few more windows, It doesn't matter if I get the number of windows wrong. I'm just trying to make it feel connected, the whole scene. Then we go, we don't step one, simple lines, now we can come back and we can do that bold line work if we want maybe a little bit of texture in some of the roofs that we can see. We can't see all the roofs, so some of them just get left alone. But this simple bit of bold line just solidifies the key shapes. It leaves the details in the background and solidifies those key shapes. This is in front of everything else. I'm just going to make these shapes even bolder. Hopefully now we get a sense of depth to our sketches. Well, not just a lovely sense of simplicity, but a sense of depth. We got some shadows, very dark under here, a bit dark under there. Then we can just add some textures as well. If we want, we can imply a little bit brickwork. We can blacken some of these windows as well, again, just enhancing the contrast. What's a middle step between blacking and the windows is perhaps something which would be useful here. What we can do is a bit of hatching to show that these are windows, but also leave them not totally dark so that there's not too much going on. Then in here we've got a big empty space. Actually, it can be quite nice just to do very simple textural marks. There we go. I think that is my linework here to do, isn't there? That's my line work though now. Complete. 17. Scene One - Urban, Step Two: Now we have our line work done. We're going to jump straight into the colors for scene one. We can really quickly jump on in our scene to adding our colors. Now here we've got a lot of white walls. Let's see how we can cope with that. This time we're trying to keep it relatively similar. Now what I'm going to do is mix a tiny bit of blue and red to try and create a darkish purple red basically for this house. There we go. For me, that's good enough. It's not a perfect match by any means. You can spend days trying to mix colors and things like that if you want. But for a simple doodle, that's the color I was aiming for. We can just use that color in a few other places as well. Perhaps we can use that color to keep the image simple on this roof that we can see. Maybe we can just see a slither of this roof as well. We'll see why not on this chimney. Now we've got some other little details. Maybe I'm just going to change, add a bit more blue, then we can find little bits of blue trim here. We've got this blue sign, we've got little blue reflections in the windows. And since we're going to leave this white, we can start adding those details already. Then maybe we just want to make it more interesting. Maybe I'll take some red and use that for a couple of these windows and just let it soak down a little bit. Then we've got a nice orange okary area in the back as well. You might notice that in places perhaps you haven't finished off blacking in the windows and you can now just do that with water color instead if you want no reason that the blacking in and contrast has to be added with your pen. So we can just do that. Now we're still missing something in this scene. Let's try just adding, because we're leaving the walls white. Let's try adding something else. We leave the walls a negative space. We're still going to be leaving lots of nice space in our scene. Just a bit more negative space can be found just by coloring in, say, the pavement. And then we can do a nice soft sky as well. Pop a little blue up in the sky. Don't let it dry and then move it around quickly. Doesn't need to fill the painting necessarily, doesn't need to fill the doodle just enough to show the contrast from top to bottom. Diddle. Window, here we is. Window there. Now we can let this dry and move on to the stage two of our colors. We are pretty much dry. Now I'm going to come in and this time I'm using a different brush. This is a size six round brush. What that's going to let me do instead of the flatbrush I've been using a lot of time, is going to let me be a lot more specific with my colors. I can come in and just find a few extra lines, you can almost draw. Keeping that simple idea, we can always draw. And that's just going to add a little bit more intensity and a bit more interest to what we've got going on on the page, I want to introduce many new colors. I just want to use the same colors in a slightly richer way. Again, we've got our Mars yellow, yellow ochre in that space. We can use the same thing to start introducing a little bit more shadow for the moment. These big white walls, they feel a bit flat as soon as we add a shadow under here that's a bit dark. But don't worry. Remember, you paint nice and wet. You can always lift it up. Hopefully we can agree and feel free to disagree, but hopefully we can agree. Simple shadow like that suddenly just adds a lot of shape. We can actually apply shadows perhaps down here as well, to just show the separation between the houses. Also, we can cast a shadow coming down in this gap. If we take our same little shadow mix, what we want to do is get this shadow coming down the house and just layering on top there. If we layer on top, we keep the consistent shadow direction. We'll also be able to get that bit in shadow in the back. Maybe what I quite like taking a bit of fun is when we have a lot of shadow, just dropping little bits of blue into that shadow. I always think that lifts it makes it a bit more interesting, a bit less monotonic, I think in that we've done pretty well to gather a bit more of an interesting scene, but maybe it's feeling a bit bit bland in places. I might change some of this shadow to be a little darker. Bit of contrast might make it more interesting. What we haven't done is apply those little punches of color. We could just take a yellow. There isn't much yellow in this scene, But we can introduce colors into our little doles as and when we want, maybe these people can become yellow. And we can just get yellow bricks. Maybe in some other houses, little yellow marks. Maybe here something bright as well that could be a bit of yellow and a bit of red. And we'll get an orange mixing together. Maybe last bit of contrast to add is just some of these windows which, because we've cast a shadow over them, we've just lost a little bit of that punchy contrast like that. I think that could be a pretty successful little doodle that we finished. And we're going to move on in the next lesson to do a more rural scene. 18. Scene Two - Rural: Now we're going to move across from Kezwick, just a little bit south to doan water. Here we're actually painting a forest on a mountain. This of course, is our urban scene. Here is another scene actually near kick, I actually got to call it doan water because I'm taking it from very close to the lake by Kezik. What we've got is a lovely mountain scene. There is actually a little hut in the middle of it, but we're going to ignore that. For the purposes of today, that's our right as an artist. We can do what we want with our scene. What we've got is some shapes again, haven't we? We've got a triangle in the middle, that's our mountain shape. Then we've got basically a long set of connected trees. We can actually just draw the overall shape of these. Doesn't have to be split apart. We can, of course, decide arbitrarily, maybe we split apart this set of trees. That's going to increase the complexity a little bit. We'll split apart this set, then we'll add another set which is the more like fir tree like shapes. Then we will split them apart from these other ones which are a little bit closer at the front. They come all the way up and they cover up a lot of mountain in the foreground. Then we've got some shapes of grass. We didn't do that before, but we can just do that with a little bit of simple texture, just suggesting what's going on there. We've also got this path coming towards us, we can just some other simple textures. Here we go, little textures of grass in the right shape, you can see it's forming a triangle. We're ready to move on to adding a bit of baldness. Now that we're more certain, we can start getting that bald line, a little bit of baldness to suggest where the area is dark. And adding in these little trunks underneath as well, we got our trunks. I finally call them trunks instead of stones, little trunks down here as well. Here we've got a more significant trunk. Because it's a bit closer, we might want to just split apart some of this shape and imply some other trunks. It makes a bit more sense of climbing, set of trees going up this mountain. Be nice to have a little bit of texture in a little bit of texture already to imply those shadows which we can also do with our pen, of course just increase some of those board lines. Then maybe even here we just want to hatch. Simple bit of hatching to show again that we've got these different areas. It's not just flat grass, we've got different areas going through our little doodle scene, our mountain. Well, for now we can just leave that as a simple shape and we can decide later if we're adding color, If we're leaving it white or how we want to play this, I think that's enough. That's enough for our colors already. I'm going to jump back in. Of course, I got a choice of two brushes now after we unveiled the round brush in the last one. But I'm going to use the flat brush again. To start with, what I'm going to focus on are these lovely purple greens running through these distant trees here on the left. Start with just some green. Remember we can just add in colors on top. So let's take a little bit of purple, making sure it's nice and light don't want to take too much. Then that purple can just layer in. It's a little bit abstract, isn't it? But it's the colors I'm feeling that I can see doesn't have to be true. Doesn't have to be accurate. Then if we go all the way to the right, we've got much more of a golden field to these trees. They can have a little bit of gold, maybe just a little bit of a burnt umber in that gold. That's going to start implying a bit of shadow. We can come back and do some proper shadows in a bit. We got something in between. So I'm actually going to mix those two together. We'll probably end up with a neutral, deep green. Now we need to decide where else are adding a bit of color. Now I think it'd be fun to use a bit of a brighter green. We've got this lovely green coming forward here, I'm going to pop that in. That's a cobalt green that we could actually wash that all the way down. Getting it from under the trees, all the way into the foreground. Those are nice and nice and gentle. We can then find again, some soft changes when we did soft changes before we could do some soft changes. And maybe again, this purple color, that's what I see. Colors can be a bit subjective, but for me, it's a nice soft purple. In these areas we hatched, we can do a bit of mixing on the page with a little bit of cobalt purple. There we go, our scene is coming together. Now, this could be another one where we want to add a sky. Or maybe because we've got a sky here, we should try something different. Let's try actually just extending our colors up into this mountain. So I'm going to take this purple, gently add it, And it is a little too dark, isn't it? But we've already seen that. That's okay. As long as we come back and we soften it out, then that purple can sit and fill up the under part of our sketch. Maybe just a last touch, little varied bits of green up in here as well. And we can see what happens. We can let that dry, and we can see what happens, and then we can apply our second stage of color. We are here we are, nice and dry now. Not totally dry, but I like it to be very slightly wet in places to add a little bit more unpredictability to my colors, what we can see is we've got these separated out areas and what we want to do is enhance the areas we care about. Now for me, it's mostly about those trees we spent time on, isn't it? So just like bold lines will enhance, something bit of bold color will do the same. We'll start with a bit of that Mars yellow, and then just again, we're enriching it with the same burnt umber. Now, taking care not to do too much. We don't want to lose that transparency too much, but we do want it to sit forward. We can use that same color for some of the trunks of the trees as well. Then we can move across and repeat the same thing, really in these trees. Little touch of that burnt umber. And then we'll go back to using this murky green. And hopefully what we'll get is just a set of trees which pop forward just a little bit more, just a little bit more interesting and a little bit more obvious than they would otherwise be. Then over here we have that light green wash with some purples. Now I'm just going to apply that green into the bottom side trying to get the idea of shadow. And then this rich purple can come along the top. There we go. Almost done. Now we can do some real textures of grass here because this is the last a lot of different area that I think would be fun. We can almost draw again with a little brush. I'm just holding it like a pen, using a little bit thicker paint and just coming up and down, drawing brush marks which fit with that grassy feel. Then come in with a bit of green and do the same thing. We get this varied patch of grass in the front of our scene. On the other side, I do it the other way round. I'll use my green first, then I'll grab a little bit of my purple, a little bit more, and do the same thing. There we go. Does it feel finished? Perhaps there's too much empty space up there. Another nice idea that we talked about before. You could do a couple of gentle splashes into that. If you want to finish off even more than that, just come in with a bit of water. You can soften up some of those splashes that will just create a gently textured sky, Not the same as this. Instead it's more soft. It's more suggested, hopefully, in the way that often this is more interesting than if we just did a flat blue sky. 19. Scene Three - Village: Finally, our final little scene of the final scene I'm going to do with you today is from a little village called Calbeck. Calbeck has these beautiful colorful houses surrounded by trees. This is our semi rural or semi urban scene. Here we are. It's time for something in between scene. This is actually just a little village. It's called Calbeck again in the lake district, which brings our thematic lake district doodling to a finish, which is great. I think what we've got, if we look at the full photo, we've got odd perspective. We've got lots of challenges. We've got a lovely colorful house in the background, a couple of the matching and all sorts of trees and things. That's where we've got this natural and urban scene. Since we're doodling, let's make it simple. Instead of focusing on the whole photo, let's focus on the really fun, interesting bit. Now for me that's these houses in the background we're going to do, we're going to find those shapes first. They're the easy, solid shapes that we can just identify without any fuss. You've got a square and a rectangle, a little triangle coming off the side. Then if we go on to the next one, what we're going to do, we're just going to remove the perspective. Instead of having the side of the blue building visible, We're doing a little doodle. Let's just get the roof, Ignore this side, this perspective, and then we can get the next side in. We're simplifying which is part of our right as an artist. It's great fun way of just doodling away. Just making life much easier, much more accomplishable. Get the roof line in here as well. It's a little bit lower than that one. Then we've got one more house over here. Much closer, isn't it? Again, we'll just get the roof line in, get these little chimneys in. This time we don't actually have to take the edges all the way, but I'll show you something we can do to just complete our image. Bear with me first though, we just need to add in a few little details. I've got these windows, more windows down here, little window up here, little window here, little edge of a window. Finding all of our little windows. And if we want, we can invent some windows as well. Then we can just invent some little bushes to finish off the rest of this scene. We can see the bushes coming along the front as well. We'll just do our contour of all these bushes going along, finishing off the edge of our scene. Nice little tree like this as well. That's quite a fan shape to get in more trees and bushes up to the side like that. Last bit to pop in for me, we've got this simple fence that runs across the front of the scene. I'm just going to show that a simple shape and then just bring along some marks to make it more of a fence. Last but not least, if we want, we could even add in just this little pavement edge shows the shape of the scene in front of us. Why not do these little road markings as well that instantly recognizable? It shows you again what you're looking at, little road marking there. Our scene is basically done. I guess there's a couple of bits always important to look around, isn't it? Because what I've done is I've missed out these trees back here. Second time of asking our scene is basically done. It's time just to add these bold lines. What we can do now, we can solidify some bits. We can make these shadows more evident if we wanted at this stage. We could add in the sides of the buildings if we felt it was important to our sketch to get the perspective in for me, I'm not going to do that, I'm just going to add these little slightly bolder lines. Then also the same for these trees which are in front. Let's make them feel like they're in front. Nice and bold, press quite hard. Nice and bold. There we go. This tree is also sitting in front of the house. We'll make that one nice and bold. We can do some tree textures adding a little bit of fun to some of these marks. We've already made a little bit of tree texture there, maybe just a little bricks. This wall doesn't actually have bricks, but again, we're doodling. We can add a little bit of, a little bit of invention, don't forget, a bit of contrast often just brings immediate drama to what we've got. There isn't much shadow going on in this scene really. Perhaps in this one we'll leave it. We won't invent too much shadow. We can just keep it as a nice, bold, fun feeling image. Do you want to just get this fence? Do you see how it feels distant? But if we make it bold, it suddenly comes to the front of our doodle. That's our last bit of line work done. Now we can jump in, do our last bit of painting. I'm going to start with a bright red, keeping it quite thin so we can always come back and add our second layer. But to start with, let's get that nice transparent watercolor feel. Then we've got a nice light blue. Perhaps this time we can use a bit of that cerulean blue we used in our sky in one of our previous paintings. And that can come in on this house as well. We got a little bit of purple on my brush there, that's gone now with another layer of color Again, you can see that purple coming through actually makes quite nice, nice feel. Having these varied colors probably was because I didn't clean my brush off very well between doing those two washes, which is why that happened. Just remember this bit of pink just coming out here as well. And this bits actually pink as well. This house is gray. But what I'm going to do, this gray, this house is white. What I'm going to do is I'm just going to give it a little bit of tone with a tiny bit of my sugar light, which is a nice tonal color. Then I will add some interesting rooftops. Maybe make them blue with just a touch of red in just to neutralize that. Give it this is Indian red, it's quite deep red, almost a brown. That will just give us a nice contrasting feel to these roofs. Don't want it to fix, I'm coming in now with a cleaner brush and just spreading that over, giving it quite a flat wash. Then I think what we could do is perhaps a little bit of that same color just into the road here. Just fills up the page, makes it a little bit more interesting. We can do a little bit, maybe the Serilian blue again, just into our sky up here. Just move that around, keep it nice and soft, and gentle. We can have a look in our second layer if we want to add any green. Or if actually we're happy leaving all this green as negative space for now. We're going to let this dry and we'll come in and do our second little layer of colors. Here, we're nice and dry. What we can do is we can just come back and enrich some of these rather lovely bold colors. Here we can start suggesting a bit more texture, a bit more shadow, just by using much thicker paint. With our blue, we can do the same again, just in a couple of places. Perhaps we want to suggest a little bit of shadow on this more distant building, just by making the blue a little deeper. Again, using these shadows underneath the eaves of the house. Even in our white house, we can get a little bit of shadow underneath the eaves there. Then anything else do we want to add, for example, a bit more texture into the road? That's an option, isn't it? Just a few little marks. Perhaps we even want to bring out the pavement as another little tone in the front. Again, all we've done is just add a little bit more blue to that purple neutral wash. To just change it up a little bit, then we can decide, do we want some greens? Maybe what we can do as a, a middle option. We'll take our greens and we'll just do them in a couple of places. We can just choose a couple of our shapes to get a nice touch of green just in maybe a handful of places like so. Then get some water and soften and move those bits of green. We've got lots of negative space, but we've also got definite tinges of green running around and explaining some of this negative space a little bit more. Now, last but not least, we remember we can use this second layer to introduce nice details. Now for me, a red chimney is a really fun detail. They're not red in reality, but it's a really nice detail just to bring in like so little bit of that red. Just somewhere else as well. A bit of fun there we are. Our little themes are all complete. Now that they're all done, I'm going to put my initials and that each of them, a really important part of owning your art, being proud of it, is just to put your initials or your name. I'd love to see your versions, your Ses or my themes. Have some fun simplify. Create your little doodle Landscapes. 20. Thank You: Well then Everon, thank you so much for joining here. I've really enjoyed creating this class. I really enjoy the doodle, Sketching Ideas projects. It's a great way to fill a page, Fill a sketch book. Just relax drawer and have fun. If you also enjoy this class, you enjoy these kind ideas, please do, leave me a review to do so, just click the Reviews tab and create review. Just take a minute and it means the world. If you enjoy the idea of doodle sketching and then check out my other classes on skillshare. I've got a specific one on sketching people, which really links well with this class and could build your little doodle repertoire to fill even more sketch books. Most importantly, they have fun, enjoy your sketching and be creative.