Desenho e esboço vol 1: fundamentos para todos os níveis

1. Drawing and Sketching Vol 1 Fundamentals: Have you ever dreamed about drawing with precision and passion without getting stuck in complex techniques and endless processes? I am BabgoVPz and after 30 years of dedication to drawing and learning at the finest art schools, I have developed a technique that will allow you to render any landscape or object you desire, enjoying every moment of the process. I have designed a series of drawing and sketching courses to guide you step by step, volume by volume on your journey to becoming a true artist. Imagine being able to bring your ideas to paper, creating works that reflect your unique vision of the world. Whether you are an enthusiastic beginner or someone looking to refresh your skills, here you will find the tools and confidence needed to bring your artistic dreams to life. In this first volume, you will explore the essential fundamentals of this technique. You will learn to attentively observe objects around you to utilize angles and best shading techniques that will allow you to capture the essence of everything you see. You will start with simple still life, where you will focus on composition and lighting, learning to effectively render textures, reflections, and shadows. Then you will advance to the complexity of trees with intricate shapes and details. Finally, you will culminate your artistic ney by rendering both inside and out one of the most beautiful castles in Barcelona, Catalonia, Spana. Applying all the techniques learned to capture this architectural grandeur and the details that make it unique. Throughout this course, we will address a theory that will support our practical learning. We will explore composition, two dimensionality, three dimensionality, and perspective. On the other hand, we will immerse ourselves in the study of notable artist, admiring their techniques and works, many of which you can find in museums, actually. Additionally, we will delve into the knowledge of materials. So you can select the best profide pencils, patels, luxury papers, et cetera. Choosing the right tools is crucial for achieving the results you want. So do not miss the chance to embark yourself in this artistic journey. This course has been completely designed for you, adapting to your needs and pace. On this platform, you won't be able to find a course that offers such passionate, elegant, and accessible approach to learning how to draw. Welcome to my Ater and drawing in sketching bottom one. Fundamentals for all levels. I see you in the first lesson. 2. Importance of Active Observation: Hello, everyone. Today we will discuss a crucial aspect of drawing that many courses emphasize the use of the grid method. It's important to clarify that I'm not referring to the perspective grid, that grid where the lines converge at a vanishing point. Instead, I'm talking about the grid that divides a sheet into several squares. While I understand that many art courses teach students to use this kind of grid, this technique because it guarantees precision, it often reflects a lack of spontaneous drawing skills among instructors. In our course, however, we won't be relying on this method. Instead, we aim to develop a natural expressive way of drawing that allows you to capture a scenes as if you were present in the moment without the constraints of grid. Historically, artists of the renaissance, such as Mikan tedo demonstrated remarkable observational skills that set them apart from many artists today. Although Michelangelo is primarily known as a sculptor, he was also an exceptional draftsman. For example, his drawings reflect a deep understanding of human anatomy, light and shadow. He observed the world around him meticulously, allowing him to translate those observations into both sculpture and drawing. But this level of skill was not developed through grid techniques, but through dedicated practice and a keen eye for detail. If we were to compare contemporary artists who rely heavily on writs to renaissance masters like Michelangelo, it's clear that the latter would likely outperform the former in life or creative drawing. Michelangelo's ability to capture the human form in dynamic buses is a testament to his observational prowess. He didn't just reproduce what he saw. He interpreted it, transforming his understanding of three dimensional forms into his drawing. While contemporary artists may achieve impressive realism through grit, their ability to translate that skill into a spontaneous drawing or capturing life on the spot is significantly limited. One of the problems with relying on grit is that artists can become so focused on copying that they may reproduce photograph lacking in balance, composition, or interesting lighting. The act of copying becomes an end in itself, detracting from the artist's visual skills. This is where the essence of observational training comes into play. Artists like Michel Anglo train their eyes to see just shapes and lines, but the relationship between objects effects of light and shadow, and the subtleties of color. By honing these skills, they could create drawings that resonate with emotion and depth, engaging viewers on a level that mere Capes could not achieve. Many participants in this course are designers, tattoo artists, drawing enthusiasts, and even filmmakers who want to enhance their visual abilities. By learning to draw spontaneously without the use of a grid, you will become better artist in your respective fields. It's essential to cultivate your observational skills, as this will allow you to detect equilibrium in what you see, recognize colors, and ultimately create more dynamic and engaging art. Additionally, relying too heavily on a grid can lead to a lack of personal expression in your work. Copy photograph, you may miss opportunities to inject your unique perspective and creativity into your art. Observational drawing encourages you to interpret the world around you, to capture your fel and insights, and to express them in your own style. As we move forward in this course, I encourage you to embrace spontaneity and the power of observation. Allow yourself to explore the world visually and respond to it in a way that feels natural to you. Remember, drawing is not just about replicating what you see. It's about interpreting and expressing your unique view of the world. So the purpose of this course is to develop a technique that allows us to train ourselves to master a style of throwing that without excessive detail can provide a significant degree of realism. This way, it becomes a useful and enjoyable skill for any artistic goal you may set for yourself until the next lesson. 3. Beautiful Papers Drawing and Sketching: Hello, everyone, and welcome to this lesson. Today we will talking about different types of paper we will use throughout the course. I want to make it clear that we will explore several options, you didn't need to worry too much about the materials at first. A traditional white paper is more than enough to tackle the exercises in this course. The most important thing is to focus on learning how to draw and developing your own technique because great drawing doesn't depend on the material. It depends on the skills we will build in together. Now, throughout the course and on this lesson, we will explore a selection of high quality papers. It's important for you to know these options because many of you may have never worked with anything other than plain white paper. So these papers offer different textures and finishes, and while they are not essential, knowing about them will help you expand your perspective and make better choices for future products. So feel free to use what you have on hand, but make sure to pay attention to these alternatives. So let's get started. Let's go with first paper. Schooler shammer is high quality drawing paper with a pear white finish that stands out for its very fine green texture. This type of paper is ideal for detail work, as its smooth surface allows for sharp and precise lines without the pencil, catchin or dragon. Thanks to its delicate grain, it's perfect for graphite, colored pencils and ink techniques, where cleanliness and clarity are essential. It also works well for sidle shading, allowing smooth transitions between tones. It's especially useful for portraits and technical drawings that require clear uniform lines. In this particular course, we will not use this because we are going to use papers of almost the same color and tone, but with a much more entertaining and attractive texture. But without a doubt, the sculler hammer is a great drawing paper. Let's move on to the next one. The honey Mill ingress is a high quality paper, specially designed for graphite and pastel techniques. Its unique texture and versatility make it ideal for capturing fine details and applying rich shading, which is why it will be the main paper used in this course. One of its most notable features is its rough green, which makes it more challenging to chief precise details right away. However, this is actually an advantage when learning to draw. We need to make better thought outlines of higher quality to achieve more effective results, especially in the distance. The rough grains resist precision a bit more, forcing us to be more conscious of every stroke, which is essential in the Earl stages of learning. Moreover, the final result is always more beautiful with a more dynamic and deeper finish, giving the drawing a richer, more complex field. This particular Hamel ingress has a texture with tying fibers on the surface, giving it a unique, almosantiq look. This texture not only gives it a vintage appearance, but also makes it especially beautiful and attractive. It's one of the most beautiful drawing papers available. Additionally, the Hamel ingress comes in various stones, such as socra and earthy shades. Each color has its own unique texture, allowing you to experiment with different effects and find the one that best suits your drawing style. The variety of colors offers a range of possibilities to enhance your work with interesting backgrounds and create more dynamic contrasts. On the other hand, the paper has two different textures on each side. One side is smoother, ideal for details and soft transitions, while the other side is more textured, perfect for creating richer effects with pastel or techniques that require more pressure. This hail ingress will be the main paper used in this course, allowing you to explore creativity with a texture foundation that helps develop the necessary skills for drawing with more precision and quality. But let's move on to the next one. The Canson Mitaints is an exceptional paper, especially designed for pastels and offers even richer textures than the Hale ingress. It's one of the primary papers used in my impressionist drawing course series, known for its strength and versatility. This paper is perfect for pastel techniques, as its rich texture allows for excellent layering and blending. It holds the pigment beautifully, providing vibrant color and depth. Additionally, the canson M tints is more resistant than other papers, making it ideal for multiple layers without compromising the paper's integrity. It's also made with a slight percentage of cotton. Giving it a natural softness that enhances the texture and durability of the paper. Like the ham mill ingress, this paper has two distinct textures on each side. One side is smoother for delicate details and blending. While the other side has a more pronounced texture, perfect for adding more texture and bold effects. The Kansan may tents also comes in a wide range of colors, allowing for greater creative flexibility. The colors are incredibly rich, and the texture surface catches and holds pigment beautifully. This paper will help you create a dynamic multiple layer pastel drawings that are rich, durable, and full of life. Now, let's talk about the papers from the Claire fontaine brand, especially those found in the block paintm. A high quality block that offers a variety of papers perfect for different artistic techniques. The block painton is an excellent choice for its versatility, as it contains various papers that adapt well to both wet and dry media. This block includes papers with rich textures, allowing you to experiment with different techniques from watercolor to pencil, ink, and basil. Each sheet has a texture that adds a unique dimension to your work, making every piece more dynamic and expressive. One of the most notable features of this blog is the wide range of colors available. The papers come in both natural and vibrant tones, giving the artists the freedom to choose the perfect background for their artwork, whether they seek something soft and warm or something more dramatic and colorful. It's important to mention that most of the sketches in both the drawing and sketching and impressionist drawing course series use papers from this blog. Its versatility, range of colors and textures make it an excellent choice for the lessons and exercises we'll be doing. This block is perfect for both beginners and experienced artists, as its variety of papers allows you to explore different styles and effects in one purchase, while the papers high quality ensures that your work will remain intact and vibrant over time. So feel free to choose the paper you like. After all, learning to draw doesn't depend on the paper, but on your creativity until the next lesson. 4. Pencils , Pastels and other materials Drawing and Sketching: Hello again. In this lesson, we are going to talk about pencils, bails, and other materials we will explore during the course. I want to be clear from the start. Learn how to draw, all you really need is a graphite pencil and an eraser. These two elements are a foundation of any drawing and will be enough for you to develop your core skills. That said, I also want to encourage you to go beyond graphite and get to know some other tools. In this lesson, we will look at different pencils with varying hardnesses associate at color and textures and other materials that while not essential can enrich your drawings. I know that many of you have only worked with graphite until now. So this will be a great opportunity to discover new possibilities and think about how to incorporate these tools in your future projects. Remember that the goal of this lesson is to broaden your knowledge, not to overwhelm you. Drawing always starts with the basics. Little by little, you will decide which complimentary materials you want to explore. So let's dive into this lesson. Perfect. Let's start with this sample of the pencils and pastels. As you can see, we are going to work on the Hammill grease collection papers. We are going to start with the graphite, then with the Pierre noi, then the pastels. The idea is to see also how each pencil and pigment behaves with these papers that will be present in all the courses. So let's start with this two H graphite pencil, which comes from the Benzel design set. Try to see the amount of graphite that remains stuck to each of the papers. On the other hand, there is something very important to take into account. I'm going to apply the same amount of force on the paper, so you can see that by applying the same force, I obtain different tones. Let's continue with this to B. This time I'm using an extender. It's a very useful tool to be able to use the pencils until the end. So by connecting this extender, you can use any pencil until it really wears out completely. Notice how in those sepia toned papers which are the hand mill papers, the graphite manages to adhere even more to the paper. I mean, it looks darker. This is particularly important for these papers. I'm going to try now with the seven B pencil. Pay attention to the fact that the darker tones of the graphite pencils are, the more subtle the differences between them are. On the other hand, pay attention to how the graphite behaves on different textures of each paper. Now look at the pure graphite from this favor castle brand. It's even darker than the darkest of traditional graphite pencils. It's important to mention that you can also find the pure liquid graphite, but it's quite expensive, so I do not recommend it as much. The quality of graphite is generally not related to how the graphite looks, but to the durability of the pencil. How easily the graphite pencil breaks, most of all, when it comes to sharpening it, no matter who you may use the sharpener or the cutter. Here, you can notice the difference between them. It's quite clear. But now let's move on to the Pierre noir pencil. Pergnoi like a dry basil, but with a little oil. This is from the conte apari brand. This pencil allows us to achieve a much darker tone than with graphite. But we have to be careful with this because there is a noticeable difference. Piegnoi like pastels, doesn't reflect light, whereas, graphite is shining. So we must take this into account when we draw because when the light hits the drawing, the difference will be noticeable. Look at the difference between this HB shade of Piernoi and the pure graphite. Now I'm going to apply this darker shade of Pierni Is a two B. It's important to mention that drawings and benzyl tones should be tested in natural light. Not with artificial light hit in the paper. Even in museums, the lighting is always inspired by natural tones. But in any case, this Piernoi is very useful for those very dark details in a drawing. Now let's start with the pastel. This example is very important because you will be able to see the difference between a soft pastel of good quality and one of not so good quality. I'm going to start with the Rembrandt soft pastel. I'm going to use this royal blue and try to see the intensity of the color and how it make thin and white lines, and I can also mix the color. This is a soft pastel of good quality. The thin is that this basil has a bit of binder and oil in it, which allows the pegament to be slightly pasty and stick to the paper. Now I'm going to try this other soft dry pastel. It's from the faber castle brand. And although the price is not very different, it's not as good quality, and you will see why. Pay attention here, I'm applying the colours with the other basil. But notice what happens when I try to fill the paper enough with the pigment. All the pigment particles fall off the paper because it doesn't have enough bender. So when the paper has textures like this, it's automatically like sand in the pastel bar. When you are doing important work with lots of colors and tones, this can really mess up your work. Look what happens when I try to remove the pigment. It stains. You could erase it, but what would happen if these particles were on something already drawn with many details? I think the only positive point of fiber castle pastels is their variety of colors. Now we are going to continue with the hard dry pastels. These are from the Rembrandt brand. We can also draw with this. I don't usually use them too much because they are really hard. They are for making sketches, a specific lines, encounters that require strength. In fact, I have to press quite a bit towards the paper to mark the paper because of how hard they are. The good thing about these pastels is that since they are squared in shape, we will always have a sharp side with which to make fine lines, and they come in earthy colors that are very rich in tones. Now let's move on to the pastel pencils. This could be a middle ground between a hard and soft pastel. They are perfect, soft enough to blend and hard enough to be able to sharpen the pencils. Of course, you have to be very careful, but pay attention to how precise I can make the hatching with this basil pencil. These are the bronze seal designed basil pencils. This brand has a wonderful set of 48 basil pencils that are really worth it. I'm going to try another color to show you how wonderful they are. For example, this light blue is quite beautiful. On the other hand, see how well the colors blend with the tones of the papers. Now I'm going to do a test with a white pastel, so you can see more or less the difference in tone that you can chip with a hard pastel and a soft one. I'm going to try the soft one up here first. I'm trying it out because we are going to use the color white a lot in both series of courses, both impressionist and drawing and sketching. Pay attention to the tone with a soft pastel. With the soft puzzle, we achieve an intense and strong white tone. Now I'm going to try the hard pastel bar, also from the same brand reembnd. I'm applying the same amount of force against the paper. And now, look, with the white pastel pencil, I'm going to try it, too, so you can see the difference. The tone of the hard puzzle is less intense, so you should take this into account when using them. This is one of the most important things. Here, from a distance, you can see the difference in tones. It's important to get used to the materials in order to use them as a language while we draw. I will tell you something important regarding the prices of these materials. First of all, don't worry about graphite pencils. You don't need a complete set, and there is no difference in terms of quality compared to how they look on paper. It's simply a matter of the durability of the pencil itself. A chip brand will tend to break the pencil tip and even cause the graphite to completely come out of the wooden tube. But the appearance on paper is the same. But even though I highly recommend you to get a complete set of Bunsil design graphite pencils, Pick no pencils are exclusive to Conte parE. They are a little bit expensive, but you don't need to buy the complete set because they are generally for some details. For pastels, I highly recommend you the Rembrandt brand. It's affordable and of great quality. There are more luxurious brands, but they are actually more expensive. Of course, they have more vivid colors, but I really tell you that from my point of view, the difference is not in line with the price. In other words, reembrands are quite good and affordable. On the other hand, I also recommend you the pastel pencil set from Brun seal design. So try to free your imagination and feel free to experiment with these materials and my recommendations. Welcome to this course. 5. Hatching and Lighting Sphere Exercise: Hello, everyone. We're gonna start by learning the most basic elements of drawing, the hatching. A tool that we are going to use to build absolutely everything. Pay attention how easy it is. Actually, there are different types of hatching. Here, you can see some of the most basic and main ones. The letter A, the consecutive parallel lines that can be used with different strength. The second one, these curved lines can also be used with different strength and above all, with different distances between each line. The letter C is connected in consecutive lines to fill large spaces. This is one of the most important because it allows us to create shadows, and we can also vary the intensity when necessary. And finally, the letter D with consecutive and connected lines, but in a vertical direction because we are going to have to use this type of hatching in several directions. Now I'm going to try to make a sphere here intuitively so you can see how I mix all these types of hatchins in this sphere to creates shadows. It's a sketch style sphere. Try to pay close attention to how I blend the different types of hatching over each other to create consistency in the shadows and gradients. Pay close attention because we are going to use it a lot in the exercise of this lesson. A close attention that I'm not using any reference image is just a sphere from my imagination. Try to see how I use the curved hatching to create the volume of the sphere, how I reinforce the edges of the sphere, and all the details that make the spherical volume be created. Pay attention to how I also try hatching at the base of the sphere to create a possible shadow that this sphere could have on a surface. It's important to mention that you can use hatching with different graphite pencils of different shades. There is no secret behind this, except that with darker pencils, we will add more graphite to the paper without leaving any marks on it. It's a soft graphite. On the other hand, when we use lighter pencils, there are harder graphites that we need to press harder against the paper to be able to reach a dark tone. Therefore, we will mark the paper more. And since we are going to use this pastel pencil as a complement in this lesson, I'm going to also apply it with the same hatching to add some light. Now we are ready to apply all these to a real exercise. Let's render this sphere. As you can see, this sphere has a particular lighting. It's the typical lighting used by art masters from the Baroque to the impressionism to represent portraits and scenes in interior spaces. This lighting can be done with natural light source from one of the sites, but we are able to also complement this with another light source. Here you can see how another dim light on the right complements the sphere. You can play with this. There's no single way to do it. You can simply play, for example, with that second light to reinforce some section of the object you are drawing. But now let's render this sphere with this kind of lighting, a traditional and classical lighting. So the purpose of this exercise is to put into practice the hatching we already saw at the beginning of the lesson. We are going to start by tracing this cross over here, and this cross will allow you to discover what are the table dimensions. Actually, each line of the cross is kind of the diameter from this point of view. It's a round table, but from this point of view, it is a kind of oval. We can also mark the edges of the table. I mean, the edges of that fabric on the table. Now, since we are talking about a sphere, a completely spherical object in shape from the two dimensional perspective is a circle. So we just have to create the circle and start tracing the hatching on the lighter tones. If you are working with a lighter paper tone, you can use the hatching with the dark tones. I mean to create the shading. But my idea is to make this drawing more interesting. And that is the reason why I'm using this tone of paper. Is a green tone, a military green. So I'm creating the drawing with this white pastel pencil. But anyway, I'm applying the hatching in the same way. I'm creating every single illuminated area with the hatching with different kind of hatchings in different directions. All those types of hatching we see at the beginning of the lesson. As I told you before, the more used kind of hatching is the connected and consecutive lines. That is the hatching I'm using right now. I'm overlapping every single layer using that kind of hatching. The idea of this exercise is not to learn anything related to shape. We are going to learn this throughout the course. We simply have to use this exercise to loosen the hand and start using hatching on real objects. Now, pay attention to I'm going to use the graphite pencil to reinforce the darker areas. Since I have used the white pencil now, the graphite will be much more noticeable. I'm using a dark tone of graphite because I want to get a fairly dark tone. Pay attention that I'm using the same types of hat chin that I showed you at the beginning, but in a loose way to represent that spare. One of the most important elements to take into account in this exercise is to try to match the dark areas. For example, all the shaded areas of the round table on the fabric, and in the shadow of the sphere projected on the base are practically the same tone. So it's an important hint to achieve the right tones. On the other hand, pay attention to the edges. In sketches, edges are important. Above of all, we must mark those edges where there is a strong contrast. For example, the edges of the sphere in contact with the dark background. As I'm almost finished with this sketch, I'm going to raise some lines here and there in some parts, and I'm using an eraser pencil. It's a useful tool to erase in a precise way. And there you are the first sketch of our course. It's important to practice this exercise a lot to get used to hatching. But this class is not over yet. We are going to use slightly different lighting, and we are also going to work with an even darker ton of paper. Told you, you are able to change the lighting. You can combine this light with another light source, one that comes from the right. The idea is to enhance the three dimensionality of the subject. Remember that that object can be a person or a seal alife or an animal, anything. But we are going to work with this. This has another light source from the right. It's subtle. So I'm going to start with the same process. I'm going to create the top of the round table. But this time, I'm not going to use the cross in the center. I'm going to try to create this oval intuitively. Now I'm going to try to mark the edges of those folds on the fabric on the table. And as we did before, I'm going to trace the circle. Pay attention to how I am filling in the spare with this white pastel pencil. I'm using this cross hatching with the connected and consecutive lines. And since I'm using the paper color as a signifier of this drawing, I'm leaving the color exposed on that shadow because the color is going to be the shadow itself. Pay attention that I'm not blending the hatching. I'm using the hatching directly on the paper. Pay attention to the edges. The edges are so important when it comes to shading. On the other hand, try to be aware that the light source is coming from the left to right. I mean the main light source. And that is the reason why I'm reinforcing those left areas on the table as in the sphere as well. Now I'm going to use the graphite pencil to create a kind of mid tone between the color of the paper and the white pastel pencil. Pay attention to the way I'm applying those graphite layers on those mid zones. Actually, you can ask yourself, what is the brightest one on the reference image? From my point of view is that face of the sphere that is exposed to the light source. So I'm trying to darken the top of the round table with this graphite pencil because the table is not supposed to reach the tone of the brightest areas of the sphere. Now I'm going to use my favorite tool, Pierre noi, which is a pencil made with very dark pigments that allows us to achieve completely black tones. And that's it. Another example of the same exercise with Spa, which is, from my point of view, much more interesting. You can practice it with a white paper if you want. It's exactly the same. I see you in the next lesson. 6. Discovering Reference Lines Bottle Sketch: Hello, people. Now we are going to do the first approach to the angle technique. The purpose of this lesson is try to use the measurements of your composition to discover and create an entire drawing. So I'm going to start by sketching the top of the table. This is a kind of rectangular table. I'm trying to create this base intuitively. Ater on, we are going to do a more intricate exercise where we are going to learn to discover what are the measurements of the table itself. But I'm tracing the table this time intuitively because we need to learn more fundamental subjects before. So let's suppose that we already have this table over here, and we need to discover the exact place where the battle is positioned. So there will be important lines to take into account. For example, this one, I'm going to name it A and this another B, and this is another one C. There are lines that come from the corners to the center. We must try to see those lines on the reference image using our imagination because we need to discover this and other kind of lines that are the angled lines. I'm going to name it the human eye, the human side, is quite sensitive to angles. So we are supposed to use those angled lines to discover the height of that bottle. In this case, the subject is a bottle, but it could be anything else. So pay attention the way I'm storing those informations. Those measurements are tools to create the rest of the objects on the cam position. Attention to the ******* on the table. For example, the distance between this ***** and the bottle is important. I'm going to name it E. But there are other ******* over here. So we must try to discover some guidelines that will help me to discover what is the position of this *****, the outer ***** over here. I'm going to name this line H. I'm not following the ABC. It's just to identify the lines. So we are supposed to store those measurements in our mind while drawing. And this, in turn, is going to help us to discover the position of the new objects on the table. Now I'm going to raise some construction lines over here, most of all, in the intersection of the bottle. And right here also. Now, since we have to put into practice everything we had learned so far, I'm going to use the crossed hatching to fill in the bottle with graphite. The idea is to represent those dark sections on the bottle. Pay attention that at this stage of the course, I'm not blending the hatching. I'm not blending anything at all. All of these initial sketches are to make you confident by using hatching and losing your hand on the paper. However, it's important to pay attention to those angle lines and the reference lines, the A, the D, the B, the C, which are useful tools to discover the exact position of the elements on the table. Now pay close attention to this. I'm going to measure the distance between this H and the bottle. And this distance, I'm going to name it E. And now you can notice that I did something wrong right here. Actually, this side of the table is larger, and having measured the other side of the table allow me to discover the real measurements of the table. I mean, although from this perspective, that side of the table is supposed to look shorter. It was too short with respect to the other side. So I have expanded the table to the right side. These kind of things are supposed to happen when drawing, and that is the reason why we are supposed to use as many reference lines as possible to create the entire composition. On the other hand, pay attention the way and overlapping hatching ledgers. That is very important when it comes to shading. Now I'm going to use the Pierre noir to reinforce the darker areas of the composition. For example, the bottle, which is the most important subject of this composition, and I'm going to darken those shaded areas on the table, the shadows projected on the fabric on the table. Now I'm going to fill in these objects with another graph vital layer. Try not to force yourself to get it perfect. Just try to loosen your hand so you can apply the hatching freely. Now I'm going to use this white pastel pencil to create the brightest zones on the objects. Most of all the reflections on the bottle. Pay attention that this time I'm using a pastel bar. Basically, the difference between a pastel bar and a pastel pencil is just that in the case of this specific stick, this specific pastel bar, the pigman sticks to the paper faster. In the case of pastel pencils, they tend to be harder, so you have to press harder for it to stick. That is why it makes a little noise when I use the pastel pencil. And there you are. We had finished this bottle sketch. Remember that it's simply an exercise to continue to loosen your hand and observe the reference lines to create a composition. I see you in the next lesson. 7. Discovering Agled Lines Tomato Sketch: Now it's time to put into practice the angled lines. So this time you're going to try to make a similar sketch. I'm going to trace the table first by using angled lines to discover the measurements of the top of the table. Pay attention to how I'm stretching lines from one corner to another to figure out the exact dimensions of this table. On the other hand, it's important to take into account that it's always an approximation. Even though I'm applying the proper process to create the top of the table, it's always an approximation that we can fix during the process of crafting the drawing. So this time, I'm going to do this sketch quickly. So now we have a clear idea about the position where this tomato is supposed to be. So I'm going to start creating the contour of this tomato. It's important to pay close attention that you are supposed to use all the drawing, all the dimension of the table as a reference subject to create a tomato. For example, the table ages are very important when it comes to creating the beaches and the tomato itself. And once we have the outline of these fruits, we can start applying the hatching. Remember that you can apply different kind of hatching in different directions. That is supposed to be the fingerprint of your drawing. As we move forward on the course, we are supposed to pay more attention to the intricate details. For example, those subtleties on the fabric on the table. Now, I'm going to raise these construction lines here and over there to continue applying hatching. From now on, we must pay attention to the relationship between the different tones on the fruits. For example, you can notice that that beach over there is the darker fruit on the composition, and we must use that tone as a reference to create the other tones on the fruit. It's important to remember that you are not supposed to over use the hatching to create a proper shading. The idea is to excel in the precision of the shades. I mean to stress the most important shadows and lines on every single fruit. This ability to sketch properly is a quite useful tool when it comes to drawing and when it comes to painting also. For example, as for painters, they are supposed to create studies, prior studies before engage the final work. Pay attention here to the weight and representing the fulg of that fabric by using hatching, continuous and consecutive hatching lines. Now I'm going to use the white pastel pencil to create the brightest spots on the composition, the lighter areas on the fruits, for example, and the fruits faces that are exposed to the light. And that's it. This is another quick sketch, a very useful one. You have learned how to use hangled lines to create the top of the table, but this is just the beginning of the course. I see you in the next lesson. 8. Theoretical Approach Still Life Indoor: Hello, people. Before we dive into our first still life exercise with indoor lighting, let's explore how different artists have approached similar subjects in their works. We will study Edward Hopper, or Class, and Edward Mante. Three masters who offer a distinct perspective on the use of light, textures, and composition. These references will help us understand how to capture the essence of objects and the atmosphere of an indoor scene in various ways. Edward Hopper, while primarily known for his urban scenes, also created still lives that showcase his unique ability to suggest atmosphere through light. One clear example of this is he still life with wine bottle and metal bowl. In this painting, Hopper uses loose strokes and simplified forms to suggest the presence of light without relying on excessive detail. The wine bottle and metal bowl are not rendered with photographic precision, but they still convey a sense of solidity and the quality of the light around them. Hopper strategically uses areas of shadow and light, allowing the objects to breathe within the composition. This shows that his skill as a draftsman enables him to capture the mood and blade of light. Resulting in a compelling and attractive image without needing to replicate every small detail. Another excellent example is still life with citrus fruits, where Hopper paints a simple arrangement of fruits. The light seems to gently glide over the surface of the oranges, eating at their textures without needing to paint every pre. This approach demonstrates that through his skill as a draftsman, Hopper can capture the essence of objects with an economy of detail. In both cases, the emphasis is on how light interacts with surfaces, an aspect we will also explore in our exercise. On the other hand, Peter class offers a different approach with a focus on meticulous realism. In his still life with wine glass and silver wall, Class showcases an impressive mastery of depicting shiny and transparent surfaces. The glass and metal in this painting not only reflects light, but also shows subtle glints and reflections of surrounding objects, adding depth and realism to the scene. Each surface seems to have its own life due to the clash skill in capturing light and its complex interactions. Cash precisely observes how light refracts through the glass of the wine glass, creating distortions and shadows that make the object feel tangible and real. The reflections on the metallic bowl, on the other hand, not only provide additional details, but also help to anchor the objects in space, creating a sense of three dimensionality. This level of detail and observation will be crucial for our exercise, especially when working with objects that reflect or refract light in complex ways. Garmont provides a looser, more expressive approach to still life. I still life with white peonies. In other flowers, Monette uses free brush strokes and strong contrast to capture the light and life of the flowers. The painting doesn't aim to replicate every petal precisely. Rather, it captures the vitality and dynamism of the scene. The brush stroke seems to move and shift with light, creating a sense of freshness and spontaneity that brings still life to the real world. This more expressive technique allows the elements in the painting to stand out without getting lost in unnecessary details. T uses countries to highlight textures and forms, giving his still lives a vibrant and almost tangible quality. This approach can inspire us to be more creative and bold when applying our shadows and reflections, letting our drawings have a sense of movement in life. Now that we have seen how these three artists approach light and become position, we are ready to apply some of these ideas to our own work. Our exercise will be to draw a still life on a table covered with velvet cloth. This scene includes a metallic plate in the center with flowers above, a slight water mellon to the left, a large tomato next to the plate, some pitches near the tomato, and a wine glass to the right. During this exercise, we will pay special attention to how light interacts with different surfaces. Inspired by Hopper and mainnet, we can allow ourselves to be looser in certain areas to suggest light without depending on extreme realism. From class, we will take precision in depicting reflections and transparency, and from net we will learn to use the vibrant contrast to bring life to our composition. Let's start then. 9. General Structure Indoor Still Life: On this lesson, we are all on the foundation for our still life by focusing on the structure of the composition. As we begin, I'm carefully tracing the base lines that will guide the placement of each object. The goal here is to establish a strong framework before diving into details. I'm starting with a table drawing its rectangular surface with light, confident strokes. This will anchor the scene and provide context for the arrangement of the objects. It's always easier for the eye to see angles that determine the shape of an object. So it's easier to try to discover the shape of the table by drawing this crossed line on the surface. Even though the objects are in the table, we must try to imagine the table without the objects on it in order to establish the exact surface where the objects rest. That crossed line is very important. By drawing these crossed lines, we can correct in time the surface on which the objects will be. And this will help you a lot. Now, we are going to focus on building the general aspects of all the objects at once. I will start by selecting the glass as a reference line using its height to determine the angle formed between the top of the glass and the position of the watermelon. This angle will guide me to the correct placement of the watermelon and help establish its proper height. From here, I can start building the wine glass itself, starting from the top to know its width. Since I already have two reference points, I'm going to draw a possible structure of the plate right in the middle, guided by the angles. It doesn't have to be perfect. It has to look convincing. This is very important. Now I'm going to start tracing those flowers on top of the plate. I already have the general structure of those branches, and I can use this very structure to finish building the composition, for example, the watermelon. Pay attention that I am not creating a complete overall structure of the entire composition, as many academics do, what I'm doing was taught to me by my Bulgarian drawing teacher at the university. And it was their strategy that is taught to a beginner. I was very young in those days. So this angle technique is about growing an entire drawing from an initial shape. Now that we have several elements, it's easier to draw the tomato. It's a giant tomato, actually. Using all the elements already built as a reference, we can complete those pictures that rest next to the tomato. I think it's not that complicated to follow the lines. We must be aware about the B dimensional nature of the paper. We are trying to render three dimensional objects using a B dimensional language. But pay attention to what happens here. This is normal while you draw and you have to get used to it. The most important thing is to notice the mistakes. When drawing this angle, we realize that the wine glass is not tall enough, but we are still in time and we can correct it. In fact, if we draw a horizontal line from the top of the wine glass to the plate, we realize that they are the same height. And since we already have the glass in the right place, we can also correct the size of the table a little. It's important to understand that the initial structures are always an approximation. They are never definitive lines. As we advance, we perfect them even in more advanced stages of the drawing. Now we're going to finish the watermelon structure. I'm going to draw the center of this plate, but it's just an approximation. All these shapes will change a little as we move forward and build the shadows, and that is normal. That is the idea of the drawing. Another important details are the shadows projected on the table. They are also reference points to create the drawing. It's very important to be precise on tracing them. Remember that you are able to use hatching to trace those shadows. But try not to push the pencil too hard against the paper. We don't want to spoil the paper too early. Now we're going to move on to these branches and leaves here. They are too important. But the fun thing about flowers and branches is that we can make an interpretation of them because they are full of irregular shapes. Look how I always try to set the size of the element I'm drawing with an angle that is always relating the angle that is produced when comparing it with another object. As for flowers and branches, important thing is to know the general structure and its position in the composition for the moment. The folded fabric in the background is also an important element because it adds depth to the drawing. The fabric separates the table layer from the background in the composition. Now, I'm going to draw some reference points, some details on the branches to guide me later on. And that's it. We already have the first step completed, the structure and design of our composition on the table until the next lesson. 10. First Details and Shading Aproximation Indoor Still Life: Hello, people. In this lesson, we are focusing on applying general shading throughout the composition without getting too detail with branches or flowers. I'm going to use hatching technique to build up all the broad shadows ensuring the drawing gains depth and dimension. By layering parallel lines, I can gradually develop the darker areas while maintaining a sense of lightness where necessary. This approach helps to create a cohesive field across the composition, allowing us to define the form and structure of each object before diving into more intricate details later. So the key here is consistency, ensuring that shading flows naturally from one area to the next while respecting the light source and maintain balance across the scene. As I apply the shadow on the plate, I focus on matching the to mato shadow projected on the table. Relating shadows is very important when it comes to drawing. And you must remember that by keeping the shading smooth and gravel, you will be able to create unified tone that connects two objects naturally. For the branches, I apply shading that matches the tone of the watermelon. Using light hatching, I carefully shade areas of the branches that fall into shadow, ensuring they blend seamlessly with the darker parts of the watermelon. This creates a consistent balance of light and shadow across both elements, making them feel naturally connected within the composition. It's crucial to respect the differences between shadows in areas with no light and those i partially lit places. Shadow and darker areas should be deeper and more defined, while shadows and lighted areas should be softer and more saub. This contrast is key to creating depth and realism in the composition. Now it's time to start filling in the background with graphite to create depth and separate the main elements from the background. By adding gradual shading behind the objects, we can enhance the sense of distance and make the key components of the composition stand out more clearly. It's important to respect the folds of the fabric in the background, giving each one its appropriate tone. By carefully shading the curves increases, we can capture the texture and movement of the fabric, making sure the light and shadow follow the natural flow of the material. Adding multiple layers of graphite and hatching progressively, it's essential for building depth and richness in the shading. Each layer helps to gradually darken the tones and create smoother transitions between light and shadow, giving the composition more dimension and realism. By shading the background, you will be able to better define the contours of your objects. These contours will help the shapes stand out more clearly, allowing each element to find its place in the composition and try to remember with a bit of patience and gentle shading, your objects will start to come to life and feel more integrated into the scene. Enjoy the process. It's a reward and step in bringing your drawing together. By using different layers of shading and varying hatching techniques in the background, you will create a beautiful sense of depth and consistency. Adding layers of graphite gradually builds up the shadows while experimenting with different hatching styles like cross hatching or parallel lines gives the background a richer texture. This thoughtful approach helps the background blend smoothly with the main elements, making your entire drawing field more unified and polished. Try to play with these techniques to find the perfect balance. To enhance the shadows on the table, take into account the subtle light shadows cast by the fabric dropped over it. This attention to detail will add realism and depth, making the table and its covering appear more naturally integrated into the scene. Now, I'll be shading the wine in the glass to its darkest tone as a reference for the darkest values in the composition. By fully developing this rich, deep shadow, we can establish a benchmark for the darkest areas, ensuring consistency and depth throughout the entire drawing. This will help guide the shading of the other elements and create a more cohesive and realistic piece. Now that we have established the darkest point with the wind, we can use it as a reference to refine the other shadows in the composition. With the darkest tone set. It's easier to adjust and enhance the more hidden shadows, ensuring they blend seamlessly and adept to the entire drawing. I mean, it's a great way to make every shadow work together and bring your art work to life. To create a realistic shine on the plate is essential to reinforce the strong shadows caused by the reflections on the material. By deepening these shadows, you enhance the contrast between light and dark, making the reflective surface appear more luminous and giving the plate a convincing three dimensional quality. This attention to the shadows will help bring out the brightness and detail in the plates shine. Anyway, we'll be working on the plates shine until the very end of the drawing lessons as it's one of the most detailed and time consuming aspects of this artwork. Keep adding graphite to the background to further highlight the elements of the composition and refine the details. You must remember that gradually deepening the shadows will make the main objects and stand out more prominently and enhance the overall depth on your drawing. Try to remember that you must ensure that each element feels integrated and balanced within the scene. With careful attention to these details, you will create a more polished cuestt composition. To define the outline of the branches, start by gently sketching their contour with light, deliberate strokes. Focus on capturing the natural curves and irregularities, which will give the branches a more realistic and organic appearance. By refining these outlines, you set the stage for adding detailed shading and texture later on, ensuring that the branches stand out clearly within the composition. After adding another layer of graphite to the background, I will begin incorporating some hatching on the glass to map out where the shine will be later. This will help establish areas where the light will reflect, setting the stage for adding those final doses of brightness. I think this step is crucial for ensuring that the glass shine looks natural and well defined in the finished drawing. We have reached the end of the lesson. If you need to review anything, feel free to do so. I look forward to seeing you in the next lesson. 11. Plate's First Approach & Leaves Outline Indoor Still Life: Hello again. In this step, we embark on a delicate journey to bring the branches and flowers to life by tracing the integrate outlines of each tiny leaf. Picture each leaf as a small, graceful whisper in nature's runs into the round, soft and full of gentle curves. As you trace these delicate forms, let your pencil glide lightly, capturing the subtle variations in shape and zies that make each leaf unique. Take a moment to appreciate how these little leaves interwave and overlap like a dance of shadows and light on the serene afternoon. By carefully defining the contours, you are not just drawing but waving a tapestry of nature's elegance. Allow yourselves to relax into the process, enjoying the rhythm of each stroke as you reveal the beauty of every leaf one at a time. So this meditative practice will bring a calming soothing flow to your drawing, making each leaf a part of a harmonious and tranquil composition. As you immerse yourself in the details of your drawing. Let the calming music and the gentle sound of rain create a soften atmosphere that enhances your focus. The soft melodies and rhythmic pattern of raindrops provide a serene backdrop, allowing your mind to settle and your creativity to flow freely. This tranquil ambience helps to clear away distractions, enabling you to concentrate fully on each delicated detail of your work. Embrace this peaceful environment as a source of inspiration. As you work on the details of the leaves, remember that those situated lower or hidden beneath should be shaded darker than the more exposed ones. This principle not only adds depth and realism to your drawing, but also helps to distinguish the leaves that are closer from those that are farther away. Even in the contour lines, this gradation of darkness emphasizes the layers in its dimon. This technique is reminiscent of the work of the Renaissance master Leonardo Da vici, who skillfully used shading to create depth and volume in strnes such as studies of plant life and anatomy. So by applying similar principles, you can achieve announced and lifelike representation that captures the delicate interplay of light and shadow in your own artwork. H. Understanding the structure and positioning of the leaves is crucial for capturing their essence, even in areas where the details might not be fully clear in your reference image. When you encounter these ambiguous spots, use your imagination to fill in the gaps, relying on your knowledge of leaf structure and how they naturally arrange themselves. Remember, in live drawing situations, your reference might be distance or not entirely visible, making it challenging to discern every tail. Trust in your ability to infer and visualize how the leaps interact and overlap. Applying logical assumptions based on their known characteristics. This creative approach allows you to maintain consistency and harmony your drawing, ensuring that even the less visible parts align seamlessly with the overall composition. Highlighting the delicate twigs that supports the lips is essential for giving structure and authenticity to the bouquet. By carefully drawing these tin stems, you create a sense of connection and support within the composition. Well defined stems not only anchor the lips, but also add depth and realism to the bouquet. When these tiny details are carefully rendered, they enhance the overall structure, making the arrangement appear more cohesive and naturally balanced. Paying attention to these sidle elements helps to convey intricate relationships between the lips and their supporting branches, bringing a refined sense of realism and elegance to your drawing. Reinforcing the background right behind the bouquet is crucial for making the details of the lips and branches stand out more vividly. By dipping in the shading and adding texture to the background, you create a stronger countras that highlights the intricate details of the foliage. This enhanced backdrop helps to bring the bouquet into sharper focus, making each leaf and twig more distinct and pronounced. As you work on this, remember that well developed background not only frames the bouquet, but also accentuates its beauty, allowing the finer details to shine through and creating a more dynamic and visually engaging composition. Now we will focus on enhancing the shine of the plate. We're going to start by emphasizing the separation between the plate and the flowers, even though they may be in close contact. By carefully shading and highlighting the areas where the plate meets the flowers, you will create a clear distinction that enhances the three dimensional quality of both elements. This approach ensures that the plate's reflective surface stands out while the flowers maintain their own distinct presence, adding depth and clarity to the composition. Now we will refine and enhance the metallic appearance of the plate to bring out its shine. We must keep carefully blending the darkest and lightest tones to create a realistic effect of light reflecting off the surface. As you work on this, remember to follow the rounded shape of the plate, as the light and shadow will naturally conform to its curvature. This will help you to achieve a convincing metallic shine, capturing the way light interacts with the plate surface and highlighting its three dimensional form. Mm When refining the shine of the blade, patient is essential. Try to lay your grafte gradually to achieve the desired metallic effect. And I should remind you that due to the coarse texture of the paper, achieving a smooth, reflective surface can be more challenging, but don't let that discourage you. With careful attention and persistence and layering, you can still create a striking and convincing shine on the plate. I mean, the paper's texture will add a unique quality to your work, making the final effect both distinct and captivating. Remember to use the razor pencil to enhance the metallic shine of the round blade as an effective technique for achieving a realistic and striking effect. I mean by gently lifting graphite in specific areas, you can create the illusion of light reflecting off the curved surface, emphasizing the plate's metallic quality. This technique allows you to highlight the brightest spots in that contrast, making the shine appear more dynamic and three dimensional. So careful use of the eraser pencil will help you refine the reflective details, bringing out the plates shine and adding a touch of realism to your artwork. Stepping back time to time from your drawing is crucial for gaining a fresh perspective in assessing your work more effectively. By distancing yourself, you can better contemplate the overall composition and see how all the elements come together. This moment of reflection allows you to identify areas that may need adjustment or correction, ensuring that each detail aligns with your artistic vision. Regularly taking a step back helps you to make informed decisions, improve your drawing and advance with a clearer understanding of how your work is progressing. We have reached the end of this lesson. The plate looks much improved. There is still quite a bit of work ahead to achieve the final effect, but you're making great progress. See you in the next lesson. Oh 12. Fruits Details & Wine Glass Indoor Still Life: Hello, people. Now, let's dive into the vibrant world of textures, starting with our watermelon slice. Remember, we are working with just a quarter of this juice fruit, which gives us a wonderful view on its deep red interior. The contrast between the rich, fleshy tones and smooth glosy seeds adds so much character. Try to focus on capturing that bright, inviting red, but using graphite, but don't forget the darker, warm mysterious tones of the seed nestled within. First of all, I'm going to apply a first graphite layer to reach that general tone. When working with graphite, it's essential to be delicate to truly capture the soft juicy textures of the watermelons interior. Use gentle sweeping strokes to lay down the base tones, allowing natural red juice to come through with light shading. The idea is to avoid pressing to heart. You want the graphite to almost glide over the paper, creating a saddle velvet defect. For the darker areas like the spaces around the seeds, layer the strokes gradually, building up the depth while still maintaining that soft transition between light and shadow. This way, you are going to preserve the fruit's tender, almost translucent quality. Pay close attention to the background as you shape the edge of the watermelon. The rhin's texture is slightly irregular, and this can be emphasized by how it contrasts with the surface behind it. Use the surrounding tones to supply define those knitting edges, making sure the transition from the rind to the background feels natural yet distinct. This attention to detail will help enhance the realistic texture of the watermelon, showing its organic and perfect shape. The seeds are small, but important details that bring the watermelon to life. Each one should be carefully placed with a smooth, rounded shape in a slight shine that suggest their glosy surface. Try to use darker, more defined strokes to contrast with the soft flesh around them, but keep them subto. Remember, they should feel like they belong within the fruit, not separate from it. Now let's focus on the watermelons rind and its characteristic markings. These dark river like patterns flow down towards the base, where the fruit connects to the stem. Notice how this line seems to travel curving gently as they follow the natural contours of the watermelon. Keep in mind that this lower part should be shaded darker as it less exposed to light. By carefully layering your graphite here, you can create a sense of depth and roundness, emphasizing the saddle ships and light as they move from the top of the rind down to its shaded base. It's important to differentiate between the two types of shadows the watermelon creates. First, there is a complete shadow at the point where the watermelon touches the table. This is the darkest, most solid. Then there is a softer more diffused shadow that the watermelon cast across the table, known as the projected shadow. This shadow gradually fades as it extends away from the fruit, creating a smooth transition. When working with graphite, use heavier pressure for the contact shadow and gradually lighten your strokes as you create the projection, allowing for that natural shift between the two shadows. Take a closer look at how the eraser pencil has helped create the light edge of the watermelon, which is produced by the thickness of the rind. By gently lifting the graphite in gradle strokes, I have revealed the sidle highlight. It's a delicate process removing just enough graphite to show the thickness of the rind without losing the smooth transition from light to shadow. I always remind you stepping back and viewing your drawing from a distance can be incredibly helpful, especially when evaluating the quality of your shadows. From afar, you will be able to see how well the shadows blend and how natural the transition between light and dark appears. This perspective helps you assess whether the shadows are too harsh or too soft, if they accurrectly convey depth and form. As we deepen the textures of the shadows, it's essential to make the hatching more delicate. The closer we get to the darker areas, the strokes should become finer and more controlled. This rattle layering allows the shadows to build naturally without appearing too harsh or abrupt. Now, let's apply the same shading and texturing process to the tomato. Focus on the areas of light and dark, using a delicate approach to capture the fruit's roundness and texture. As with the watermelon, remember that the white chalk we will use later on will be crucial in adding the final highlights and shine. So do not worry if you cannot see the brightness yet yet. Our goal now is to build a solid foundation with our shadows and textures, leaving room for the chalk to enhance the final brilliance. Pay special attention to the shadows cast by the tomato and the plate onto the velvet covered table. The shadows will have instinct characteristics due to the textures of the fabric. The tomato shadows will be slightly softer and more diffused, blending gently into the rich texture of the velvet. In contrast, the plate's shadow may be more defined and darker, creating a sharper outline against the fabric. Observe how the velvets textures interacts with the shadow, creating subtle variations in darkness and softness. Capturing these nuances will add depth and realism to the scene. Pay attention to the reference image. Notice how the velvet fabric is slightly lifted in front of the tomato. This saddle elevation affects how the shadow is cast on the table, creating a gentle and niven transition between the shadow and the fabric. Let's apply the same shading and texturing techniques we used for the tomato to the small pitches. Focus on capturing the saddle variations in light and dark, considering each ***** brown shape and fuzzy texture. The shadows should be self ignosed reflecting the gentle curves and surface of the fruit. Pay attention to how light interacts with the pitches, creating both height lights and deeper shadows. Remember, the further a pitches from the light source, the slightly darker issued let's move on to the wine glass. Let's begin by focusing on the area where the wine glass touches the velvet fabric on the table. This point of contact will create a subtle shadow on the fabric. So use a gentle shading to tip a smooth, soft transition where the glass meets the table. Observe how the glass might press slightly into the fabric, potentially causing faint impression or distortion in the velvet. Accurately capturing these details will enhance the realism of how the glass interacts with the fabric, adding a depth to your drawing. Remember that the glass of wine creates strong shadows and abrupt transitions between light and dark. Focus on capturing these dramatic shifts, especially where the light reflects off the glass and where shadows are cast both on the glass itself and on the velvet fabric below. The interplay of light on the glass surface can create sharp contrast and intense highlight. So use precise varied shading techniques to reflect these dynamic changes. The top of the wine glass is an excellent example of how to handle light and shadow on glass. Through the transparent material, you can observe the colors of the background, subtly blending with the reflections. At the same time, pay attention to the dramatic light and shadow transitions that are characteristic of glass. The rim and surface of the glass can show intense ight lights and sharp shadows. So carefully adjust your shading to capture these countries and the way the background colors filters through the glass. Mm. Now it's time to add another layer of graphite to the background to enhance the prominence of the wine glass. By deepening in the background shadows, you will create a stronger contrast that will make the glass stand out even more. Ensure that the new layer of graphite is smoothly blended to avoid harsh lines, allowing the glass to appear more distinct against the darker backdrop. This final adjustment will help emphasize the delicate details of the glass and bring more focus to your drawing. As I finish up, the background, take a moment to appreciate how well the reflections on the handle of the glass are coming together. And that wraps up our lesson for now. Take a moment to admire how the drawing is coming together. It's looking great so far. See you in the next lesson. 13. Flower & Leaves Details Indoor Still Life: Hello, people. I hope you are doing well. Before we dive into the details of the floral arrangement, I will first apply another layer of graphite to the background. This will enhance the background's depth and contrast. Making the flowers and branches stand out even more. Remember that as you continue with your own draws, feel free to check in and see how the background deepen and affects the overall composition. But let's move on to the flowers details. For the moment, we will concentrate on the closed up details of the floral arrangement. With the general structure and shapes of each leaf already in place, our next step is to apply the appropriate shadows and textures. These elements are crucial for adding a sense of three dimensionality to both the leaves and the flowers. So by carefully shading and texturing, we will enhance the realism of the arrangement, making each detail stand out with depth and form. Pay close attention as I use the color of the paper to represent the color of the leaves. Instead of shading the more illuminated leaves, I will focus on those that are overlap by the leaps in the foreground. This technique will help me create different layers of leaves, adding depth and dimension to the overall branch. By concentrating on the overlapping areas, we can achieve a more dynamic and realistic arrangement. The value of the line is crucial in our drawing. A dark line can effectively separate a shaded leaf from the highlighted one, creating clear distinctions between different elements. Additionally, the background itself can help define the age of a highlighted leaf without the need of separate line. By using the background's value and shading, we can naturally outline the illuminated leaves and enhance the overall depth and realism of the arrangement. Embrace patience and delicacy as you immerse yourself in this stage of the drawing. Let the music be your guide, gently carrying your thoughts away, allowing your mind to wander through the shapes and shadows with ease. Each stroke becomes a dance as you lose yourself in the serene rhythm of creation. Try to feel the harmony between your hand and the paper and let the tranquil flow of your focus bring forth the subtle beauty hidden between each leaf and bloom. Practicing the delicate process of observing each leaf is crucial for creating a compelling visual effect. And it's a skill that will benefit you across all areas of visual art. The challenge for artists often lies in the details. I mean being the atom to these subtleties requires immense attention in practice. Focusing on such details in your drawings is a powerful way to develop this sensitivity, hunting your ability to capture the intricate announces that bring your art to life. M Pay attention to this. It's important to remember that the area closest to the stem of each leaf tends to be darker. This small yet significant detail adds volume and depth to the leaf, enhancing a three dimensionality. By carefully observing and shading this darker region, you can create a subtle but impactful sense of form, giving each leaf a more realistic and lifelike appearance. Try to recognize that you are not drawing the flowers exactly as you see them. Instead, your drawing is a result of understanding the arrangement of the leaves. So what you are creating is actually a close interpretation of the visual complexity, as these small irregular leaves can be quite confusing. Embrace the nature of their complexity and focus on capturing their essence rather than striving for perfect accuracy. This approach allows you to convey the true character of the arrangement while navigating its intricate forms. Observe how as I progress, I need to reinforce the background to bring the branch into sharper relief. By deepening in the background, the foreground elements like the branch will stand out more prominently, enhancing their three dimensional appearance. This contrast not only highlights the details in the branch but also creates a more dynamic and realistic depth in the overall composition. We must be mindful of the whitest points in the composition. For example, in the floral arrangement, there are some white leaves near the plate, which should be the lightest areas in your drawing. Take these highlights into account when working on the gradient in the darker leaves. By accurately representing these bright spots in their contrast with the darker regions, you will create a more cohesive and visual compelling piece. Now, I will focus on completing the fabric on the right side of the composition to ensure the wine glass stands out prominently. It's crucial to pay attention to the folds increases in the fabric, as these details will enhance the depth and texture of the background. By carefully shading these folds, we can create a clearer separation between the background and the glass, allowing the glass of wine to merge vividly in the foreground. Um Often, we might overlook the background, but it's just as crucial as the main elements in a composition. I mean, the background provides context and depth, shaping how we perceive the foreground elements. I mean, a well executed background not only supports the main subject, but also enhances their presence and impact. So by giving due attention to the background, we ensure a balanced and harmonious composition that brings the entire scene to life. Look how well our drawing is coming along so far. The progress we have made is impressive. Let's appreciate the work we have done up to this point. I look forward to seeing you in the next lesson. 14. Shine & Reflection Indoor Still Life: Hello, people. In this lesson, we will concentrate on the metallic shine of the plate, pushing our work closer to the final look. It's crucial that as we enhance the plate, we also refine the elements around it, including the wine glass. Paying attention to these details will bring out the full depth and realism of the composition, setting the stage for a polished and cohesive final piece. I'm going to start with a complex part of the reflection representing the projection of objects onto the plate. Both the flowers and the watermelon, particularly watermelon are reflected on the plate. And it's essential to capture these reflections accurately. This is challenging because it involves the pectin colors projected onto the metal using graphite. This is the reason why the white shak will be so crucial later on. A set will help to enhance the highlights and bring these reflections to life. L As I work on refining the toe mato, pay close attention to how the shadow of the watermelon appears on the plate. Observe the interplay between the shadow and how they interact within the metallic surface. The way the watermelon's reflection distorts and blends with the plate's surface is crucial for adding depth and realism. This careful observation will help in creating a more accurate and compelling reflection. That texture of the tomato is crucial because it's the second element we notice after looking at the plate. If the tomato is not well executed in terms of volume and form, the plate itself will not appear as attractive. So achieving accurate texture and detail in the tomato enhances its presence, which in turn elevates the overall visual appeal of the entire composition. I will render a tomato adds depth and complements the plate, making the whole seem more cohesive and engaging. You might now notice the reflection of the tomato on the plate, as well. This subtle detail adds another layer of realism to our composition. Try to pay attention to how the tomato shape and texture are mirrored on the metal surface, contributing to the overall depth and complexity of the scene. Capturing this reflection accurately will enhance the integration of the elements and bring the drawing closer to its final polished look. Pay attention to how the plate looks now. It's the improvement of all the surrounding elements that helps enhance the plate's appearance. As I refine the stronger shadows on the plate, notice how the adjustment contribute at its overall realism. The careful detailing of the surrounding objects also elevates the plate's presence, creating a more cohesive and visually appealing composition. Considering that there are some green leaves standing out on the blade, we will now focus on enhancing their color and texture. By refining these leaps, we will differentiate their tone from the rest of the floral elements. This will not only make the green leaves more distinct, but also create a more dynamic contrast against the blade, adding depth and clarity to the overall composition. Notice that due to the nature of the main leaf, one half is more exposed to the light while the other half is more shaded. Additionally, you can see those kind of veins that transport chlorophyll throughout the leaf. It's important to capture all those details. Accurately depicting the light and shadow on the leaf, as well as the intricated veins patterns will enhance the realism and depth of your drawing, making the leaf appear more lifelike and integrated into the composition. Just as we paid attention to the reflections on the plate, it's now time to focus on the glass. So we will turn our attention to adding all the luminous details of the glass. Carefully observe and depict the highlights, reflections, and transparency that make the glass appear realistic. These details will enhance the glass' brilliance and bring it into sharper focus, contributing to the overall refinement of the composition. Let's return to the plate to continue improving its darker areas. Focusing on these shadow regions will deepen the overall contrast and enhance the plate's metallic quality. Pay attention over here to the subtle variations in darkness and refine these areas to add more depth and dimension. The circular shadow along the edge of the plate is crucial. This shadow adds depth and helps define the plate's shape, making it appear more three dimensional. Now that we had made progress with the main elements, we can focus on enhancing the appearance of all the fabrics on the table and in the background. Pay attention to the textures, faults, increases in each fabric. Refining these details will add richness and realism to the scene, ensuring that the fabrics complement the main elements effectively. As I continue to add graphite to the background, pay close attention to the illuminated edge of the wine inside the glass. This detail is crucial for representing the contact between the wind and the glass, as well as its reflection. Capturing this illuminated edge accurately will enhance the realism of the glass in the liquid it contains, creating a more convincing and dynamic effect. Our drawing now includes nearly all the graphite details, and it's looking fantastic. However, there is still one final touch left, adding the white pastel and the final details. This will enhance the highlights and bring out the finishing touches that will elevate the drawing to its final form. But we will cover that in the next lesson. 15. Pastel Chalk & Final Finish Indoor Still Life: Hello, people. We have reached the final lesson for this drawing, where we will focus on using white pastel to enhance the highlights and reflections. We will apply it step by step across the entire drawing ensuring that every light and reflective detail is brought to life. Remember, as we apply the pastel, we may also need to add more qufied in certain areas to refine the overall effect. This final touch will elevate the drawing and bring it to its complete form. Let's begin by applying the white pastel to the plate, focusing on the most illuminated areas to enhance the reflections. With all the elements on the composition, the plate will require the most white pastel to achieve the desired effect. So carefully apply the pastel to highlight the brightest spots and refine the reflections, which will help to bring out metallic quality of the plate and make it down out in the composition. Notice how this process suggests that I need to darken the shadow on the plate cast by the flowers above. Such adjustment often arise as we advance in a drawing, especially in the final stages. It's common to refine shadows and highlights to ensure that all the elements harmonize perfectly. This ongoing refinement helps to achieve a more realistic and cohesive final result. Observe the saddled nuances on the plate, where the reflection of the flowers and watermelon dance across its surface. Although these reflections may not capture the exact shape of the original elements, their presence is unmistakable through their color and intensity. The plate becomes a canvas for this mirror to use, where the flowers and watermelon leave their referent imprints. As we apply the white paston, we will enhance these reflections, bringing out the delicate interplay of light and shadow. So use graphite to refine and define these areas, ensuring that the reflections are visible and not a layer of depth. As we use the white pastel pencil, you will notice that it blends with the graphite because the pastel pencil is harder. This interaction is quite interesting as it creates various shades of gray, adding depth and texture to our drawing. In contrast, if we were using a soft pastel bar, the white would tend to overpower the graphite, covering it much more completely. So this blending of hard pastel with graphite allows for a more nuanced range of tones and a more refined effect. Observe how I'm using the pastel to represent the lightest areas of the watermelon, given that its color is very light and its surface is well illuminated, the pastel is perfect for highlighting these bright spots. By carefully applying the pastel to these areas, we enhance the light reflections and bring out the subtle textures. The secret of this lesson with a white pastel lies not just in its application, but in the opportunity it provides for the contemplation and overall refinement of our drawing. So as we progress, the process shifts from active drawing to careful observation and adjustment. The more we advance, the more we focus on refining details and enhancing the overall composition, spending less time on drawing and more on ensuring every element contributes to the complete and harmonious final piece. As you apply the pastel to the plate, it's crucial to follow the circular form of the reflections, aligning your struck with the shape of the plate. This technique is necessary to accurately represent the material. I mean the metal material and its reflective properties. By adding to the plates curvature, you will enhance the realism of the reflections. As we advance in this stage, we will also apply the white pastel to the leaves but with a different approach. Like the plate where the pastel is used extensively, the little leaves in the reference image don't reach such high level of illumination. Therefore, we will use the white pastel sparing gly on the leaves, focusing on isolated points of light. The primary color for the leaves will remain the paper itself with the pastel highlighting only the most luminous spots to subtly enhance their appearance. Observe how I am applying the white pastel bar to cover more areas on the plate. Using the bar allows for a broader application of the pastel, effectively covering larger sections and enhancing the intensity of the reflections. This method is particularly useful for achieving a more pronounced inconsistent brightness on the plate. Look at how fantastic the wine glass looks with the application of white pastel. The reflections now appear simply magnificent, capturing the delicate interplay of light and glass. I mean, the pastel brings out the brilliance and clarity of the glass, enhancing its transparency and making the reflective details truly stand out. As we apply the pastel to the main elements, we must also address the background to ensure it complements the overall composition. Applying the white pastel to the background will help create an enveloping effect, blending seamlessly with the rest of the drawing. Now, let's focus on refining the branch and leaps further by enhancing the darker areas. Pay special attention to the edges and the corners where the darkness adds dimensionality to the branch. Strengthening these shadows will give a greater sense of depth and structure. Additionally, we will apply more wet bastel to highlight the lighter parts, creating a contras that will make the branch and leaps appear more different and three dimensional. Pay attention to how interesting the background cross hatching appears. Since it's not fully blended, it displays a unique texture and character to the overall drawing. This technique creates striking contrast between sketchy and preliminary fiel in a more detailed finished piece, blending elements of both styles into a compelling visual effect. Let's add the final touches to our plate, which already looks magnificent. By carefully refining the details and enhancing the highlights, we will elevate the realism and brilliance of the plate. This last adjustment will perfect the reflections and shadows, ensuring that the plate stands out beautifully as a focal point in our composition. Now we're going to use a special tool, the Pierre Renoir to chiep a particularly dark tone in the wine. This intense black pencil will help us reach the depth and richness required for the wine's darkest areas. We must apply the Pierre reni with great care and attention, as this tool produces an exceptionally deep black. The reason the Pierre Noir is so dark is due to eat high concentration of graphite and the density of the material itself, which allows it to create intense and rich tones. This depth of black is essential for capturing the profound shadows and subtle nuances in our drawing. And here we are at the culmination of our journey. Look at how beautifully the composition has come to life, each element harmonizing with the others, forming a complete and captivating scene. The watermelon, with its carefully shaded interior and texture rend, it stands out with intercratd tails that capture its form without ding color. The tomatoes and pitches are shaped with depth and precision. The volumes clear through the interplay of light and shadow. The plate now refined with delicate highlights of white pastel, gleams with metallic elegance, reflecting the surrounds elements, the flowers, the watermelon, the tomato, just enough to give a sense of their presence without needing vivid hues. This is more than a drawing. It's a tatement to the beauty of observation and the quiet power of black and white. I see you in the next drawing. 16. Theoretical Approach Gustave Courbet Outdoor Still Lifemp4: Before we begin our exercise, it's essential to discuss an important reference that can enhance our practice. Gustave Corvette and his painting still life with apples. This work is not only a brilliant example of jalism but also captures the essence of everyday objects in an authentic and captivating manner. In still life with apples, Corbett organizes the fruits in a balanced way, making the apples the focal point of the piece. This aspect is crucial for us to consider as we plan our own drawing. The visual hierarchy established by Corbett allows each element to complement one another and contribute to the overall composition. The apples with their detailed textures and luminosity, immediately capture the viewers attention, while other elements such as the surface and the background are more subtle in comparison. Attention to detail he employs in representing the fruit highlights their freshness and texture. Notice how each apple exhibits variations in color and tone that reflects light and natural contributing to the illusion of freedom mention of it. This is an aspect we can apply in our drawing, capturing how light interacts with the surfaces of the fruit to bring them to life. Kurbt's skills in emphasizing the details of the apples invites us to observe carefully and replicate the same observation in our work. Another vital aspect of Corbett's paintings is the relationship between the objects and their surroundings. In his piece, the background elements, such as the trees and sub landscape adapt in context to the Zena. However, it's essential to note that this background is rendered with less detail than the main objects. This compositional choice directs attention towards the apples. Well, the background becomes a supportive context that frames and enhances the importance of the fruits. Just like Corvette, we should consider this strategy in our exercise, ensuring that the background serves as a context that doesn't compete with the central elements of our still life. The way Corbett handles tones is also crucial. He uses natural light to highlight the various textures of the apples. As we progress in our drawing, it will be essential to pay attention to how light falls on each fruit. In still life with apples, the tones and variations in light help to bring the objects to life, an approach we should apply in our representation. Now that we have established the significance of the Corbett's work, let's move on to our exercise. We will create Ale still live outdoors that includes three fruits, a pineapple in the center, bunch of bananas to the right, and a large tomato to the left. All of these will rest on the grass with trees and branches visible in the background, creating a second plane that will enrich our composition. In this exercise, let's remember to apply the principles we have discussed regarding Corbett's work, focus and relationship between the fruits and their surroundings, the effect of natural light on each object in capturing textures. So this exercise will not only allow us to practice observation. But also foster our creativity as we interpret the zine. It's also vital that the background is depicted more diffusely with less detail to emphasize the importance of the fruits. With this preparation in mind, let's start our exercise and apply everything we have learned to create our own outdoor still life. 17. Construction Angle Technique Outdoor Still Life: Let's begin this outdoor still life. I'm starting with quick intuitive measurements. First, focusing on the height of the pineapple as the largest element. Now, as I continue drawing, I imagine the angles and proportions, moving to the tomato next to it and the hand of bananas on the right. This composition brings a deeper complexity with nature as a backdrop, blending the lush green grass and distant three branches into the scene. The balance of the fruits, each with their own unique shapes and textures, creates a vivid dynamic that we will refine as we go. Pay attention to how and building the fruits based only on the height of the pineapple, which I haven't even fully drawn yet. The idea behind this exercise is to encourage the use of the imagination to visualize the angles in our minds, even before we actually draw them. We have already drawn this to match in the previous exercise, so we have a good idea of how to approach it. Now, it's time to sketch the approximate shape of that bunch of bananas. Don't worry if we make mistakes. We will keep adjusting and refining as we go along. To discover the exact shape of the bananas, start by observing the relationship between the tomato and the pineapple. Imagine lines extending from both fruits to create a visual guide, helping you estimate the space the bananas occupy. You can also try visualizing how the curve of each banana flows in relation to the roundness of the tomato and the angles of the pineapple. Be patient, this is a process that requires observation and refinement, and it's completely normal to make adjustments as you go. Each stroke brings you closer to understanding the shape. A Now that I have the general structure of the bananas and the tomato, I'm going to focus on discovering the body of the pineapple by measuring the overall height of the composition. The pineapple is the largest element, so it will serve as a key anchor point. By visualizing its height in relation to the other fruits, I can begin shaping its form and ensuring that everything stays in proportion. This step is crucial for establishing the balance in the composition. Now we need to construct the general structure of the top part of the pine apple. The spike lips that cron it. We don't need to worry about getting every detail right at this stage. The goal is to establish the overall shape and flow. Imagine how the leaps find out from the center. Given the pineapple, it's iconic silhouette. Now I'm going to sketch the horizon line of the landscape behind the main elements. This will help me create additional points of reference, allowing for more precision as we move forward. The horizon acts as a grounding element, giving a sense of space and depth to the composition. It helps us visualize the relationship between the fruits and the background, guiding our placement of objects more accurately as we continue building the scene. The three branches in the background are also essential to our composition. We don't need to draw them with precise detail right now. What is more important is understanding where they belong within the scene and the space they occupy on the paper. Think about them as soft gestures that frame the fruits, adding balance and depth to the overall composition without overpowering the main elements. Let's begin constructing the bananas, starting with the one closest to the tomato. The one that is slightly totint. This first banana will serve as our guide, helping us anchor the rest of the bunch. Pay close attention to the way its curve forms. It's not a perfect arc, but rather an organic flung line that bends in subtle ways. Right from this point, we can slowly build out the rest of the bananas one by one, allowing each one to connect naturally to the first. Notice how their position slightly overlap, creating a cascade of shapes that flow together in harmony. As you work on each banana, observe how they taper at both ends and how the gentle curves follow a similar but slightly varied pattern. I think that the key is patience. Take your time to observe the direction and spacing between each one. Some will curve more dramatically. Others might appear more straight, but all of them should feel connected as part of a cessive bunch. Try to remember that with every new banana added, you will start to see the overall shape emerge, and soon the entire hand of bananas will form naturally as part of the composition. There's absolutely no problem with making mistakes in the yields stages of a drawing. This is actually where mistakes are most welcome. In fact, this phase is all about exploration and correction. There's no moral or technical rule that dictates how many times you are allowed to make an error. Each mistake is simply another opportunity to refine your understanding of the form, to adjust your angles, and to find the proportions that fill right. I'm going to apply the light hatching around the main elements to isolate them and observe their shapes more clearly. This technique helps create a subtle separation, allowing each form to stand out against the background. At this point, it's important to proceed slowly and with intention observing how the lines enhance the shapes. Take your time. This gradual pace will give us better control and a deeper connection with the forms as they evolve on the paper. To Now I'm going to map out the textures of the pineapple skin, a general sketch of the characteristic diamond shaped pattern on its surface. This initial layout doesn't need to be perfect, but is essential to capture the rhythm and flow of these shapes. On the reference image, notice how the diamonds create a sense of depth and movement wrapping around the fruit surface. As we proceed, we will refine the details. But for now, focus on establishing a foundation for the intricate texture that defines the pineapple exterior. Perhaps the most important aspect of this stage is to represent the same number of diamond shapes on the pineapples skin, as you see in your reference. Well, it's not strictly necessary. I do recommend it for this exercise. By doing so, you will practice observation and precision, which will enhance your ability to capture complex textures and patterns. But remember, this is still part of the initial sketching phase. After removing some of the construction lines, we will move on to add on light general shadows and reinforcing a few lines to indicate darker areas. These darker areas could be due to shadows or the natural color of the object itself. The goal here is to begin giving form and dimension to the fruits and surrounding elements. By applying gentle shading, they start to establish the play of light and shadow, which will make the objects feel more grounded and realistic. Now I'm going to darken the entire background, focusing on the grass, the area behind it to isolate the main elements, the fruits, and begin to see them as the true center of our composition. This step is crucial as it allows the fruit to stand out more clearly, bringing our attention to the central focus. As I deepen the shadows in the background, notice how the fruits start to merge with more contrast, giving us a clearer perspective of their forms and their importance in the overall composition. And there you are. Our general sketch of the composition is ready. The main elements are constructed and their relationship with the surrounding landscape is established. We have set the foundation for detail and dynamic drawing. And from here, we can build on this solid base to refine and enhance our artwork later on until the next lesson. 18. First details Outdoor Still Life: Hello, people. In this lesson, we will delve into the first set of details for all the elements in our drawing, placing a special emphasis on the fruits. Our focus will be on gently shading the fruits to bring out their dimensionality and texture. Achieve this, we will use a light cross hatching technique to softly build up the shadows, allowing the fruits to gradually emerge from the paper. This approach will help in defining the subtle variations in light and shadow, creating a sense of depth and realism. As we progress, we will pay close attention to how these shadows interact with the surfaces they rest on, ensuring that each fruit is rendered with care and precision. The initial shadows serve as a foundational guide for developing deeper details later on. These preliminary shadows lay the groundwork for understanding how light interacts with each element, allowing us to build upon them with more intricate details as we progress. By establishing these early shadows, we set a clear path for refining textures and enhancing the overall realism of our drawing in subsequent stages. Now, as we closely examine the reference image, we will begin crafting the crown of the pineapple. Approach this step slowly, paying meticulous attention to each leaf. Despite their variety, the lips are well defined, and it's crucial to approximate the original shape as closely as possible. This careful observation will allow us to capture the very structure of each leaf, contributing to the overall authenticity and detail of the pineapples crown. There is an important detail to highlight in this exercise, and it's a nouns that is not often addressed in drawing exercises. In this image, the light source comes from right to left. But it does so very subtly. While the direction of light is indeed present, it's gentle and soft in its projection over the forms. As you can see the crown of the pineapple, you will notice that the area near the base of the crown is darker due to the lack of light, while the right side of the crown is more illuminated. This phenomenon occurs consistently across each leaf or blade of the crown. It's essential to represent the subtle interplay of light and shadow to capture the delicate nonces of light and its effect on the pine apple's crown. Remember to be patient and avoid using over led strong lines. If you prefer to use darker pencils up for the darkest ones, but avoid pressing too hard on the paper, it's better to create Smtches than to leave indentations on the paper, especially with high quality paper like this. Gentle, careful application will help maintain the paper's texture and ensure a more refined result. Pay attention to how I'm starting with the leaves at the base and gradually building up the crown as the leaves overlap each other. This layering is crucial as each leaf influences the next one above it. Additionally, I'm using each leaf as a reference to draw the next, ensuring consistency and accuracy in the overall structure of the crown. This methodical approach allows us to capture the natural progression in depth on the pineapples foliage. Notice the saddle downward curve at the tips of the leaves. This is a characteristic feature of the pineapples crown. It's essential to capture this detail as it adds to the realistic texture and depth to the folige. By paying attention to these small but significant features, you will bring more authenticity to your drawing. The larger upper leaves are often the easiest to draw because they are more prominent and simpler in shape. Once you have established the base, which includes the more intricate and overlapping lower leaves, you will find that constructing the larger, more straightforward leaves becomes significantly easier. This approach will help you build the crowns structure more effectively. If you want to experiment and try different shapes, I recommend doing so with the upper leaves. These are the more superficial and larger in shape, making improvisation more accessible and less challenging. I Once we have established the general details of the crown, we will move on to creating the spine of each diamond on the pine apple's skin. It's not necessary to add too many details. Focus on placing each spine carefully within its diamond shape. This step requires precision to ensure that each spine is accurretly positioned, enhancing the texture of the pineapple. Now, let's refine the edges of each diamond shape on the pineapple. Pay close attention to match the contours with the amount of light and shadow present in each section. This step will enhance the texture and bring more depth to the pineapple surface, making each diamond appear more defined and realistic. Notice the thickness and irregularity of the edges and how the diamonds on the left now appear slightly darker compared to those on the right. This subtle variation in darkness helps in creating a more natural and three dimensional effect, enhancing the overall realism of the pineapples texture. Now, I'm going to sketch some blades of grass, especially those in contact with the tomato and the bananas. This step is crucial for the composition as it helps to integrate the fruits into their setting and adds depth to the overall scene. Now, using a light cross hatching technique, I will shade the left side on the entire pineapple to align with the lighting of the space. This will help in creating a more coercive look and enhance the three dimensionality of the pineapple. Now I will add some details to the bananas, focusing especially on the areas where the bananas join together. This will help in defining their shape in creating a more realistic depiction. Now, I will gradually add layers of graphite to shade the tomato. Ian to find the perfect value to build its volume. I will apply the same technique to the body of the pineapple, working slowly to achieve the well defined and realistic look for both fruits. Now, let's apply a strong cross hatching technique to darken the entire grass area, ensuring that the shading is consistent and firm. This step is crucial as it will help create a stark contrast between the lush green grass and the fruits, emphasizing their prominence in the composition. As we work on this shading, pay special attention to the ages of the fruits. By enhancing the countries around these edges, we will make the fruits stand out more vividly against the background. This contrast is essential for drawing the viewers eyes towards the focal points of the composition, creating a sense of depth and separation. The consistent and dark cross action will also contribute a more cohesive and polished overall look. Tying together the elements of the drawing and ensuring that each part of the scene is well integrated. For example, notice how the bananas improve when I enhance the edge that separates them from the background. By intensifying the contrast along the edge, the bananas gain more definition and clarity in the composition. Try using a dark tone pencil for this. Pay attention to how well the fruits are starting to stand out in space. Even though I haven't started on the blades of grass yet, you can already feel that the fruits are immersed in the middle of a garden. I'm going to add some shading to the upper part to indicate where the three branches in the background are located. This will help to integrate the elements and enhance the depth of the scene. As we progress, let us immerse ourselves in the intricate dense of shading. I'm going to employ a refined cross hatching technique to build a robust and texture foundation. This method, though seemingly simple, allows us to create a profound depth and richness in the graphite. So by layering the strokes, we can bring forth a vivid tapestry that captures the sense of the lush grass and the saddled presence of the distant trees. So I think this cross hatch space not only enhances the contrast between the fruits and their environment, but also paves the way for more intricated hills in the upcoming stages. A delicate interplay of light and shadow becomes a symphony on paper, elevating our composition from the mare sketch to a vibrant depiction of the nature's beauty. Um, And there you are. The initial detail of this out or still life has begun to take shape. Our composition is starting to reveal its true form, but there is still much work ahead. You are just at the beginning of this creative journey. I see you in the next lesson. 19. Grass Details Outdoor Still Life: Hello, people. In this lesson, we will focus on creating the grass around the fruits. Remember that the fruits are the main subject of this still life. I will be adding more graphite to the grass in the background as I explain what we are going to do. Guided by the reference image, we will create an interpretation of what we see using two approaches for the blades of grass. The first method involves drawing the blades directly with graphite. While the second method is about removing graphite to create another kind of blade. This will allow us to create two distinct effects, darker blades where the shadows dominate, and lighter ones where the light touches. First, I'm going to start by tracing the darker blades of grass. This is not an exact copy of the reference image. What I'm doing is simply an interpretation based on what I observe. It's important to understand that the blades overlap intersect, and they come in various inclinations and sizes, all while reflecting different degrees of light. By keeping this in mind, we will give our drawing a sense of natural randomness, capturing the complexity of the grass and how it interacts with light and shadows. A smart way to create the more illuminated blades of grass is by first outlining them with graphite over the hatching and then gently removing the graphite from the interior with the eraser pencil. This technique allows us to preserve the sidle highlights without overworking the paper. By using this method, we create a soft contrast that mirrors the delicate blade of light on the grass. Pay attention to how I'm removing the graphite, not only creating blades of grass, but also random scattered leaps. This approach brings a sense of natural randomness and texture to the scene. This process of creating illuminated blades can also work in reverse. In this case, you can use the razor pencil just like a regular pencil. First, draw the blade of grass with the razor and then use the graphite pencil to refine the contour of each one. The result is a delicate balance of light and shadow where each blade emerges from the background with a soft, almost glowing appearance. Building elements like grass, tree leaves, or the texture of a cove stone on a wall demands a lot of patience. Often people like the patience required to truly capture the intricate details that make these elements come to life on paper. I think that there is a common misconception that these textures will take too long to create. Leading many to rush through the process, producing results that don't reflect the intended realism. But the truth is that it usually takes less time than anticipated. But the key is persistence. I mean drawing a single blade of grass, one leaf at a time, or carving out each stone in the wall through careful strokes is a continuous process. It's through this steady accumulation of small, thoughtfully crafted details that the true depth and complexity of these textures emerge. So try to embrace the slow deliberate rhythm of building one element after another. When creating these blades of grass, it's equally important to respect perspective, while each blade may have its own unique size and shape. In general, their sizes should be consistent with the space they occupy in the composition. So the blades that are farther away should appear smaller to maintain the sense of depth. Remember, that is a subtle yet crucial aspect that helps your throwing feel grounded in reality. Pay attention to how beautifully the grass begins to take shape here. The effect of having some of the blades of grass crossing over and partially covering the fruits is simply wonderful. It creates a sense of harmony between the natural environment and the objects in the foreground, blending them seamlessly. This overlap in detail gives the composition more depth, making the fruits feel like they are truly immersed in the scene. Mm. When you are working on the blades of grass that are closest to the fruits, it's important to take this opportunity to clean up the contour of the fruit. Try to use hatching to fill in those small spaces, darkening the tiny corners in areas where the fruit touches the ground, or where the blades connect with the earth. This not only sharpens the boundaries between the fruit and the grass, but also enhances the depth of the composition. In the right side of the composition, we can supply enhance the effect of light hitting the grass more prominently, as the light comes from right to left. This effect should be gentle announced ached primarily by adding more illuminated blades of grass. By using the razor pencil to create these lighter blades, we can effortlessly suggest the presence of light without overpowering the scene. On this side, the grass appears to have more intricate details up close, giving us the opportunity to capture the richness. So try to carefully observe the subtle variations in textures and density here. Some blades might bend towards the light, catching its glow, while others remain in shadow, creating a delicate interplay. Combination of lighter and darker blades is essential to invoke the complexity and differency of the natural setting. Remember, these small differences contribute to a more grounded lifelike atmosphere. Notice how I'm creating the blades of grass that are closer to the background. They are simply consecutive strokes as these blades are meant to appear very small in the distance. By using these minimal fine lines, we achieve a sense of depth and distance. This technique helps to maintain illusion of a vast, expensive lon ensuring that the foreground elements, like the fruits, remain the focal point of the composition. As a bonus, I will enhance the shading of the pineapple crown by deepening the shadows in areas that receive less light, both on the crown and the body of the pineapple. So by darkening these less illuminated parts, we will create a richer contrast and a more pronounced sense of depth. His subtle refinement not only adds dimension, but also highlights the texture and intricate details of the pineapple. Look at how beautifully the fruits are starting to come together now. The bananas are amazing. They have gained a significant three dimensionality thanks to the effect of the grass. I think the pineapple also looks great. Everything is progressing well up to this point, but we will continue to advance in the next lesson. 20. Background Details Outdoor Still Life : Hello, people. In this lesson, we will focus on constructing the elements of the background, especially the distant trees. While I continue refining the shadows and details of the pineapple, I will explain the process in more detail. We'll be putting into practice techniques similar to what we used in the tree exercise. This involves creating small leaves and branches to shape the trees in the background. Establishing a clear background is crucial for achieving a sense of three dimensionality in the drawing. This distant tree play a significant role in this process, helping to enhance the depth and context of our composition. If you observe distant trees in the reference image, you will notice that they appear out of focus. These effects mimics what the human eye does naturally, and both painting and drawing can capture this visual phenomenon. Impressionism is a prime example of how this effect is represented in painted. But in the context of this drawing and this particular lesson, our goal is to depict the most important branches with a pattern of leaf construction that allows us to fill the space effectively. So try to feel free to embrace this approach. We are going to capture the sense of the background without overwhelming detail, creating a sense of depth and distance that enriches the overall composition. On the other hand, you may notice that due to the intricate texture of the pineapple, I'm dedicating a great deal of time to its details in each lesson. Another crucial aspect to highlight is the importance of progressing slowly with the pineapples details. As we advance through the other elements of the drawing, we gather better information and establish more reference points that are essential for capturing the pineapples complexity. What I mean is that working methodically allows us to refine our understanding of its texture and form, which in turn enhances the accuracy and depth of our depiction. By focusing on the surrounding atoms first, we build a more complete and curent backdrop, providing a clearer context for the pineapple. This incremental approach ensures that when we return to the pineapple, we have a more solid foundation and a better sense of how its intricated tails fit within the overall composition. Now, we'll move on directly to the background. Beginning with the areas where the tree branches are located, we will start by applying a layer of hatching to fill these zones with graphite. This initial layer is crucial as it establishes a foundation of tunnel values that will enhance our ability to work on finer details later. So by covering these areas with hatching, we create a consistent base that helps in visualizing the overall structure and depth of the background elements. Additionally, this approach provides us with opportunity to craft leaves and branches by both, adding details with graphite and removing graphite with eraser pencil. Now, let's gently outline the contours of the different clusters of leaves. This step requires a gentle dot to ensure that the boundaries between various groups of foliage are subtly defined. It's important to be subtle in this process to maintain the natural flow and texture of the leaves. Now, we are going to use hatching to shade areas we have outlined. This shading will help in developing a more cohesive and realistic backdrop. You are able to use as many layers of hatching you may need. Once we have added hatching, we can start introducing leaps with scattered, small branches. Our focus should be mainly on the leaps along the outer edges of the counter, as this will help create illusion that they belong to a larger tree. We have the freedom to draw as many leaves as we like, even extending branches and leaps across the entire shaded area. However, as I mentioned, it's not necessary to fill the entire space. Simply focusing on the edges is enough, as the dark shading represents a dense cluster of leaves. Mm. This section of the tree and branches located directly behind the pineapple is crucial because it helps separate the primary elements of the composition from the background. This distinction adds depth to the scene, emphasizing the main subjects while subtly pushing the background into the second layer. Since we are touching the pineapples crown, we can take this opportunity to add more details to the april leaves, especially those that come into contact with the background. This will help blend the crm subtle with environment while still maintaining its prominence in the composition. Let's repeat the process on this side of the background. We will start by adding a layer of shading using hatching, and once that foundation is set, we can begin incorporating details. Since this part of the background is in contact with the grass, we can also take the chance to add extra details to the grass if necessary. Try to be patient and don't get stuck in trying to tip perfection in the background. Remember that the background is in the second layer, and most of the attention and details should be focused on the fruits in the foreground. Pay attention to how the crown of the pineapple appears more three dimensional with the left side shaded more than the right. We have been building this effect gradually as we progress through the other areas of the drawing. This step by step approach allows us to extend the observation process, which is crucial to achieving a strong visual impact. We can add scatter the layers of shading in the background simply to create a texture that complements the composition. Even if these shadows don't represent anything specific, the human eye will associate them with possible elements in the landscape, like a distant hills or cluster of trees. And that's it. Our background is now complete. Pay close attention to all the small leaves on the tree. Even from a distance, they look fantastic. The saddle details we have added really contribute to the overall composition, but we will keep advancing in the next lesson. 21. Fine Details Outdoor Still Life : In this lesson, we are going to focus on the deeper detail of the drawing, especially the main elements, the fruits. As we had mentioned before, the pace of progress should slow down at this stage because the details are smaller, more delicate and require much more observation before each stroke. We will begin with a tomato. Giving it details also means paying attention to the grass surrounding it. Many blades of grass crossed in front of the tomato. So it's important to refine those details to create a realistic and high quality effect. Remember also that you can retouch all elements of the composition as you advance in a specific element. If you look closely at the center of De tomato, you will notice a cluster of irregular shadows. At first glance, drawing them might seem nonsensical, almost abstract, but it's crucial to follow them faithfully. Even though they may appear random, it's by carefully rendering these shapes that we begin to uncover the depth and texture that give the tomato its realistic form. Trust the process and let these special chaotic shadows guide you to the result we are riming for. While drawing, we must try to be patient. During the renaissance, creating a realistic painting often took months or even years to complete. Artists like Leonardo Da Vinci, Michelangelo and Raphael would work on every detail layer by layer, adjusting shadows, textures and colors with extreme precision. The process of building depth and realism required countless hours of observation, refining each element until it mirrored life itself. This dedication to the tail, patient, and mastery of their craft was essential to achieve the lifelike quality that still mesmerizes us today. As we work or drawing, we must embrace a similar mindset, allowing ourselves the time to observe and refine every stroke. Um, To better enhance the texture of Detomto, we need to focus on subtle variations in toming and shading. Start by observing the way the light interacts with the surface. Notice that the skin of Detomo has smooth transitions between the darker and lighter areas. We work gently with hatching, later in different levels of pressure to create these gradients. When working on the texture of the bananas, one of the most important aspects to consider is not just their naturally light tone, but also the presence of spots and markings on the peel. These imperfections add character to the fruit, but they can easily be mistaken for shadows if not handled carefully. The key here is creating a strong contrast between the natural shadows on the bananas curved surface and the distinct spots that are part of the bananas unique texture. So to achieve this, begin by then defining where the shadows naturally fall on the banana. Usually along the curves, where the fruit turns away from the light source. We will use a smooth subtle hatching to emphasize these areas, ensuring that they appear soft and blend naturally into the lighter parts of the peel. Once the shadows are established, we can focus on adding the spots. Pay close attention to this important detail. As I refine the areas where the bananas touch the tomato and interact with the blades of grass, all these elements create a deep dark shadow in that zone, which significantly enhances the overall depth of the composition. Notice how the first banana gains more volume and three dimensionality as emphasize the darker shadows right at the point where it meets the ground. This careful attention to the shadows and the way they interact with the surrounding subject is what really brings lives to the scene, making each element stand out more prominently in the composition. These dark spots are not only found where the banana meets the ground, but also where the tomato makes contact with it. The shadow beneath the tomato is just crucial in creating a sense of weight and realism. The contact areas between the fruit and the ground are just as important as the edges between the fruits and the background. These saddle variations, these saddle transitions, whether between the objects or their surroundings, create visual separation that gives depth to the composition. Um, there is an important detail to keep in mind with the bananas. They are not simple cylinders. Their shape appears more polygonal, meaning they have defined slightly flat surfaces where light projects differently on each side. This saddle structure gives the bananas a unique texture as each phase of the polygon reflects light at different angle, creating a variation in tone. When shading them, it's essential to capture these shapes in light and shadow, as this will enhance the realism and bring out the characteristic form of the bananas in your composition. Let's continue refining the texture of the pine apples diamond shapes. If you pay close attention to the diamonds, you will notice subtle shadows and textures within each one. There is a pattern we need to recognize and replicate to accurrectly depict them. Observe how each diamond has its unique shading with some areas darker and other lighters, reflecting the way light interacts with the pine apple surface. So try to identify and mimic these small variations. Let's now focus on enhancing the contrast in the pineapples crown. We need to reinforce the left edges of the leaves to effectively convey that the light is coming from the right side. This will help in emphasizing the three dimensionality of the leaves and making the light source more apparent in the drawing. Pay attention to how I'm working on this leaf by leaf, carefully adjusting the line value and paying close attention to each leaf, no matter how small, especially focusing on those at the bottom in contact with the body of the pineapple, as these details are crucial for enhancing the realistic depiction of the crown. Uh Uh Look how well the bananas are toning out now. The polygonal sites are much more noticeable. Each side has different tone, which adds depth and dimension to the fruit. This detail makes the bananas look more realistic and visual engaging, as the variant tones highlight the shape and texture of each segment. Observe how amusing the eraser pencil to brighten the more illuminated sides of the bananas, making the bananas appear more three dimensional and realistic. And there you are. Our fruits now boast much more texture and volume. We are moving on to the final stage, where we will add white pastel to elevate the drawing to the next level. See you in the next lesson. 22. White Pastel & Final Finish Outdoor Still Life : Now it's time to add the white pastel. We will use the white bustle to highlight the most illuminated areas of the composition. The background in particular, stands out due to each slide. We will start by applying the white bustle to this area, carefully observing the reference image to guide our application. It's important to highlight that the technique we are applying here also has an artistic purpose. Many people taking this course are looking for that. It's not just about creating a photographic replica of the reference image. Cameras can do that. What we are aiming for is to offer something more to provide a personal perspective on what we are seeing, even while creating a representation of a still life. This is about infusing the artwork with your unique vision and touch, elevating the piece beyond mere replication. Let's begin to add light to the fruits, starting with the crown of the pineapple. We need to identify the most prominent highlights and apply the white pastel properly. It's crucial to do this softly and without exaggeration to achieve a convincing volume. Notice how the light enhances even the diamonds on the pineapple, giving depth and dimension to each. This step will bring a refined luminosity to our drawing, accentuating the textures and contours we had worked on so carefully. Pay attention to this detail in the pineapples diamonds. The spines of each diamond are highlighted. This is an important detail to represent. It's important to mention that not only the spines are highlighted, but also there are areas within each diamond that are more illuminated than others. Now, let's start applying the white pastel to the most prominent blades of grass across the entire grass. We should consider the direction of the light as well as the thickness of each blade. This detail is magnificent. Once we have to adding it, you will notice a significant increase in the three dimensionality of the space. After all, the grass is the surface on which the composition rests, and highlighting it properly, we will enhance the depth and realism of the drone taking it to the next level. An important advice for applying the white pastel to the grass is to use it on different areas of the same blade. For example, you might apply it at the base of a blade or on a fold. This technique represents how light partially projects onto that specific blade depending on its position and angle. Notice how interesting the drawing begins to look with these details. An excellent example of an impressionistic painter who beautifully captured the texture and vibrancy of grass is Claude Monet. In his areas of paintings such grain stack and the cliff walk at the purview. Monette expertly rendered the play of light and shadow on the grass, creating a vivid and realistic portrayal while maintaining a signature loose brushwork and vivrnt color palette. Even though these are not black and white examples, observing how Monette uses color and brush strokes to depict grass can inspire how you apply your round shading and texturing techniques in black and white drawings. Um Uh Now, take a look at how incredible the white pastel looks on the bananas. I'm applying it to the polygonal sites where the light hits the most. This addition significantly enhances the three dimensionality of the bananas, making them appear more lifelike and vivierent. The white pastel accentuates the highlights and brings out the subtle contours of the bananas. I think that this detail not only enhances the three dimensionality of the fruit, but is also especially notable because the white pastel creates a subtle yet effective contrast against the yellow of the bananas. The yellow color closely matches that of the paper, further emphasizing the light and volume in the drawing. Among all the details in this drawing, the touch of white pastel on the bananas is my favorite. M Now, sir, how amusing the white pastel bar to brighten up this area, especially to create a contrast between the crown of the pineapple and the background. Since it's a drive soft pastel stick, its pigment adheres to the paper more easily, allowing me to achieve a more intense and precise illumination. And Um, Now I'm going to use the wonderful Pierre noi to reinforce the darkest areas on the entire drawing. This involves focusing on isolated and specific points, such as the contact area between the banana and the ground, the crown of the pineapple, and some select spots in the grad. The Pierni will adapt intensity to these dark regions, enhancing the overall contrast and bringing a more dramatic effect. And that's it. Our drawing is complete. It's almost like an impressionistic representation of reality, where it's not about replicating reality exactly, but creating an artistic viewpoint that throws us deeper into our imagination. See you next time. 23. Theoretical Approach Corridor Valparadis Castle: Hi, everybody. Before we embark on the exercise of depicting the interior halfway of the Val paradise castle, it's essential to draw inspiration from the works of Giovanni Paolo Panini. Panini, an 18th century Italian painter and etchers renowned for its detailed architectural scenes that often blend reality with fantasy. His works are a treasure trove of insights into capturing space and light, making them ideal references for our project. Panini's mastery of perspective is evident in his compositions, where he effectively creates depth and space. For instance, in his painting, the interior of St. Peters, the use of converging lines leads the viewers eyes towards the vanishing point, giving a sense of grandiosity and expansiveness. When approaching your drawing of the Valpards castle, focus on establishing a strong perspective. Try to identify your vanishing points and employ orthogonal lines to guide the viewer through the hallway. This technique will not only provide a sense of depth, but will also enhance the three dimensionality of your drawing. Panini's ability to capture the effects of light is particularly noteworthy. He often depicted rooms where light stream through arches or openings, illuminating specific areas while casting other into shadow. This interplay creates a dynamic atmosphere that draws the viewer in. As you sketch the hallway, think about where your light source is positioned, most of all, from those arches on the right. Use shading techniques such as hatching and cross hatching to model the form of the walls in architectural details. Mimicking the way light interact with the surfaces. The variety in line quality within panini's drawings is another aspect worth emulating. He skillfully used both fine, delicate lines for intricate details and bolder strokes or more pronounced elements. This variation helps convey textures and depth, for example, the smoothness of polished marble columns, contrast with the rough textures of stone walls. Your drawing, experiment with different pencil braids or techniques. Use a softer pencil for darker, thicker lines, and a harder pencil for finer details. This approach will add richness to your illustration and help distinguish various materials. Pay close attention to the architectural details that define Benin's work. He frequently included o made columns, elaborate moldings and decorative elements that enhance grandeur of spaces. In our representation of the Valparts castle, consider how you can incorporate similar features. Look for unique architectural motifs in the castle, such as decorative presses, arches, or even pons in the flooring. Including these details will enrich your drawing and provide a connection to the historical context of the castle. Panini was also skilled in arranging elements within the composition to guide the viewers eyes and create balance. Observe how he placed figures in architectural features to create a harmonious scene. In your drawing, think about the placement of doors, windows, or any decorative element. Ensure that these components work together to lead the viewer's gaze through the hallway, creating a flow that enhances the overall composition. In summary, as we prepare to illustrate the interior hallway of the albatz castle, we can take valuable lessons from Giovanni Paolo Panini's work. By understanding and practicing his techniques such as perspective, light and shadow, line quality, architectural detail, and composition, we can create a drawing that is not only visually engaging, but also rich in context. Remember, the goal is not to replicate Panini's style, but to learn from his approach and apply these principles to our unique representation of this beautiful castle. This practice will help you appreciate the intricate beauty of the Castilo de Val Paradis enabling you to convey its grandeur and historical significance through your drawing. So this exercise will be an opportunity to put into practice everything we have learned so far. Let's start then. 24. Construction Castle Corridor: In this drawing, as we approach the depiction of this castle corridor, we are working with a classic perspective example. Let's start by tracing these angles over here. They are not exactly a vanishing point, but a kind of sketch of the central axis of this corridor, which will guide the placement of architectural elements like columns, arches, and windows. Pay attention to the triangle formed when breaking down the corridor into a two dimensional shape. Since the two dimensional figure is a triangle, we can identify its angles, and our perception is highly sensitive to these angles. By extending angles from the end of the corridor towards the ceiling, we can determine the height of the ceiling along the entire corridor. Since we already have the location of that arch, all we need to do is draw the corresponding angles for the lines that vanish from the arch towards the rest of the corridor. These lines will guide us in constructing the depth and perspective of this corridor, creating a sense of realism as they converge towards the vanishing point. There is an important detail to note. You may observe a slight tilt in the bottom line of our drawing towards the left side. The reason for this is that from our point of view, we are positioned closer to the wall than to the side with the arches. This causes the perspective to behav in a distorted manner. Even though this might seem like a perfect example of completely regular perspective, it's not. The subtle distortion adds complexity and realism, reminding us that perspective is not always perfectly symmetrical. Notice that I have drawn a line down the center of the corridor along its length. This line helps me determine the position of the lights projected on the floor. These lights are crucial to the drawing, not only for their visual quality, but also because their shape will assist us in constructing many other elements in the composition. Notice now by constructing lines that form angles, I'm trying to uncover the shape of the first area of projected light. Now, I'm building the first part of the wall. Look carefully at how I trace the angle formed at the junction to determine the height of the wall's base. Everything depends on these angles. They help us not only define the structure, but also guide us in maintaining accurate proportions in perspective throughout the drawing. There is an important point to understand here. From the perspective we are viewing the corridor, the windows appear taller and more elongated than they actually are. This is the result of the perspective, which distorts their true proportions. It's crucial to recognize this effect so that when drawing them, we can accurately capture how they appear from our point of view, even though the real dimensions might differ. It's important to learn how to guide ourselves, especially by observing and relating the windows to all the elements around it. The base of the wall, the arch above, the ceiling, all of these should serve as a reference points to uncover the windows through shape. On that side of the corridor, there are five arches that form five windows or sources of light. Due to the perspective, only two of those windows take up more space on that side of the wall than the other three. This is a fundamental observation. Almost two thirds of the halfway is occupied by the first two windows from the perspective we are viewing them. So understanding this relationship is crucial to accurately portraying depth and structure of the corridor and the drawing. Try to observe the process in each stroke more than once. The construction stage is the backbone of our drawing. I mean, it's during this phase that we lay down the essential framework, setting the stage for everything else that follows. When we feel confident about a part, we have a ready room. We can start adding details. For instance here, I'm working on the inner part of the windows. The reason for this is that I believe the windows turned out better than even the initial lines representing the lights on the floor. This allows me to go back and adjust those lines on the floor so that they align perfectly with the windows, as they now serve as a solid point of reference. Now I'm going to work on constructing the columns that support the arches. It's important to understand that these columns are cylindrical. To draw them, we first create a sort of vertical parallel pipet that contains the cylinder within it. This step will help us better determine the precise position and proportions of the column. These are Corinthian columns, typical of the medieval era, especially from a 14th century castle. The design of these columns is inspired by ancient Greece, which is evident in the capitals of the columns. Now that we have the arches and windows constructed, we can proceed to complete everything next to it. I mean that part of the drawing, such as the background in the other corridor of the castle. What I mean is that we have enough information from the columns to accurately create the background. For example, we have the exact position where the background corridor touches the column, which is a valuable information. This precise alignment helps ensure the background elements are accurately placed in relation to the columns and arches. Remember, in general, drawings and sketches don't need to be completely precise. Nowadays, there is a kind of ecocentric tendency in realistic drawing to imitate photographs exactly. This approach doesn't always make sense. I'm based in Barcelona. I live actually between Barcelona and Paris, and in neither place, do galleries value such works. High quality art consumers are more interested in the essence and creativity behind the way something is portrayed rather than a fateful reproduction of a photograph. This doesn't mean we shouldn't capture reality as it is. But the process of copying a photograph exactly is more scientific than artistic. We can also use lines to indicate the amount of light and shadow present in the space. For example, in the inner parts of the arches, we might darken these lines to suggest that shading should be applied there later on. This will help guide the shading process and ensure that the light and shadow are represented accurately throughout the drawing. Now, we need to proceed with creating light projection on the floor. We should follow the shape of the shadows as if they were objects themselves. Of course, we must adhere to the lines of the windows, which will indicate where each shadow originates from. If you pay attention to the floor in the light projection, it's easier to count the number of windows and observe how they change in size along the corridor due to the perspective. You can see the all five windows. Notice that due to the angle we are viewing, the light projection corresponding to the last window appears partially. We can fill all the space outside light projection with graphite using hatching. This will help us guide the shading of the drawing and achieve a more cohesive look. Now it's time to render the ceiling. We will construct it using the beams that supports the roof as our reference. To create these beams, we need to observe where they originate, particularly near the windows. This key point will help us draw the complete line that supports the ceiling. Notice that there is a pattern to follow when continuing the sequence of beams. One beam starts just above the window while another is positioned between the windows. We need to follow this pattern all the way to the end of the corridor. Now, to complete the corridor structure, we need to build this corner over here in the main column also. Just as we created an inclined line from the base to construct the base where the windows rest, we now have the initial point to create this corner over here. In reality, this entire process is simpler than it seems. We don't draw with our hands. We draw with our eyes. All drawing challenges are related to how we perceive things. Our minds can help but view objects in three dimensions. So we need to understand that we are capturing a three dimensional space within a two dimensional language like paper. And that's it. We now have the design of this beautiful corridor from the castle of Val Paradis. Try to practice this entire construction process, and I'll see you in the next lesson. 25. First Details Castle Corridor: In this lesson, we will begin adding the first details to the corridor. Let's start by positioning this fall door on the left wall, while I explain. This lesson will focus mainly on constructing the ceiling and adding some texture details to the wall with the windows and arches. Let's begin with the ceiling. If you look at the reference image, the ceiling has several layers of detail. The first layer consists of the main horizontal beams, and we need to render them exactly as they appear because they are the most distinctive feature of the ceiling. However, above these beams, there is a long set of wooden planks that make up the structure of the ceiling. Although there is a specific number of planks between each beam, it's not necessary to follow the exact number. As long as there are enough planks to convey the essence of the ceiling, that will be enough to portray it. The most important thing is to recognize the pattern to follow and, of course, to draw the main elements well, which in this case, are the larger beams. The first thing you're going to do is create a parallel line. Next to each line we have ready drawn for the beams. Simply by doing this, we immediately give the beams a sense of thickness and depth. We are going to repeat this process for each beam until we reach the last one. Keep in mind that as the beams recede into the distance, their thickness should gradually decrease. Actually, you can guide yourself by the distance between the beams and the arches of the windows. This space must remain proportional across all the windows. Pay attention to the detail that as the beams recede, the wooden slats on the ceiling gradually disappear from the view. And this is due to the angle of vision. This kind of details may seem obvious, but it's crucial to be truly aware of them, to draw accurretly. The shading on the beams is crucial. We will address them from this stage due to their importance. Notice that the underside of the beams is more illuminated. So we can apply hatching along the sides to create the visible effect seen in the reference image. This will help accentuate the contrast between light and shadow, thereby giving depth to the ceiling structure and making the beams stand out. Pay attention to the fact that I'm adding graphite to the edge of the beams. So we must try to complete also this corner over here, and we are going to move on to the arch. You can notice that the arch themselves are made up of stones. So we must try to draw them, paying attention to those lines that represent the joint points between each stone. Once we have finished those arches, we can go back to the beams. While we draw, it's important to progress everything simultaneously. We can focus on one part at a time, but if we can advance other areas, it's crucial to do so. This helps us improve the entire drawing progressively. So by working this way, we observe the areas we are currently working on imposed to see how everything is coming together. So what I mean is that balancing multiple sections allows us to refine details and sync, helping the overall composition evolve more naturally and cohesively. But Now, let's move on to the upper planks of the ceiling. I will start by drawing the one closest to the right wall, as this will serve as a guide to continue adding the others. As I mentioned before, it's not crucial to count exactly how many planks there should be, as long as the drawing looks realistic and convincing, that is more than enough. In reality, the number of planks could vary. I mean, from an architectural perspective, there could be more or fewer planks. But matter here is following the progressive sequence, ensuring the perspective remains accurate and maintaining a consistent distance between each plank. Pay attention here. I'm going to save a distance to draw the next one. All these wooden planks can indeed vary. I mean, even though on the wall, it might appear as one long continuous plank stretching across. They are actually composed of many smaller sections joined together. You can notice this because if you look closely at the reference image, the position of one plank doesn't align perfectly with the next section. This slide variation is crucial to capture as it adds authenticity to the texture and construction of the ceiling. On the other hand, it also reflects the nature of older architectural designs where materials were pieced together rather than being one solid element. I highly recommend you take your time with the ceiling. It requires a bit of patience, but I assure you that it will be one of the most captivating elements in the entire drawing. Focus on each section as you go and let the process be as important as the final result. This kind of detail, although time consuming, is what brings a drawing to life. Now, as I work on adding some details to this column in the corner, take a moment to step back and observe the progress on the ceiling. As I've mentioned, it's crucial to develop multiple sections of the drawing simultaneously. This approach allows you to step back and assess the overall composition with clarity, with peace of mind, giving you a better perspective on how all the elements fit together. So from a distance, it's clear that the wooden planks need to be darker to stand out more. So let's go ahead and I'm going to darken them. I'm going to make sure to apply consistent shading across the surface. Now I'm going to shade the lines of the corridor to better highlight the depth and dimension of the wall as city recedes into the distance. So by strengthening these lines, we can guide the viewer's eye down the corridor and enhance the perspective effect. Now let's shift our focus to this wall. We will begin by drawing the large stone blocks that compose it. It's actually easier than it seems because these blocks are massive stones. But take note, they aren't small cobbled stones, but rather substantial irregularly shaped blocks. This gives us the chance to experiment with different sizes and shapes, allowing us to create a visually compelling effect. To achieve this, focus on capturing the variation in the stones. Some may be long and rectangular, while others could be shorter and more square. This irregularity is what will give the world its authentic historical feel. And as we move from one glock to the next, keep in mind the slight texture variation and small imperfections that come with age. And pay close attention to what I'm doing. I'm not doing what I see in the reference image. I'm doing a kind of interpretation about what I see in the reference image. This is an important distinction in the art of drawing, capturing the essence of a structure rather than becoming overly concerned with perfect accuracy. As you progress to the bottom of the corridor, the task becomes easier because you will have more freedom to experiment. You won't need to follow the reference image as closely. Now let's move to the other wall, and I'm going to take the first step in constructing the stonework that we will fully address in the next lesson. I mean the cobbled stone. What we are going to do is create bands in perspective from the far end of the corridor to the section closest to us. These bands don't need to be perfect uniform, meaning they shouldn't maintain the exact same thickness between each one. And why? Because the stone walls are composed of many irregularly shaped stones. While they follow the rules of perspective, don't adhere to a perfectly consistent pattern. So our goal here is to establish a foundational structure that hints at the irregularity of the stonework. So the stones will still respect the overall depth and direction of the perspective. But the saddle variations will add to the authenticity and character of the wall. Now I'm going to do this quick detail. I'm going to focus on representing the texture of the wall at the far end of the corridor. I'm going to add another details over here in this fall store. And there you are. We have made significant progress in this important lesson. You can always go back and review the content, especially the section of the ceiling, as it requires patience and careful attention to detail. Take your time with it and don't rush the process. I see you in the next lesson. 26. The Wall Castle Corridor : Hello, people. In this lesson, we will focus on creating the stonework on the wall. Much like we did with the blocks on the other wall, this time we'll be doing an interpretation of that wall, understanding that while stones are irregular in shape, they still follow a perspective, as you can see in the reference image. So this will take some time because each individual stone must be drawn. But the guidelines we created in the previous lesson will help us place the stones correctly on the wall. So you can notice it, how the stones differ in size and form, and yet still adhere to the overall structure of the perspective. If you're observing the reference image closely, you can even notice some elongated stones. Regardless of the stone's shape, we are going to focus on outlining their contours. The texture of the stone is not important at this stage. Our priority is the outline in the way the stones are arranged on the wall. Each stone has its own unique form, and by focusing on just the contour, we ensure that the overall structure of the wall remains intact. M You may notice that I'm generally drawing the stones larger than those in the reference image. There are two main reasons for this. First, to finish the process more quickly. And second, because the effect it will create on the perspective will be better. The larger the stones in the foreground and the smaller they become towards the background, the more pronounced the sense of depth in the corridor will be Stonework has a rich history dating back to ancient civilizations, where it was revered not only for its durability, but also for its symbolic strength. Think about the pyramids of Egypt, the temples of Greece or the fortresses of medieval Europe, each built stone by stone, with each block holding centuries of stories within its cracks. In medieval times, stone became the material of choice for Castle of St. Cathedrals, not just for its resilence against time and invaders, but because its solidity conveyed power and permanence. There's something poetic about stonework. It's a process of piecing together fragments of nature, shaping them to arches, baths, almost as if time in nature itself. While the work was labors, the result was always worth the effort, standing as a testament to the creativity and endurance of the builders. So as you draw each stone, imagine yourself as one of these ancient craftsmen, shaping a timeless legacy stone by stone. Stonework has always played an important role in the construction of fortresses and castles, providing strength, resilence and a timeless aesthetic. The castle of Val Paradise, which we are bringing to life through our drawing today, stands as a beautiful example of this art. Located in Terraza, Catalunya. This medieval fortress dates back to the 12th century. Though its origins stretch farther into the mist history. Initially built as a grand manor house, it became a castle in the 14th century when it was fortified to withstand the tumultuous political climate of the time. Bulpur these stone walls have seen centuries of change, transitioning from noble residence to Agarthusian monastery. Each stone holds a source of knights, monks, and rulers who passed through its holes. So my take on is that by drawing its arches and stones, you are not just rendering a building. You are channeling centuries of Catalonian history, filled with moments of triumph, faith, and transformation. Pay close attention to this part right here. You can really see how I follow the lines, crafting irregular stones. This is the beauty of drawing stonework. Its realism doesn't fade through imperfection. In fact, the irregularities bring the beast to life. Each stone feels unique as if it holds its own story. You can notice something characteristic of this type of stone wall. If you observe closely, the stones near the ceiling are smoter and more elongated compared to those at the bottom. There are two main reasons for this. Firstly, many of these smo stones are supporting the ones above them. And secondly, it's simply more difficult to carry large stones up to higher levels. The labor was often grilling and this kind of stonework was practically done by hand. The fatigue of the workers is subtly reflected in the construction itself. As they naturally uptet for smaller stones as they reach higher parts of the wall, it's a detail that adds an unspoken human element to the art of masonry. Now that the stones on our wall are in place, let's focus on shading the floor with the appropriate tone. We will use cross hatching to consistently fill the floor with graphite, ensuring that the shadow integrates seamlessly with the rest of the composition. This technique will help create a genuine impression of light. Even though the shading covers the entire floor, we must respect the detail that the shadow closest to the right wall, where the windows are located is darker than the rest of the shadow. This is due to the fact that the wall blocks much more light in that area of the floor. So accurately reflecting this variation in shading will help enhance the realism of our drawing and obviously convey the true plate of light and shadow within the space. Now, let's refine some details and add more shading to the upper part of the wall we had been working on. This additional shading will help us get closer to the reference image. And importantly, allows us to better organize the shadows throughout the drawing. I'm going to shade also this background over here, and it will be the last detail of this lesson. And there you are. Or drawing is starting to come to life. We have added a lot of details and achieved a very good approximation of the general shading. Keep observing and practicing these techniques, and you will see even more progress in your work. See you in the next lesson. 27. Sharpening the shadows Castle Corridor: This lesson will be refining the shading of all the elements in the drawing and adding deeper details. We will start by enhancing the shading of the ceiling and texture and tones of the beams. It's essential that certain areas are consistent, meaning that the genuinely dark areas should receive enough graphite to truly reflect their darkness. Sometimes we might leave spaces uncovered revealing the color of the paper. This can change the tone and texture of the surface we are creating, altering its nature. So we must be careful to avoid this and ensure that every detail is accurately represented. In the same way, we will improve the shading and lines of the floor. For example, those lines in the distance, especially at the far end of the corridor, need to be more precise to truly convey the appropriate perspective. As we darken elements like the ceiling, we must be aware that the overall tone of the drawing changes. This means we will likely need to darken other areas of the drawing to match the darker tone of the ceiling in our reference image. This ensures a harmonious and consistent visual language throughout the piece. For example, at the end of the corridor, the line becomes significantly important. By applying a gradient along this line, we can effectively create a crucial shadow for the background. Notice that the tone of the ceiling is similar to the tone at the lower edge of the right wall. This kind of consistency in shading helps unify the elements of a drawing. Although we won't be able to clean the detailed cobble stone on the floor yet, it's important to achieve the right range of grays and shadows at this stage. This step is crucial at this point because in the final lesson, we'll be adding the cobblestone details using white basil. Therefore, it's essential to ensure that the darker tones are correctly established now. Now let's move on to shading the right wall. If you look at the reference image, you will notice that each tone is darker because light is projected more directly onto the left wall. We should add shading using very light hatching to avoid overdoing it. Apply it subtly and progressively. Always step back to view the overall effect and make adjustments as needed. Additionally, we can refine and enhance the details of the wall, including the polygonal edges and corners which have specific shading tones. These details, for example, are important. Here you can see how to highlight the three dimensional structure of the wall. The wall has polygonal details that need to be emphasized. Now, let's add another detail. We need to create effect that the blocks on this wall have their own distinct tones. We can achieve this by varying the shading randomly. Even if it's not shown in the reference image, we will also darken the arches and the rocks that compose them to give more three dimensionality to the world. Now I'm going to blend all the graphite covering the floor to create a smoother tone. This will help achieve a more uniform and refined appearance, ensuring that the shading on the floor integrates seamlessly with the rest of the composition. Et's continue enhancing the ceiling. Notice that every time I adjust a shadow in one area, it provides us with information to further refine the ceiling. This next detail is crucial. I'm going to shade the columns to represent that the light source is coming from right side. Consequently, the columns need to be slightly darker on the left side. We can use line work as a tool to create this effect, subtly transitioning the shading to enhance the three dimensional appearance of the columns. Now, let's go back again to the ceiling and also the end of the corridor, refining both repeatedly until we achieve the desired tone. This is how we perfect the drawing by continuously improving all aspects simultaneously, especially in the advanced stages of the artwork. The ability to detect a wide range of grace when it comes to drawing is crucial to achieve a good result. That is something that my drawing teachers would always mention. As long as we detect a great deal of tones in a shade, we will be able to create a more sophisticated drawing. Notice that on the inner wall, there are also variant tones that transition from the area closest to the ceiling to the far end of the corridor. This makes the wall appear more realistic. Pay attention to how I meticulously tend to the contours of the beams, particularly where they meet the wall. Each line and space between the stones is crafted with care, aching to a delicate carass upon a shared surface. This attention to detail is not merely about precision. It's a dance of shadows and textures, a gentle embrace of form and light. By refining these contours and textures, we wave a narrative in depth and dimension into the drawing as if tracing the very essence of the structure. So this meticulous process transforms the drawing from a mere representation into a living breathing entity where each line and shadow contributes to a symphony of visual poetry. Now I'm going to give the last touches to the ceiling. As we prepare to move forward, take pride in the progress made in the skills honed. Let this lesson be a reminder of the power of patience and precision. Keep your vision expansive and your spirit resilent. The true beauty of your art lies not only in the finished piece, but in the journey of creation itself. I see you in the next lesson. 28. Final Details and Chalk Castle Corridor: In this final lesson, we will apply the white pastel to the drawing. The goal here is to capture the light in a way that allows the natural color of the paper to represent the color of the castle stones. This effect is truly beautiful, as it keeps artwork subtle brilliance that transforms the entire composition. We will begin by filling in the most illuminated areas of our reference image. In this case, the light projection on the corridor floor will be our focus. Watch as the white pastel delicately brings this part of the drawing to life, creating a striking contrast between light and shadow. Notice how I use the pastel stick to fill the interior of the illuminated area, spreading it evenly across the surface to enhance the brightness. Then I switch to the pastel pencil for the contours, ensuring that the edges are sharp and precise. This combination of techniques allows us to create a clear distinction between light and shadow. Remember that you should spread the pastel evenly across the surface, allowing the pigment to truly adhere to the paper. You can use your fingers to gently blend it in, making sure the texture is smooth and consistent. Look how beautifully the light projections are starting to take shape. Now, using the white pastel as well, let's feel the areas on the right wall where the light hits directly. We can also fill in the sky visible through the windows at the back with the white pastel, as these are brightly illuminated areas, this will enhance the sense of depth and open space, creating a strong contrast between the interior shadows and the soft glowing light from outside. Additionally, we can also use the white pastel pencil to add volume to certain elements. Notice how I'm adding white pastel to the edge of the left wall to make it stand out more. And the same is to the false door. Try to see the difference it makes. This subtle addition of light brings more depth and realism. And, of course, we must not forget the ceiling, which also has its own bright spots. We can play with the white pastel pencil to enhance those illuminated areas as well. Now we move on to the most important element of this lesson, creating the cobbled stone on the floor, using white pastel. First, we will attempt to draw crossed lines to represent the stones laid across the ground. Fortunately, these stones are irregular, but they tend to follow a rectangular pattern. So we should try to follow that structure. If you observe the reference image, you will notice that in some areas, the divisions between stones have a darker tone, while in others, they appear lighter. This is an effect of light in the material itself. Something we can attempt to capture using both white pastel and graphite simultaneously. When it comes to doing these kind of cobblestones, it's important to consider that, in some cases, the white of the lines comes from the material of the stone itself. While in other instances, it's the result of light interacting with the surface. Notice how I'm creating the rectangles by leaving the graphite we need exposed, allowing the effect of dividing lines between the stones to emerge naturally. The key is letting those dark lines between them speak to the division and irregularity that makes the stone work so fascinating. Mm. Additionally, we don't need to create the entire carb stones across the whole floor. Simply focusing on the section closest to us is enough. Since the background is too far away to notice the intricate details of the stones, it's not necessary to depict them there. This not only saves time but also adds to the realism as details naturally fade in distant areas of the composition. Personally, I find that rendering the floor in this manner is profoundly artistic, aching to an impressionist painting. Notice how even the white color captures the particles of stone from the walls scattered across the floor. This detail visible in the reference image enhances the realism of our drawing. But I should say that what is truly remarkable is how the light now permeates the scene, creating a vivid sense of strong illumination within the space. Pay close attention to something important. Observe how I'm adding texture to the stones in the cobal zone. But more importantly, notice the pace at which the details or changes are added. See how slow these adjustments are. It's essential to develop the skill of making subtle changes that are immediately visible and refining the lens between the stones, the texture of the stones themselves and their edges in such a delicate manner that you need to watch for several seconds to truly perceive the transformation. For example, notice here, even with the white pastel, I'm shaping the stones, including those ones in the illuminated area. The pastel not only brings light into the composition, but it also allows me to define the texture and shape of the stones within the bright sections. Now, I'm gonna apply white pastel to the rest of the areas around the window that need it. For example, here in the inner part of the arches and along the right edge of the columns, where the light directly touches. Now, let's work on the texture of the stone wall. What does that mean? We're going to add white basal to some of the stones, following two main principles. The first is that the light hits the wall much more in the lower half. So the rocks are more illuminated there. The second factor is that the stone have different surfaces. So their texture is random causing the light to reflect differently on each of them. The next detail will be a personal touch to create an enhanced sense of light streaming through the window. We're going to gently match the area from the window's edge to the edge of the light projection on the floor with a thin layer of white basal, as if a delicate thread connects the two elements. It must be toned subtly. To create that effect, we sometimes see in the air when dust particles make light beams visible in the scene. This will add a magical, almost ethereal atmosphere to the drawing as if the light itself is alive within the space. And there you are. We have completed our beautiful drawing of this enhanced corridor from the Bulbur at this castle. Observe how the dialogue between the pastel and graphite has rendered this astunning spot within the castle. The sensation of light is truly magnificent, touching every corner of the hallway and making us feel as though we could step right into it. I hope this journey through shadows, textures, and light has enrich your appreciation for the art of drawing until the next time. 29. Construction The Tree: Perfect. We are ready to start drawing this fascinating tree. First of all, we are going to identify a two dimensional geometric figure to help us break down the tree's more general structure. In this case, a triangle is ideal. The triangle is composed of angles that are easily detectable to the human eye, allowing us to relate the farthest points of the branches in the trunk. It's important to emphasize that this is not the only way to approach the drawing of a tree or anything else. What I mean is, it will not always be necessary to discompose the shape into geometric figures. Throughout the course, we will see other techniques and approaches, but this is an excellent way to start. As you can see, this is a scalene triangle with all its different sides. And I have also made a sort of cross that determines the height at which the most prominent branches are and also the midpoint of the paper. Now, let's focus on how this triangle and the intersecting lines of our cross serve as a guiding compass to determine the placement of the main trunk. Pay attention to how I begin to construct the trunk knowing its position relative to the center of the canvas. This foundational step is crucial. It's not about finding the perfect shape of the tree just yet, but rather placing it in the correct position. The guiding lines, the triangle and the cross serve as our compass, ensuring that our tree stands tall and proud in the right context. Now I'm going to move on to the right branch. By using the horizontal line of the cross as a reference, I can determine how much of the branch extends above and below this line. This helps me position the branch accurately, ensuring it complements the overall structure of the tree. But remember that this is not about achieving perfection at this stage. So let's repeat the same process with the left branch. As you can see in this kind of position, there is not a pronounced perspective in this tree. We are just starting out. However, we should still attempt to represent the elements with some perspective. Notice that as the branches extend towards the background, they become smaller. This is an important detail to observe and depict in this example. It serves as an excellent visual training, helping you develop a keen eye for scale and depth. Now, I'm currently drawing the extension of this same branch that leads into the background, becoming smaller as it recedes. This gradual change in size is essential for creating a sense of depth in your drawing. So try not to get stuck in details, try to follow the lines, and feel free to create your own version of this tree. What I mean is that you don't need to draw exactly what you see in the reference image, since the tree shape is a kind of irregular. But nevertheless, you must follow the pattern that exists in the reference image, related to the fact, the branches that go to the background are smaller, and the ones that are in the foreground are bigger. If you simply follow that, the tree will look good. Another important detail to tackle at this stage is the fact that some songs on the tree on the tree trunk are more shaded than others. So you are supposed to follow that pattern by creating darker lines. If you do that, you will start to represent the lights and shadows through the line. And that is a very important step in drawing the importance of the value of the line. Now that we have the structure of the trunk and branches, let's practice hatching. Using this technique, we will fill in the areas where the leaves of the tree are as if the graphite itself represents the leaves. Pay attention to the darker areas. This will receive more graphite while the lighter areas will require less. Feel free to experiment with different hatch patterns, whether cross hatching or single direction strokes. The key here is to effectively represent the contrast between the darkest and lightest sections. Let's embrace our creativity. As I mentioned, this drawing is about finding our way into the art of sketching and drawing. Precision is not our goal here. Rather, we want to loosen up and let our hands flow freely. Fill the spade with Wrapit following the dark and light areas without overthinking it. Allow your instincts to guide you and enjoy the process of bringing this tree to life with your unique style. A helpful tip for representing the darker areas of this tree foliage is to remember that the darkest sections tend to be farther back. This understanding will guide you in layering your graphite effectively. Keep this in mind as you work. The purpose of this exercise is to start training our two dimensional perspective. I mean, we are used to perceiving the world in three dimensions. So learning to understand the two dimensional distances between objects is essential. In this case, even though the tree's foliage appears close to the main trunk, those dark leaves in the background are actually several meters away. For example, notice how the branch on the right seems to sit right next to the trunk. While in reality, it's at least two or 3 meters farther back. This distinction will help you capture the depth and relationships between elements in your drawings. Now that we have the hatching over the foliage, let's move on to the trunk details. We will start with a characteristic detail at the bottom. It doesn't have to be perfect. Just an approximation will do. Next, we will work on the general shading of the trunk and branches. Using gentle hatching, we will begin to represent the shadows that give the trunk its three dimensionality. Typically, this involves darkening one side of the trunk to create the desired effect. This is the first approach to saddle details. That is the task here, finding and carefully placing those delicate shadow lines that give depth and shape to the tree. This initial shading is key to making the trunk and branches feel more natural and grounded. Now we're going to start doing exactly the same, but over here on this part of the tree, right here, try to feel that there is an opening in the bark of the tree. So it doesn't matter if you are not able to match exactly the same shape, but try to do the visual effect that there is an opening. Let's also try to reinforce the contours of the trunk with graphite. If you look closely at the reference image, there is a subtle dark line along the edges. This gives the trunk a more definition and strength. H Let's continue to rough out the necessary edges of some branches and add the shading to create volume. One of the most important things about this lesson and especially this drawing, is that it will help you to train hatching for further drawings. I mean, more complicated drawings. I mean, since you are not rendering a pronounced perspective on the distance, you are going to get familiar with shading using hatching. Pay attention, for example, to this spot over here. I'm using a cross hatching to dark this area. Pay attention to these lines over here. Those are lines that follow the curvature of the tree, the rounded volume of the tree. This is also hatching because in the distance, it will only be seen as the natural shadow of the trunk. You should pay attention to the rhythm in the drawing. It's like a dance. As we get to details, the rhythm will be slower. The details are not supposed to be fast. And Pay attention to how I am applying the hatching to fill this part with graphite, but in a lighter way because the leaves in this section are closer, more exposed to the sun, and therefore more illuminated. So the base tone should be lighter. Even when it's a thick hatching, it's less dark. Now, look at how I use the eraser pencil to remove the graphite and create these branches. I'm literally drawing with the eraser. This is a very useful tool when it comes to creating details over spaces filled with graphite. After using the razor pencil, it's important to highlight the edges with the graphite to preserve the structure we are creating. Remember that even though the graphite adheres quite well to the paper, it's possible that it may fall off at the edges, leaving them imprecise. So we must reinforce these details. Remember that this tree exercise is all about building confidence and control with your hand movement. As we move forward, you will notice how these skills become second nature and help bring life to every drawing. So keep practicing, stay patient, and enjoy the process. I see you in the next lesson. 30. First Details The Tree : In this lesson, we are diving into something quite simple, yet the result is truly beautiful. We are going to create the texture of the tree bark. It's actually very easy. You will be throwing tiny U shapes, almost like writing the letter U repeatedly. One right next to the other slightly overlapping. The key is that since you have already shaded the trunk and branches, you just have to press your pencil harder in the darker areas, making the U shapes darker, where the shadows falls. Always follow the direction of the tree when drawing the use. This technique is really effective because it mimics the natural patterns and rough texture seen on the real trees. And the most important thing about this technique is that this method is also flexible and forgiving, making it a great way to introduce texture without overcomplicating your drawing. Artists like Gustave Klemt and Caspar David Friedrich are known for their ability to portray trees with intricated details and powerful presence in their landscapes. Clemt in particular, often used repetitive patterns, similar to this technique to depict natural elements in this work. Student their approach can provide further inspiration for drawing trees with both texture and emotional depth. You need to have patience with this part, as you will be making many small shapes. Try to enjoy this music and atmosphere and follow the direction of the trunk and branches, exactly like I'm doing in the example. This process is meant to be meditative, allowing you to connect with the rhythm of your throwing. The key is to stay focused, but also let your hand move naturally flowing with the curves and lines of the tree. It's important to highlight that even though these are shapes, I make them irregular to create a more realistic sense of texture. On the other hand, I also add small lines in certain areas to create a more random and natural effect. For the moment, try to follow along with what I'm doing. These irregularities give the vark its unique character and prevent the texture from looking too mechanical. Remember that the key is to be intuitive, adding variation where needed to capture the natural complexity of the tree's surface. Look at this example, how the direction of the U shapes follows the contour of the branch. As the branch stands to the right, the use also move in that same direction. It's essential to maintain this directional consistency to accurately represent the natural form of the branch. Keep this in mind as you continue adding your use. It's important not to use a very dark graphite pencil for this technique, as it will be harder to create a lighter U shapes. A darker pencil could also damage the work we have done with the prior hatching. I think that using an HB pencil is highly recommended as it strikes a good balance between softness and control, allowing you to add texture without overwhelming your previous shading. D Now that we have made significant progress with the texture, we can take a chance to complete the shading of the funeral branches. Keeping in mind the tones we have established for the trunk and larger branches. We can darken these smaller branches accordingly. This will create a cohesive look and emphasize the depth of the tree and enhancing the overall three dimensional effect. As the branches narrow, we can blend the U shapes with hatching techniques. This combination will create a smoother transition in shading in a more refined ingradient for the tree's texture. Actually, this is the visual language we are applying on this rowing. When the branches are deep in the background, simply darken them completely. This helps to push them further back in the composition, emphasizing depth without worrying about textures in those areas. It's a great way to create a sense of distance. Remember, not every detail needs to be intricated. Sometimes simplicity is key to effective composition. All the dark areas we are filling with hatching could technically be smatch with your fingers to spread the graphite across the paper. However, the goal of this exercise is to train your hand in creating shadows through hatching, using lines to build depth and darkness. So it's all about developing control and understanding how to manipulate pressure and direction to bring life to the shadows without relying on smudching. So let those lines do the work. I am Here is another example of how branches that are farther in the background can be represented simply by darkening them. It's important to know that you don't need to worry too much about adding texture to these distant branches. Pay attention that what matters most is capturing their overall shape and ensuring they blend into the background convincingly. Here's another interesting example, pay attention. I'm adding hatching to a branch that I had already drawn. This creates a consistent cluster of graphite with texture. And for those details, I will have the option for either adding more graphite with my pencil or removing some with the eraser. So it's a perfect way to make it. At this stage, I would say the drawing already looks like a solid tree sketch. Notice how even without the detail leaves, the hatching gives the impression of foliage from the distance. This is because we have carefully developed the distribution of light and shadow in the tree canopy with our hatching technique. But we will continue crafting this drawing on the next lesson. 31. Intricate Details The Tree: Hello, people. In this lesson, we will focus on the finer details of foliage, concentrating on the edges of the areas we have created with hedging. Instead of drawing individual leaves, we'll be crafting a subtle texture that suggests their presence. Basing is key here. Just as we took time to develop the details of the trunk. This process will also require a careful approach. It's essential to relax and embrace the journey of creation. From my point of view, many drawing challenges stem from the impatience and the misconception that results should be immediate. So let's take our time and allow the artwork to unfold naturally. Ly Look at the edges. I'm adding almost imperceptible leaps along the edges. When viewed from a distance, these details come together to create a cohesive whole. It's a reminder that sometimes less is more. Small touches can convey a rich sense of folage without overwhelming the composition. I As we explore the ages, we can also add subtle details within the foliage. Just like we did with the borders, we will incorporate some gentle crossed lines to suggest overlapping branches and even a few laps peaking through. Remember, these details don't need to be overly intricate. A few irregularities in tongue can work wonders to suggest the presence of lips. This is all about capturing the essence of the foliage rather than getting lost on details. I You can create also the effect of ring and densities of leaps within the same branch. So by adding more graphite in certain areas, you can effectively suggest that some parts are fader and more leaf covered than others. D This is a perfect example about overlapping branches in the foliage. I mean, I'm doing criss crossed lines, allowing the color of the paper to peek through. And later on, I'm going to add white pastel on those gaps. Now, pay attention to how I'm using the eraser pencil to create the groups of slips that are illuminated by the sunlight. By removing some of the hatching, I'm allowing the color of the paper to act as a significant element in the drawing. The illuminated lips take on the paper's hue, giving them a natural glow. Notice how I erase in a circular motion, which helps create a softer transition and a more organic look to the foliage. Now let's turn our attention to enhancing the ages of the clusters of leaves in the inner foliage as well. It's essential to differentiate between the leaves that bask in sunlight and those that weld deeper within the shadow. I mean, in this case, you need to create precise borders because you can effectively convey this contrast, allowing the viewer to perceive the layers and dimensions of the foliage. Um, As we refine these elements, don't forget to embrace the organic flog of the foliage. I mean, nature is not perfect at all, chaotic, and capturing its quirks will add a delightful charm to your work. Let your pencil dance across the paper, responding to the rhythms of the leaves and branches and try to enjoy the process anyway. I mean, when you grasp its structure and logic, you cannot imaginative details that enhance the drawing. For example, if you are working on a cluster of leaps, those leaps must be convincingly connected to branches to give the composition a sense of volume and realism. Otherwise, it might come across as abstract. That is where proper use of light and shadow comes in. So notice how in this drawing the branches are convincingly linked, creating a cohesive and believable structure. Here, there is another spot with crossed branches. Another example to pay close attention to. Look at the lines and how random and spontaneous strokes are. These irregularities and imperfections are what keep the throw in its natural organic field. These random lines are the key to creating believable foliage. An important aspect of drawing branches properly is that they give movement and direction to the tree, branches bend in the direction of the wind. So the entire structure tells us how the wind interacts with the tree and how the tree moves in response. This is why understanding and depicting the branches accurately is crucial. It's not just about they are chevy, but about capturing the natural forces acting on them. So when done right, the tree becomes a more dynamic and a live element in your drawing. And there you are. The foliage is ready. Look at the visual effect it creates from a distance. Personally, I love this technique, but you cannot imagine how amazing it's gonna look once we apply the white pastel in the next lesson. 32. White Pastel & Final Details The Tree: Hello, people. We are here again. In this lesson, we're going to create effect of the leaves. You must pay close attention to how I draw the leaves, as this technique will be crucial for the upcoming drawing of the castle facade. So the skills you develop here will help you perfect the details will apply to that future drawing. Let's start by applying the white pastel pencil. We are going to clean all the edges of those branches because shortly after we are going to apply the pastel bar. You must try to apply it very carefully. Try not to stain the graphite. And then this is what you are supposed to do. You're going to fill in this entire space with a pastel bar. In fact, you can fill this background with the white pastel bar, and then you can refine those edges on the tree branches. Now, you are going to blend all the white pigment using a tissue. I highly recommend you these methods because otherwise, you would constantly need to buy different blending stamps, which wouldn't make much sense, you know? You can also use your fingers. Your fingers will allow you to press the pigment more firmly into the paper. Of course, you will need to clean your hands afterward to avoid smudging other areas of your throwing. Honestly, when it comes to graphite and basil techniques, I can say the best blending tool is your finger. As the riches of your fingerprints act like a teeny sponge. There are sponges made specifically for blending. But again, once they get stained, you are not able to use them on another color. With your fingers, you can always wash them and start fresh. Let's focus on this detail. I'm doing a kind of gaps among the branches, among the leaves to represent that the light picks among the branches. This is a quite saddle detail, but it's going to take your branches to the next level. Do you notice how the paper itself is now transformed in the drawing? The color of the paper almost becomes the color of the lips in the tree because we have added white to the background. This is one of the most incredible visual phenomena in both drawing and painting. The paper colour takes on a whole new meaning and becomes an essential part of the composition. It's fascinating how something so simple can evoke such a rich texture and depth, making the tree feel alive and real. Now, I will continue creating gaps within the tree foliage to enhance the effect of light passing through the branches. Something important to notice is that I'm not actually drawing individual leaps. The effect of the trees volage is created by the way I build the edges, which gives the appearance of lips without drawing them directly. This is crucial because although I will add a few isolated lips, it's the construction of these edges that visually suggest the presence of laps in the tree canopy. This technique is particularly important when drawing trees that are not the main focus on the composition or when you are working on a time constraint. So instead of meticulously detailing every leaf, we simplify or summarize the tres form through these visual cues. Now, let's add some highlights to the trunk. I mean, in the areas where the light hits the bark more directly, we can apply the white basil. This not only enhances the lighting effect, but also helps to bring out the texture of the bark. Adding these bright spots will create more contrast and depth. When applying these light details, especially on areas like the bark of the trunk, it's crucial to step back and view the drawing from a distance. This perspective allows you to better understand how the highlights interact with the overall composition. Sometimes when we view a drawing up close, we can lose sight of the overall message conveyed by the graphite and pasto. In the end, these are just lines and marks representing something within a visual language. Stepping back allows us to appreciate how these elements come together to create depth, texture, and light, transforming mirror strokes into a cohesive image that tells about something. And in the same way, observe how this cluster of leaps is formed entirely by the color of the paper. The idea here is that what filters through the leaps will be that darker background created by the areas where light doesn't reach. We will represent both the itches of the foliage with graphite in those shadowed areas, enhancing the overall depth and richness of the tree's appearance. And there you are. Our tree drawing is complete. I think it resembles a little bit a Japanese illustration, as it doesn't really on a strong perspective. Pay attention to how fascinating the texture of the bark looks and how the light interacts with the trunk and branches. It's a beautiful dialogue between graphite and the vapor. Actually, I think this drawing strikes a balance between a finished piece and a sketch. Try to pay attention again to the edges of the branches. Notice how the lines suggest leaps without being exact representation. You are going to save a lot of time by doing this. Well, so far so good, you are able to review again these lessons if you have any doubts, and I see you in the next lesson. 33. Theoretical Approach Facade Valparadis Castle: Hello, people. Before we begin the exercise of representing the Castillo de Valparadis Valparadis castle, the most beautiful castle in Barcelona, dating back to the 12th century, I want to take a moment to analyze some key references, particularly the drawings and sketches of Edward Hopper. Hopper is renowned for this mastery of space and light representation. And his approach to drawing offers us valuable lessons on capturing the essence of Aisin. Hopper's drawings are essential for understanding his creative process. In these sketches, we can see how he outlines his initial ideas, capturing the atmosphere and emotion before moving on to painting. The sketches often reveal his focus on composition and light, providing a glimpse into how he interprets the world around him. Hopper employs a variety of lines in his drawings that convey different sensations. The straight, firm lines he uses to outline the buildings and structures impart a sense of stability and order. In contrast, the soft curved lines he often uses to represent the vegetation and natural elements add a sense of fluidity and movement. It's important to notice how Hopper uses these lines to create contrast within the composition, balancing the rigidity of architecture with the organic nature of the environment. The direction of the strokes in Hopper drones is also fundamental. He often uses horizontal and vertical strokes to emphasize the structure of buildings, while diagonal strokes can suggest movement or transition. By observing these sketches, we see that the direction of strokes can dramatically affect the perception of space. For instance, when drawing a bridge of A Street, diagonal strokes can create a sense of depth and perspective, guiding the viewers eyes towards the focal point. Of the most effective techniques Hopper employs in his drawings is cross hatching. This method allows for creating varying intensities of shadows and textures. Hopper often use cross hatching to define darker areas, giving a sense of volume and three dimensionality. Notice how he layers lines in different directions to build up darkness in a corner or to highlight the shape of an object. By applying this technique in our representation of the Val paradise castle, we can enrich our work with nounced shadows and textures in both the stone and surrounding vegetation. As we prepare to start our exercise, let's remember that we can take Hopper as a reference to understand how to approach around work. This deliberate use of lines, stroke directions, and application of cross hatching are tools we can adapt to our names. The facade of the Valparadis castle includes elements of vegetation that frame and complement the structure. So the way we draw these trees and plants should reflect the organic nature and dynamism that Hooper achieves in his work. Additionally, perspective plays a crucial role in or composition. It's essential that we accurately capture the depth and relationship between the castle and its surroundings. Finally, by applying the texturing techniques we have learned so far, we can embrace our artwork with details that bring it to life and add realism. This exercise will not only serve as a technical practice, but also as an opportunity to combine all the elements we have studied so far. Let's immerse ourselves in creating a run interpretation of the Val paradise castle, learning from the techniques of Edward Hopper. Let's start then. 34. Construction Castle Facade: Contrary to what many people think, trying to break down the elements of a composition into few simple shapes is harder than it seems. At least you were an experienced draftsman, it won't be an easy job. What we are going to do now is make this composition grow out of these simple angles. For now, let's focus on that vertical line, right where the bridge grows. Try to pay attention what I do so you can repeat the process. Just from that vertical line, I'm trying to trace the bridge edge. You can do this inclined line intuitively, trying to lead the line slightly downwards. Now let's try to find an angle that grows from that lowest point of the first vertical line until we find the possible initial width of the bridge. Finding the right angle for this little element is easier than you think. Now we are going to grow a line parallel to the bridge, trying to make it separate from the other line as it extends across the paper. A sure clue to know if we are doing it right is to try to imagine an invisible horizontal line above these lines. The lines of the bridge should always be inclined downwards from that invisible horizontal line. Now notice how I'm drawing these angles to find the windows high, as well as the height of the tower. The innermost side of the tower is very important in this composition. Pay attention to how I trace this angle all the way to the top of the tower to find the full height of the castle. Don't worry if you don't exactly match the final shape. We just need a good approximation. Now we're going to repeat the same process in this part. We draw an angle to find the dimensions of the tower closest to us. Okay. Now that we have the location of the two towers, we can determine where the bridge ends, so we can draw the arch below. Even though part of the arch is covered by branches, try to draw it completely. We can make this second line on the arch as a detail and even on the edge of the bridge to find the width of the edges. The farther we go with the drawing, the easier the rest of the elements will be. We are now going to draw the castle door, which have to guide ourselves by lines that we have a ready draw. And We're going to move on to this window over here. We already have enough information to find where this window is positiond. As we already have the height that window, we can try to draw another window on the other side. Wow. Try to follow the bottom line of the castle to build the inner part of the bridge. You can already feel the perspective, so it's easier to follow the process now. Now we're going to outline all the vegetation around. We just need to roughly locate where the trees are positioned. As I mentioned before, don't worry too much if not all parts of the castle are perfect. We will correct them as we go along. Remember that in the initial stages of a drone, the line itself must contain the value of the shadow, so we can already indicate in some points dark parts in the line. Now, we can start using hatching in the drawing to indicate the general shadows of the castle. All this hatching is a guideline to develop shadows later on. Try to do it in a harmonious way. It doesn't have to be necessarily in the same direction always, but in a way that seems like a language. There is an important detail to take into account. You can see that the tower closest to us seems to match the roof of the castle at the top, but it's not, so the tower is higher, but it's hidden by the trees. For now there are only construction lines at the top. We're gonna continue giving more dark tones to the most important lines. Try to see the reference image from afar to notice the most important parts. It's important from time to time to detach ourselves from the work we are doing to contemplate it. Only then we will be able to know if we are going in the right direction. So far so good, we have the first stage of this drawing a guide sketch to develop this work. See you in the next lesson. 35. General Hatching & Shading Castle Facade: Hello again. Now, in this lesson, we are gonna apply hatching across the entire throwing, so pay attention. By watching the reference image from distance, we are going to do a map out of all the shadows set on the picture. You can do hatching in one single direction, but I prefer to use a kind of mix hatching using crossed lines and trying to follow surfaces nature. Remember that later on, not every single hatching on the drawing will be noticeable. I mean, you're going to blend and diffuse quite a few. Not to mention that we're going to do a kind of cobblestone details on the castle walls. So the hatching is going to be hidden because of it. But anyway, we must try to do hatching aesthetically and creatively. So pay close attention to my hands movement. This technique doesn't lie in the fingers, but rather that is an arm's movement projected on the hand. Here you can notice a perfect example of crossed hatching. I'm applying different hatching ledgers to add consistency to that zone. Even though we can do the crossed hatching, even mixing different lines in different directions, you better choose those directions based on the shape you are going to portray. For example, this vertical hatching here in perspective. But we are able to combine these lines. For example, these inclined lines. After all, lines both vertical and inclined will be noticeable. Another important clue would be that the darker or more consistent the shadow is, the more we could apply the cross hatching. As I always tell you, it's important to have a complete set of pencils to do this. Not only because you will wear out your pencil soon, but because if you try to fill a dark area with a pencil that is not dark enough, you will damage the paper even more. Remember that when it comes to graphite pencils, the graphite is always the same. It's the same color. The difference lies in the ability of that graphite to come off and stay on the paper. The harder the graphite, the less pigment will remain on paper. Therefore, the line we draw will be lighter. That doesn't mean that we cannot get a dark tone with that pencil. But to achieve this, we will have to press harder on the paper, leaving grooves in it. But this way, if you draw a very dark line with a light pencil, all the graphite will be embedded in the paper. So it's harder to remove. And if you are working with a sophisticated paper like this, you'll actually notice the damaged parts. Pay attention to the reference image for a moment. And notice that the bridge area is darker than the rest of the castle. I mean, the area leads to the door. I'm trying to represent that with hatching. And In those large dark areas, it's important to use a lot of graphite with a soft pencil. I mean, dark tones, so we can blend softly later on and above all, make details in that area just removing the graphite with eraser pencil as if we were drawing. Look how the whole castle starts to have better volume due to the shading. I'm going to give you an interesting approach to using hatching in your artwork. Think about hatching as a way to guide the viewer's eye. Instead of just shading, use it to create a sense of movement and rhythm across the composition. I mean, by varying the direction, density, and thickness of the lines, you can convey energy, tension, or even galans in different areas of your piece. It's almost like writing with your pencil, where each stroke adds a layer of storytelling to the drawing, making the subject feel alive and dynamic. Another creative way to apply the hatching is to think of it as texture rather than just shading. For example, when drawing something organic like a tree or an animal, experiment with curving your hatching lines to mimic the natural forms, plowing with the bark of a tree or following the contour of an animal's far. This not only adds depth but also a tactile quality to your drawing, inviting the viewers to fill the surface. The interplay of light and shadow through hatching can transform flat surfaces into a rigid texture, three dimensional forms. To improve your shading, always start by identifying the direction and intensity of your light source. This will guide where you place shadows and highlights, ensuring your drawing feels cohesive and realistic. Always focus on creating a full range of values from the darkest darks to the lightest lights to give your subject depth and dimension. Use softer strokes for smooth transitions between shadows and highlights and experiment with different pressures to control the intensity of your shading. Remember, shading is not just about feeling in areas. It's about sculpting form with light and shadow. Pay attention now that after adding the first graphite layer, I'm adapting the hatching to the shadows generated by the different branches of the tree. As you can see, the pencil I'm using is a pure graphite pencil. It's the darkest shade of graphite. One of the key advantages of using pure graphite pencils is their versatility. They allow for a wide range of tones from delicate light grays to deep rich blacks, all depending on the pressure applied. This makes them ideal for both fine details and bold, expressive shading. Pure graphite pencils also glide smoothly on vapor, which is great for creating soft textures or achieving a polished, finished look. Additionally, since they didn't have the wood casing of traditional pencils, pure graphite offers more surface area for drawing. Allowing for broad sweeping strokes as well as precise lines. I'm going to do some details right here on this window and on the top of the castle. You realize how beautiful everything is starting to look. You saw that the tower on the left is completely behind the tree. Another important detail is that hatching can also be used to create optical effects such as gradients and depth. By gradually increasing and decreasing the density of your lines, you can transition smoothly from dark to light without needing to blend. This can be specially effective when you are looking to create subtle shapes in tone or simulate atmospheric perspective, where objects fade into the distance. Hatching in this way can give your drawings a more dynamic and dimensional quality. I'm gonna apply the same strategy over here. I'm going to fill the entire space with graphite to later on remove it, throwing details. To drawing a castle like it is one can be particularly important for learning to draw because it offers a variety of architectural elements and textures to practice. Castles feature complex structure like towers, battlements, and walls, which help you develop skills in perspective, proportion, and detail. Additionally, the variety surfaces of a castle, such as the stone walls, turrets, and windows provide excellent opportunities to practice differentiating techniques and textures. We're going to discover these in each of the lessons. And there you are. We now have all the hatching across the entire drawing. Of course, our drawing will have much more detail, not only the hatching, but it's a very rich foundation on which to work until the next lesson. 36. Walls' Details Castle Facade: Let's start crafting all the stones for the wall. I warn you that it takes a lot of patience to achieve this, but it's not difficult. There are two basic principles. The first is that in this case, the stones are irregular. I mean, they don't all have to be the same size. So respecting the perspective and progression of the stones is not so strict. The other principle is lines. The lines that separate 1 stone from another. This line must follow the tone of the hat chain applied below. If we are making stones in a shaded area, the lines must be darker. In the illuminated areas, we can use lighter ones in general, but also dark ones. It's important to note that the tone of each stone is also irregular. Try to lightly draw the individual stones, varying their sizes and shapes to create a natural, irregular pattern. Once the stones are in place, begin shading to give the wall texture and depth. Try to use a combination of hatching and stippling to add shadows and highlight the contours of the stones. Pay attention to the light source and apply darker shading in areas where stones overlap or cast shadows. Okay. I will tell you something important. In order to nail this, it's important to resort to good references. Several painters have depicted castles and their work, providing valuable references for understanding the portrayal of Colville Stones walls in architectural details. For example, Caspar David Friedrich, His romantic landscapes often feature castles and ruins showcasing the interplay between light and shadow on stone structures. Friedrich's work can help you understand how to create mood and atmosphere with architectural elements. Another important painter is sef Mallo William Turner. He is known for his dramatic and atmospheric landscapes. Turner's depictions of castles often include details, textures, and dynamic lighting, and his paintings can offer insights into capturing the zense of stone walls and their interactions with natural light. Pay attention to the detail that in the arch of the door, there are also stones, and it's something that we had practiced in the other drawing of this course. Paper selection is very important when it comes to drawing. I generally never recommend using white paper. You can actually make amassing drawings on completely white paper. But if we are going to use white chalk, like in this case, it doesn't make sense because the idea is to use the tone of the paper to generate texture. And at the end of this drawing, you will notice how the color of the paper will be part of the textures of the stones, like in the other drawings in this course. Look how interesting the whole world is already starting to look. All the irregular details are a beautiful pattern that describe the castle wall. I would like to remark this. Incorporating detailed elements like cobblestones, walls into your drawings can significantly enhance patients in relaxation. The meticulous process of rendering each stone and perfecting the texture requires focus and attention to detail, which fosters a meditative state of mind. As you gradually build up the intricate patterns and shading, the repetitive and deliberate nature of this work serves as a calming ritual, allowing you to wind and escape from daily stresses. Engaging deeply with such detailed task helps cultivate patience and persistence as you learn to appreciate the gradual progress and satisfaction that comes from completing complex and rewarding elements in your artwork. Pay attention that there are some areas where I do not create old stones, but some randomly to represent that there is a lighter group of stones. Later, with the pastil chalk, we will improve that effect. Now to create better texture, I'm going to make some clear lines to suggest that some stones place at the same level despite being irregular in shape. Pay attention to this intersection of the tower. How this part is a perfect example of how the darkest areas must make the stones darker so that they better represent the shadow. I assume that if you have done all the exercises, I mean, all the drones so far, you are ready, well trained. We have practiced everything textures, perspective, and in reality, in this example of the castle, I wanted to give you something more relaxing and fun and didactic. Of course, applying everything we have learned so far. We already have all the central coupled stones ready, and also in the right tower of the castle. See the reference image and the drawing. I think it looks very good. Let's move on to the next tower, the left one. You're going to apply the same process. Sorry. Now, we are going to do the same thing on the bridge. Here, we are going to start with the stone railings. On the edge is not very complicated. We simply have to make the stones irregular. And as we get closer to the right side, that is to say the bag of the bridge that is closest to us, we must progressively increase the size of the stones. We must do it progressively even when the stones are irregular. So, here you can already notice how the stones have become larger and also those right on the edge are darker. Pay attention to how I adjust the dark strip at the edge of the railing. Those stones are significantly darker and should be portrayed that way. Now I'm going to make the stones in the darker areas of the bridge. Look how well they look along the bridge. Look here on the outside of the bridge, I have created some parallel lines that open up slightly in perspective to guide the progressive size of the ones, which must increase as I move to the right side. You can also see that I am adapting to the reference image. Right in that part, there is a kind of light in the stones. So the stones should be lighter there. Now, I'm going to add some final details to the soar to complete the entire cobblestone. In Voila, our castle is already starting to take a very attractive shape, and there is still a lot to do. For now sharpen the tip of your pencils because we will continue in the next lesson. 37. Trees & Branches Castle Facade: Perfect. In this lesson, you're going to address these elements of the nature, trees, branches. The main thing is try to rehearse over here what we did with the tree exercise. But not only that, but also with the outdoor still life exercise. Let's start by focusing on the edges of the trees. As you can see, is at the edges where we can really detect the nature of a tree. This is because the image is somewhat backlit, but also because the color of the trees is almost always dark green or dark brown. So that large accumulation of leaves and branches intermingles forming a large body whose shape is visible mostly at edges. In most drawings and sketches, the trees are not the main element. They are usually part of the environment that surrounds the main elements, the main subject. So there must be strategies that allow us to render that environment appropriately and quickly as well. So the methods I have applied to render the trees point in that direction. So as you can see on the screen, I'm trying to do a kind of interpretation to render those branches. I mean, I'm not able to detect every single leaf on the tree, but to some extent, I have to do them. So in order to make it, I have to use imagination. But what I can do with the reference image is detect the general design of the tree. I mean, I can detect where the main branches are. So by using this technique to create leaves, I can approximate the real shape of the tree. As we have already seen in the other lessons about branches, we must understand that each group of laps that hangs on the contours of the trees is held by a small thin trunk. Although in the reference image, this is not always visible. I highly recommend you to do so and then create the lips on it. In that way, you will have the appropriate visual effect. But pay attention to the fact that once the branches are drawn, all I have left to do is darken the rest of the space, but do not misunderstand me. I don't mean to say that we cannot portray the tree with much more detail. But this is a technique to do it quickly. It's a kind of sketching technique. It's important to understand that even if the whole area is dark, there must be lighter and darker parts to create volume, since there are branches that are closer to us than others. There are also branches that are more exposed to light than others. I'm trying always to remark the trees have an organic, irregular structure, use shorter and quicker strokes to outline the main branches and begin suggesting the foliage with small neitle marks. This will help the trees appear more natural and less rigid. Let's move on to the other side. Here we are supposed to repeat the process. But with the difference that this side is more backlit than the other, the light comes mostly from this side. As we did with the prior tree, start by sketching the basic shapes of the trees using light strokes with graphite pencil. Focus on the overall structure. That is very important, the trunk and the foliage. And always remember that even when the trunks are not clearly visible in the reference image, they are there and should be there. I think you can notice something important. If you pay attention to the reference image, you can notice that the appearance of this tree is affected by the constant wind. It's as if it had spent a lot of time being hit by the wind from the same side. From this point of view from left to right, that is a detail that we can render in this tree. That is why I'm using a kind of hatching that goes in that direction in a certain way. I'm going to start creating these branches and flowers below at the same time. Notice that there is a dark layer on which I'm creating these branches. And try to remember that when working on the foliage, do not aim for extreme precision. Use loose rapid motions with the graphite pencils to capture the irregularity of the leaves. Trees then have clearly defined shapes, so focus on capturing the overall essence rather than drawing a re leaf. You may notice that I'm not creating exactly these branches. I'm creating a kind of interpretation. My few of these branches. There are three ways to make leaves in this section. The first is to directly draw the branch with the leaves with graphite. The second one is to create the outline of a branch or a leaf, and the branch will have the color of the paper. And that is something that you could do also if you applied a lot of graphite first and then draw the branch or leaf with the eraser pencil. And the third way is to draw the branch or leaf with a white basil chalk. We will see this last one in the last lesson of this drawing. It's important not to lose patience when making branches and leaves. You have to make as many as possible. It takes some time, but the result is great. You can see that these details I'm adding are not actually in the reference image, but it's something plausible. So it looks great. So let's not be afraid to add valuable things to our composition, even if they are not in the reference image. Et's go back to the tree. On the right. I continue creating branches and mini trunks and adding density to the tree's foliage. As I always tell you, this process takes time. Try to relax and follow my pencil. The movement has to be done little by little so that the graphite can be consistent and have the exact ranges that you need. On the other hand, remember that you have to leave lighter spaces to represent the passage of light. Just relax and follow me. Mmm. Pay attention to how good it looks like. The consistency of the tree is achieved. Now we'll proceed with the details of the leaves. Now look how I'm removing the graphite with the eraser pencil to create leaves. This looks great. Look how the group of branches looks now. It now has great bowling and latness. And we can apply the same strategy to this tree. So far so good. The drawing looks great. Let's move on to the next lesson of this work. 38. Final Details & Pastel Chalk Castle Facade: Hello, people. We have reached the last lesson on this rowing, and I'm going to start by adding this pastel shock over here. I'm going to apply the white pastel right on the edges to cover those important spaces. For example, over here, remember that the light picks through the trees. And now I'm going to apply some graphite over here to create a kind of gradient between that dark tone and the pastel chunk. You may use the pastel pencil to fill those gaps. The idea is to create the main light source. And now that we already have that light source, we can start adding the projection of that light on the objects. For example, here on top of the bridge railings. Look at the volume that appears on the bridge just by adding that detail. But since we want to create volume throughout the entire surface of the castle, we must apply the white pastel across the entire coval stones so that we achieve that objective. Pay attention that is not about coloring the castle white, but rather doing it carefully, adding precise details to each of the stones. What we want is to create a texture. Now I'm trying to diffuse this white pastel to create a gradient. If you pay attention to the reference image, you will notice that there are some bricks and stones that are lighter. We can follow this pattern when applying the white pastel. It's also important to identify the most illuminated areas. Now, pay attention to how just by highlighting even more that white color at the edge of the sky, the castle looks with more volume. It seems to really detach itself from the sky. Look now how I create these white leaves on that tree. They are not in the reference image, but they look great. We can continue to refine details with the graphite. Here I am blending the graphite in these shadows, and I'm using a blending stump. The castle already has enough white pastel. Now look at what I'm going to do. I'm creating the spaces where the light peeks through between the trees. I'm just adding white pastel where the light comes through. Look at the details on the bridge, pay attention to the different shades of white on the stones. That is very important. At this stage of the drawing, you can continue adding as much graphite as you feel you need. It's important that the chalk doesn't look forced the surface of the walls, but rather that it looks like a texture. Then if you need more graphite to create that visual effect, you should add it. I think that using white shock alongside graphite in a drawing can significantly enhance the depth, contrast, and overall impact of the artwork. I meanwhile graphite excels in creating a wide range of shades from light to dark, it lacks the pure brightness needed to feel the capture highlights or the intensity of light in a zing. White chalk, on the other hand, provides the perfect complimentary tool to provide, allowing artists to emphasize brightest areas, whether it's the reflection of light on a surface or the shimmering of a distant highlights. The mixture of these two mediums not only enhances the dynamic range of the piece, but only brings a new dimension to the texture and realism. By carefully blending the shock into graphite, artists can achieve smoother transitions between shadows and lights, giving the drawing a more lifelike quality. Additionally, the contrast between soft ty finish of gravite and the bright, almost luminous quality of white chalk adds an extra layer of visual interest, making the drawing more engaging to the viewer. This combination encourages the artists to think critically about how light interacts with form, helping them to develop a deeper understanding of shading and value, which are crucial in creating a compelling and balanced piece of art. I'm gonna put the finishing ******* on the street. I'm gonna make as many laps as I can. What I like most about this tree is that it looks like a weeping willow, a typical royal tree. It's not the one in the reference image, but very convenient because it's a castle. My take on about drawing is that learning to draw is not just about mastering techniques. It's about discovering a new way to see the world. Each stroke you make, each shade you blend brings you closer to expressing your unique vision and creativity. I mean, drawing teaches patience perseverance and the joy of progress, no matter how small it is. Every time you pick up a pencil, you are improving whether you notice or not. So embrace the progress, enjoy the journey, and remember that every artist started where you are now. With dedication and practice, you will be amazed at how far you can go. Keep pushing forward and let your passion for drawing guide you.