Drawing and Sketching Vol 2: Learning with a Train Station

1. Drawing and Sketching Vol 2 Learning with a train station: Have you ever imagined capturing the architecture or grandeur of a place without resorting to tedious and complicated techniques? I am Bagllo Ve Perez, and after 30 years of dedication to drawing and learning at the best art schools, I'm here to guide you into a new stage of your artistic journey. This is the second volume of my series of drawing and sketching courses where each volume builds upon the foundations of the previous one. Guiding you step by step towards the mastery in drawing. In this volume, you will learn to draw using the beautiful estacion de Francia in Barcelona as your inspiration. This course is designed for anyone who wants to express themselves intuitively and effectively using perspective techniques that don't require boring grits. Throughout these lessons, you will focus on how to observe and represent classical architectural details such as the majestic facades, saddle textures, and the charming reflections of marble floors. Imagine being able to capture the magnificence of A Station's main hall and the majesty of its platforms, creating works that reflects your essence and beauty. Whether you are an enthusiastic beginner or someone looking to refine your skills, you will find the necessary tools here to bring your artistic dreams to life. This volume, we will delve into intuitive perspective techniques that will allow you to pay homage to architecture without complications. In addition, we will learn to create sketches that reflects the energy and movement of the vibrant space. Throughout this course, we will also address the theory that will support our practical learning. We explore the concepts such as composition, three dimensionality, and how to apply perspective intuitively in your drawings. We will delve into the study of notable artists who have captured the beauty of architecture in their works, many of which you can find in museums. Learning from the masters is essential for deepening your understanding of drone and artistic expression. Additionally, we will work with high quality materials such as graphite, white pastels, luxury paper, allowing you to express your creativity effectively. In a tip, stunning works. So don't miss a chance to embark yourself in this exciting artistic journey. On this platform, you won't be able to find a better course that offers such passionate and accessible approach to learning how to draw. Welcome to my Bay Atelier in drawing and sketching Body two. Learning with a train station. I see you in the first lesson. 2. Learning to Draw with a Train Station Importance: Hello, people. Welcome to this first lesson of our drawing course, where the key focus is observation. Throughout this course, we will explore various aspects of drawing, and each section will help develop your ability to see and understand the world around you, leading to better and more expressive drawings. This time we will approach this fundamental skill through the fascinating lens of a train station. Training stations are perfect subjects for learning to draw because they naturally encourage a sense of depth and perspective. With their long platforms, row of bench and parallel tracks, stations present repetitive elements that seems to converge a they extent into the distance, creating a strong sense of perspective. This is essential in drawing. As mastering perspective allows you to portray depth and space convincingly. To understand this better, let's look at Gustave Dore, a master engraver, and illustrator who brought the bustling essence of the 19th century London to life. In his famous work, the terminal from London, a pilgrimage, D red depicted the chaotic and busy environment of a train station. What makes this piece stand out is how he used repetition as a tool to draw the viewers eyes deeper into the scene. The long parallel lines of the tracks, the row of the carriages, and the towering pillars all lead towards a distant point, creating a visual pathway. His ability to convey the sheer scale and structure of a busy train station through these repetitions is a powerful example of how perspective can create a sense of movement and dimension. The rest engravings are a taste meant to the power of composition. I didn't just depict the architecture, brought it to life, by showing how it interacted with people, the machinery and the city around it. The repetitive elements in his drawings create a rhythmic quality, almost like a visual echo, which not only enhances the perspective, but also emphasizes the constant motion and energy present in a station. By analyzing his use of these elements, we can learn how to integrate the repetition into our drawings to lead the viewers gaze, guide their attention, and create a dynamic sense of space. Another key aspect of drawing, particularly in this lesson is observation. We will explore how to see beyond the obvious and capture subtle details that bring As into life. For this, we turn to Claude Monet and his famous series of paintings depicting the guard Sand Lazar. Unlike Due Monet approached the station just as an architectural space, but as a living, breathing environment. His works are suffused with light and atmosphere. Capturing the vibrancy of the scene rather than just its physical structure. Monett's work is an excellent example of how careful observation allows an artist to notice details that other might overlook. The way light filters through the cloud of steam, how shadows stretch across the floor, and how colors plant and interact. In his painting of the Gar St. Lazare, you can see the contrast between hard, rigid structures of the trains and platforms and the soft ethereal quality of the steam rising into the air. Monette wasn't merrily drawing the station. He was illustrating the dens of the light and color, the meeting of the industrial and the natural. His use of the viper and the brush strokes creates an impression of motion on life, something that can only be captured through deep and attentive observation. For us, this means learning to observe light, textures and atmosphere, which will help bring depth and authenticity to our drones. We will learn to look beyond the physical structure and capture the feeling of the place, just like Monet did. By studying his work, we can begin to see how the smallest details, the shimmer of the sunlight on metal, the hazy mist of steam, and the subtle blend of shadows can make all the difference in bringing as into life. As we move farther into our course, the final major elements we will focus on is how to represent the classic reflected surfaces. Especially marble floors. The main hall of the train station we will draw has beautiful marble surfaces that can be a challenge to render, but they offer a great opportunity to practice capturing textures and reflections. Here we draw inspiration from the Emmanuel Dewitt, known for his exceptional skill in depicting interiors with reflective polished surfaces. Dewits master relies on how he captures light reflecting off marble floors, creating a sense of depth and space that brings his inner spaces to life. His paintings, such as interior of a gothic charch show a perfect understanding of how light behaves, how it bounces off surfaces, and how it changes depending on the texture of the material. The marble floors in his works appear almost alive as they reflect the architecture and figures, giving a sense of both depth and elegance. What makes Whit's approach so impressive is his ability to make these reflections feel natural and fthless. There is a subtlety in use of light and shadow that doesn't overwhelm the viewer, but enhances the real lesson of the scene. For our course, we will take a step by step approach to study his techniques and apply them to represent the reflective quality of the station's floor. This will help us understand not only how to capture the surface, but also how to convey a sense of light and space within the drawing. By learning to see how the wet sow, we can bring a similar level of detail and accuracy to our own work. First lesson sets the tone for the rest of our course. Our goal is to help you developing a more refined sense of observation, which is essential in all forms of art. So by focusing on the elements of repetition, perspective, light, and texture, we will learn to draw spaces that feel both realistic and expressive. As we go along, you will be able to apply these skills to other settings, allowing your drawings to grow in complexity and depth. Lastly, while we start by drawing the grand main hall of the train station, the insights you learn here will be valuable beyond this specific exercise. The end goal is for each of you to be able to sketch a train or a station environment you have nearby, whether it is a metro station, a small regional rail stop, or even a bustling intercity terminal. Understanding how to perceive and depict space through drawing trains and stations will teach you how to navigate complex scenes, understand light, and express your unique artistic vision until the next lesson. 3. Train Study - First Sketch: Hello, people. In this first sketch, we are going to approach in a very simple way the possible appearance that a train on a platform would have. We are going to use these yeometric shapes to represent a possible train on this flat surface. The idea is to lose a fear of intricate details by paying attention to the most fundamental elements. Let's start by breaking down the surface of the table into a polygonal yeometric shape. Let's try to approximate its shape by paying attention to the inclination of the lines that compose it. Can try to draw a line that joins the two sides to feel even more the flat surface that we are creating. This line will serve as a guide to build the first geometric shape, the pyramid. The base of the pyramid is a square, which is affected by perspective from this point of view. To guide us, we can draw a slanted line from one side of the table to the other. This is due to the fact that the left side is smaller than the right side, due to the increasing perspective of the space. The next step is to create a transversal line that stretches from the center of that square to the bottom of the table. This will allow us to have a reliable guide to build both the tip of the pyramid and the rest of the geometric shapes. We must try to connect all the lines. If you see the inclination of the line at the bottom of the table, it's the same inclination of that inclined line that we draw to guide us in the perspective of the base of the pyramid. We must find these connections when it comes to drawing. Pay attention to how I build these lines that go from the base of the pyramid to the bottom of the table. The guide is the inclination of the left edge of the table. Now I have enough information to create that cube in the background. As for the sphere, since it's a perfect sphere, from this point of view is a circle, from a two dimensional point of view is a circle. We must pay attention to the fact that this is a continuous sketch. We can always correct things in the process. For example, I'm going to fix the dimensions of the pyramid since I have more reference points built to know if its dimensions are correct. The shadows projected on the surface are as important as the objects. They are great reference points and are closely related to the three dimensionality and lighting. Pay attention to this now. As I told you at the beginning, everything we are building is an approximation to the representation of what we see. Therefore, we can always go on correcting. Since I have all the objects built, at least in a general way, I can realize that the background edge of the table was quite wide. Therefore, I'm in time to correct it and create a better sense of perspective in the composition. Now I'm going to start shading the objects. I'm going to progressively apply hatching layers to gray volume gradients. We must overlap one over the other until we find the right tone. On the other hand, I'm also going to reinforce the contours. We must arc in the contours that are in contact with a dark area behind. It doesn't matter if it's the background or the shadow of an object. Now I'm going to use the eraser pencil to remove some construction lines. One of the purposes of this exercise is to understand the nature of light and objects. To explain this, I'm going to use two different bastel chalks. What I want you to see is how the same shade of light can affect two objects whose material is completely different. I'm going to start by adding this gray chalk to the fabric on the table. I'm going to use this other gray for the shadows, too. Pay attention to this now. The light you see in the reference image is mostly yellow due to the window glass, so that tone should affect all the objects. So I'm going to apply a tone between beige and yellow to represent that light. What I want you to notice is that even if this was a mostly graphite drawing, like the ones we will be doing in the course, we should be able to represent that impact of the light tones on the surface of the object. Oh. Now with the graphite pencil, I will try to make more intricate details within the same shadows projected on the fabric. And that's it. We could imagine these geometric shapes as if they were a train from the future waiting for its passengers in a possible world many years from now. If you had made this sketch with me, you have taken a big step towards creating the next project. I hope you feel confident enough. Don't worry, because we will always do all the drawings step by step until the next lesson. O 4. The Platforms Artistic References Theoretical Approach: Hello, people. As we prepare to draw the platforms of the Stacion de Francia, one of the most iconic train stations in Barcelona, it's essential to learn how to capture trains and architectural elements in perspective. For this, we can draw inspiration from two masters, Terrance Connell and William Powell Frith. Each artist offers valuable lessons that will help us build a dynamic and realistic scene. Terrence Chel was a British painter celebrated for his accurate and atmospheric renderings of trains, locomotives, and railways. His ability to capture movement and perspective makes his work ideal for understanding how to draw trains. Chel's paintings often show trains diminishing into the distance, creating a sense of depth that pulls the viewer into the scene. Khll's composition often features strong, clear lines that guide the viewers eyes along the train tracks, emphasizing the direction and flow of the trains. As you draw, pay attention to your vanishing points. Make sure the tracks and trains converge are currently towards the distance, enhancing the sense of depth. One of Khel's key techniques is how he manages detail. Close to the foreground, you can see intricate features of the train's structure, while the details become less pronounced as they recede into the background. This helps in creating a realistic inversive scene. When drawing the platforms, use more refined lines for the train and elements in the foreground, and then lighten your toach as you draw the trains that move farther away. The transition from detail to suggestion is what makes the scene believable and vivid. Now that we have a sense of how to handle the perspective and placement of trains on the platform, let's turn our attention to the architectural elements, particularly the ceiling, which is essential for setting the scene. On the other hand, William Powell Frith's famous painting the railway station captures the bastroon activity of a train station but also showcases the architectural details, particularly the grand sweeping arches of the ceiling. So to effectively draw the platforms of the Stasion de Francia, it's helpful to study how Frith handles these elements. In the railway station, Frith uses the ceiling structure to frame the scene and lead the viewer's eye. Is particularly relevant when drawing Sacion Di francia which has an iconic arch glass roof. The sweeping lines and repeated patterns create a sense of rhythm and scale. Practice drawing the selling curves accurately, making sure they conform to the perspective lines you have set up. Additionally, the way light streams through the arches in Friths work, hide lights at specific areas, drawing attention to the structural elements and adding depth to the scene. For your drawing, think about how light would play on the metal beams, glass panes, and the trans below. Use shading techniques like hatching and stippling to replicate the interplay of light and shadow, enhancing the three dimensionality of the scene. I'm going to give you some tips for engaging your drawings. Start by establishing your perspective lines. Just a point where the train tracks and the platforms lines converge. This will be your vanishing point, guiding the rest of the composition. Practice sketching the basic structure of the trains first, making sure they align properly with the tracks. Additionally, begin adding details to the foreground, such as the intricate mechanism of the train and textures of the platform as you move farther into the scene, lessen the intensity of the details. Use softer pencil or lighter strokes, letting the background elements fade. Mimiinghyse perceive objects at a distance. When sketching the roof of the Stasion de Francia, pay attention to the repeated arches. Each arc should slightly curve towards the vanishing point, helping guide the viewer's gaze. Draw the supporting beams and trusses in such a way that they not only provide a structure but also frame the sine beautifully. Estacion de Francia is known for its spacious, elegant design. By making sure your perspective is accurate and by carefully placing architectural elements like windows, beams and columns, you can create a drawing that feels both grand and welcoming. Assume work on drawing the platforms of the Stason de Francia. Keep in mind the techniques learned from these masters, Terrance Chel and William Powell Frith. By understanding how Chel captures movement and perspective in trains and how Frith details the architectural beauty of the station structures, you will be able to create a composition that is rich in depth, detail, and atmosphere. Remember, this exercise is not just about replicating what you see, but about interpreting it through your drawing. Pay attention to how the lines, shadows and architectural elements come together to create a cohesive scene. This will not only improve your skills in perspective drawing, but also in understanding how to handle complex compositions until the next lesson. 5. Platforms Structure & Train Sketch The Platform: Hello, people. Let's dive into the creation of our train platform. We will start by drawing a triangle to represent the right edge of the platform next to the train. Triangles might seem simple, but they are quite fascinating, and there's something oddly satisfying about how easily our eyes detect them. So imagine this triangle as a foundation setting the stage for the entire structure. And just like the first note in a song, it leads us into the rhythm of the throw. For now, let's focus on the safety line along the edge of the platform. Element adds character and structure, but don't worry if it doesn't come out perfect on your first attempt. The beauty of drawing is in the process. Try sketching a few different possible lines. Do not hesitate to explore. Once you get a few down, we will step back, take a look and decide which one captures the essence best. It's all about trial and discovery. So I'm going to remove these construction lines over here and I'm going to do the same process on the right side. Now that we already have a more accurate approximation, we can reinforce those borders the edge of the platform. Now, I'm going to try to create the width of the farthest point of the platform. I'm going to create an angle from the lowest part, and I'm going to grow a line to that possible width to create that space in the background. Now I'm going to do exactly the same thing to discover the angle that makes up the general structure of the platform. Of course, this platform in perspective. See how the process is all starting from a simple initial line. Once we have the geometric shape that comprises the platform, we will add some important elements on it that will serve as a reference point to continue making the drawing grow. I select the sign for passengers that rises in the middle of the platform. From the pole of design, I will build the opening of the tunnel at the background of the composition. I will make the arch grow from the pole to the possible edge of the platform. Now that I have enough information, I'm going to start building the train on the left. I'm going to start by tracing the bottom edge of the train. For us, is just another angle next to the platform. We have enough information because we can see the angle created between the line that are building this possible train door and the passenger signal pole. Now I'm going to start sketching the rest of the train. Do not confuse yourself with this. You just have to try to build possible lines that make the train. If they turn out wrong, you can delete them and correct the ones you don't need. I'm going to take advantage of this process to throw the sign itself on top of the pole. As I have already determined more or less where this first window of the train is, I can grow the metal being that is behind the train upwards. We can try to do the same with the second ben farther back, and we can try to create an angle to discover his height. Now that we already have a possible height, I'm going to trace this arch over here. And using this information, I'm going to grow an angle that extends towards the background. We must try to measure the height of that second beam because we need to find out the exact point where this line on the wall crosses the metal beam. We can see that the line passes a little below the middle, so we already have that reference point. We can take advantage and create stripes that are on the edges of the building wall. Pay attention to the thickness of these architectural ornaments on the edges. We already have information to build the next beam. It's simply close to the position where the other train door is. In order to build the rest of the beams, we only need to take into account that there are two more beams between the passenger signal pole and the beam we just build. To build the shape of the roof light inlet, we can also use the passenger signal pole as a reference with the only difference that in our reference image, we cannot see this light inlet reaching all the way up because the image ends there. But in the drawing, we must follow the lines. We must try to create these arcs intuitively. They follow a possible curvature. There are enough lines around to guide us. Let's try to draw this dividing line on the ceiling. Note that the line doesn't cross through the middle. It's as if it crosses a third of this section of the ceiling. Now, we go directly to the train on the right. We're going to grow angles from the passenger signal pole to the possible height of the train structure, the car closest to us. I'm going to do this little by little without fear of making mistakes. Note how I'm going to try to draw the rail to guide me even more. So it's a step by step that you are going to make construction lines until you find the final shape. If you make any mistake, you can always correct it. Um Angles are crucial when discovering and building forms in a drawing, especially with something as a structure as a train. As we begin with a cap of these 80s and 90s bars along a train, notice how the angles guide your understanding of the shape from the sharp edge of the front, slanting slightly as it moves along the platform to the parallel lines that define the body. Angles create depth and perspective. By paying attention to these angles, we can break down the complexity of the train's form and make it easier to capture its powerful presence on the platform. In order to create the front of the train, start by focusing on its overall flat surface. Begin by sketching a large rectangle to represent the front face. Then inside this rectangle, draw two nearly square windows for the wind shells, place them side by side, leaving a bit of space in between and make sure their edges are straight to maintain the train's boxy look. The only curved element is the roof. Give it a subtle arch to add that slide roundness that softens the otherwise angular design. Although we are not doing shading here, but rather building the structure of the drawing, sometimes we need to do some hatching somewhere to darken a bot that serves as a reference. For example, the space here between the train and the rails is fundamental to understand its structure and its position on the rails. Since all the train shapes are almost square or rectangular, it's easy to measure their shapes and sizes to build a general shape. We are now going to draw some guidelines on the platform to confirm that everything is in place and to be able to divide the platform into two equal parts as shown in the reference image. We must use the platform as if it were a kind of drawing grid. We can also leverage the train to complete the other side of the platform. To improve the perspective of the train, it's necessary to position the doors in the correct place. We can see how far the doors are from the passenger signal pole in the middle of the platform. This element has helped us a lot so far. We are also going to complete the lower edge of the train to have its relationship with the complete platform. We are going to draw all these horizontal lines that are in the safety area of the platform. They are very important because they work as a drawing grid. And there you have it. The first design of our drawing. We already have the trim, the platform, and a partially built starting point for the ceiling. Get ready for that ceiling, which we will do in the next lesson. 6. Cealing structure & Train Details The Platform: Hello, people. Now let's go for the ceiling. First of all, we need to build the ceiling arches. We need to figure out where those bins end on the other side of the structure. In the reference image, we can see where each of the arches connect. We should guide ourselves as much as possible, but we don't need to be extremely strict with that. Just getting close enough is more than enough. The reason why you don't need to be strict about it is because if we are guided, for example, by where the arches touch the structure of the train, the truth is that the train in our composition could be slided farther forward or back, and it wouldn't change the realism of our throwing at all. But anyway, we must build the arches to have an idea of the complete structure that covers the entire train station. Pay attention to the fact that the arches are made up of two parallel beams. Even though they have the same curvature, they separate slightly when they reach the other side. This separation is also an angle that we can detect with our side. I'm going to trace now the structure that goes towards the bottom on that side of the ceiling. Notice that starting from the top of the train, an angle is carely formed that results in that part of the structure. Pay attention again to that separation between the lines of the beams. In this closer arch, you can notice more that separation both at the beginning and on the other side of the structure. Here we see how the upper beam of the arch ends right at the ceiling structure that we created a moment ago, and we have it as a guide to connect it with a point that the train touches. And thus, we have the final shape of the arch. You can notice that we already have enough reference points to construct that part of the ceiling. So we must try to let those lines grow freely. We will continue creating the most distant arches. We will repeat the same process trying to locate the point where the arch touches the side of the structure. Almost all the arches touch the roof of the train, so it will not be difficult to find out. It's important to mention that making mistakes with the arches is not serious, either. Actually, nothing serious in a drawing. We can always correct it. And in fact, we will do so as we move forward. So feel free to draw the arches with confidence. Even though most drawings typically features less detail in elements that are far away, some compositions like this one demand careful attention to those distant details. The nature of this drawing invites the viewer to gaze into depths of the tunnel where the sky emits a building and a horizontal beam that forms part of the station structure. It's essential to render these elements clearly to establish a strong visual language in the background. In drawings with perspective like this one, selecting one element to depict with precision helps achieve the intended depth and focus, guiding the viewer's eye through the scene. We must pay close attention to the dark panels on the ceiling. They are crucial elements of the entire composition. Building them accurretly will guide us in assessing whether both the train and the building on the left are well constructed. These panels will serve as a reference point for proportion and perspective, ensuring that everything aligns harmoniously in the drawing. As we progress, you will see how these details enhance the overall structure and balance of the scene. Now, let's continue with the arches in the building. We already have experience creating larger arches. So we just need to be mindful that there are three arches between each beam, and we must follow the perspective carefully. A helpful trick is to ensure that in the first space, the first arch occupies almost the size of the other two arches combined. The building recedes into the distance, this difference should increase. Regarding the shadows, it's crucial to depict the high contrast between the interior of the arches and the color of the wall. These contrast will create depth and dimension, making the arches appear more realistic and grounded in the composition. Pay close attention to these details as they will significantly enhance the overall impact of the drawing. As for the train, let's focus on filling in the darkest areas with a very dark fit tone. These areas include the windows in the entire machinery section underneath the train. Make sure to apply the graphite with a firm hand to achieve that deep rich darkness, which will contrast nicely with the lighter parts of the train. On the other hand, pay attention to the reflections in the windows as well. These saddle details can add a layer of complexity to your drawing, enhancing its overall realism. Take your time and enjoy the process. Now let's move on to the train on the right. Our focus will be on the dark areas of the train to create a sense of volume and establish the line values in perspective. Begin by working on the front section, which is quite dark and contains several details. Use a strong dark repite to define the contours and shadows, ensuring that you capture the intricate features such as the headlights and any structural element. Pay attention to how the light interacts with these surfaces. This will help you convey depth and dimension. As you add details, remember to keep your lines varied. Some should be bold and defined while others can be softer and more subtle. As for the side of the train that is exposed to the light, let's focus on shading only the darker areas of the windows where reflections create depth. Keep the rest of the train light for now, as we will add more details later. We need to render the entire right side of the platforms as part of the train's environment. Ensuring this space is equally important. I mean, everything in close proximity to the train should enhance its presence, including both the platform and the rails, focus on creating a sense of continuity between the train and its surroundings. In fact, if you look closely, there is a third train parked over there. So we should continue using the same color palette and tunnel range we have applied to the other trains to complete the visible parts of this one. As you work on the third train, pay attention to maintaining consistency in the shading and detailing. And that's it. The structure of the sky, the building, and the details of the train are all heading in the right direction. Each element is coming together beautifully, but this is just the beginning. I see you in the next lesson. 7. Cealing Details The Platforms: Hello again. In this lesson, you're going to take a next step in the details of the ceiling. As you can see, this is a structure with many lines and details that form a network of curves and shadows very interesting for our drawing. But we are going to start by reinforcing some important dark details in our composition. Those main stripes on the ceiling are crucial. These stripes are not only important for the structure, but also prevent direct light for reaching objects inside the station. Light is partially filtered through the clear windows, but is also blocked by the metal sections of the ceiling. So let's start by applying this hard hatching over those stripes. I highly recommend you to use a dark pencil. Since you're going to knit, the pigment remains a stick on paper. Take your time to fill in the edges, and above of all, be careful with the details of the ceiling in the distance. Each of these details make the perspective of the drawing. We're going to continue darkening that whole area, giving the beams on the ceiling a darker value as well. Everything has to be intensely dark because the station is back lit. Remember that we must always advance the drawings home. If you feel you need to darken other elements of the image, while you advance on the ceiling, you can do so. That way, you can detach yourself from the element you are working on and contemplate it. For example, here, I'm trying to retouch the train at once. Now, let's continue creating the details on the ceiling. If you can see the reference image in detail, these parts of the light inlet is divided into three sections, so we can make arches to represent the three sections and extend them to the other side of the ceiling. Look at the distance between the three sections. These distances are proportion to the perspective. We only need to know that there are three spaces that must fit there. They must be one larger than the other as they get closer to us. At this stage, we must try to see the logic in the sections of the ceiling. Everything is geometric. The structure of this ceiling is mathematical. In many cases, we only have to divide sections into two parts with transversal lines or arches to make the details of the ceiling grow. Remember, that it's not about making arches randomly. We must identify and count with certainty the arches that are in the distance so that the perspective is real. We must darken the main arches and make the parallel lines that represent the structure that supports the ceiling along the arch. Now, look at the detail I'm doing with the thin beans that are in the ceiling light entrance. We need to refine each of those lines as well as the ones around them to create the right effect. To create the lines that are inside the arches, we only need to know the point where they start and end with respect to the ceiling. As we see in the reference image, we must draw it. But we can do it little by little. You don't have to do them all at once. Now I'm going to create the internal details of these light entrances. We must build these sections as if they were a drawing grid. We are going to do it step by step, creating crossed lines that intersect, connecting one frame with the other. Uh Mmm. This curved metal column on the left is supposed to be the beginning of the large beam, a great arch. We must draw it in enough detail because it's close to us. But above all, we must understand it. We must also start applying graphite to the building on the left. We must put details in everything as a whole, because the dark areas must advance equally in the drawing. The dark areas of the wall arches are quite dark, too, and must reach the dark tomb of the beams and arches of the ceiling. Pay attention to how everything is about division. We simply divide a space into, and so on until we find the number of spaces, finals and ins that the reference Image has. Pay attention to this. It's practically agreed on the ceiling. We shouldn't have any problem creating it, because there are too many reference lines around it. It's important to mention that as the ceiling resit, it's not necessary to create all the details, only suggest them. If we draw enough information on the paper, the viewer will read everything as a united structure. The same goes for the dark panels above. The color itself prevents all the details from being seen. It's too dark for them to be seen, so we only have to suggest them. Or It's necessary to portray these arch as well. You may make mistakes while you are making them. I mean, you may have a hard time finding the perfect curve that looks convincing, but that doesn't matter because the arch is what gives the shape to the ceiling. So you can try several times to make it. Now I'm going to complete the inner details of this arch. We are supposed to follow that pattern displayed on the reference image. I think you are able to experiment with these patterns on the arches. But what I recommend is that if you experiment on the first one, apply the same model to all of them so that it looks like a solid structure. In the arches in the background, you don't need to force internal details. The human eye is not supposed to detect them from a distance. Just make the arches thicker to represent that those details are there. Pay attention to the value of the line in the thin arches of the ceiling that are more exposed to the light. In those thicker beams, this is crucial to represent the light really enters through the The ceiling really starts to look beautiful, especially the way it curves to the left in perspective. Since the ceiling has become darker, I will now darken the front face of the train farer. This section of the drawing is what I call areas of less importance. This doesn't mean that we are not going to give details, but rather they are those parts of an image to which we pay less attention because everything else is so attractive that the human eye will not go that place the first time it looks at the drawing. We must understand that in that section of the image, there is another train waiting. It's good to understand this in order to give the real values to the windows and walls of the car. It's not necessary to be very precise when creating this structure. You can see that in the reference image, they are being intertwined and in a very complex way. We only need to summarize the most general features. I'm going to darken this plate under the structure to complete it. And that's it. Take some time to contemplate the process at this stage of the drawing. We have done a lot of work on the ceiling, but it was worth it because it already looks beautiful until the next lesson. 8. Shading & Intricate Details The Platforms: Hello, people. Now we're going to do some more advanced shading and detailing on the lower section of our drawing, which includes the trains, the platform, and also the building on the left. Let's start with this train on the left. Here are two obvious details that we need to darken. All the machinery that is under the cars, including the wheels and the trans motor system, must be very dark, as dark as the ceiling panels. Additionally, we must darken the windows, paying attention to the fact that there are reflections in the windows, which you can see in the reference image. These reflections must be rendered or at least suggested so that the language is correct. Even though the machinery under the train is dark, we must follow the regular tones that are in it. It's difficult to determine at this distance where the wheels or the electrical system are, but even so we can follow all the tones that are visibly seen from this point of view. To create effect of the windows, we must first add a dark base of hatching not only on the windows but on the roof of the train. These two colors must match. Then little by little, we will create the darker areas in the windows that represent the reflections. In reality, it's all the interaction of these tones that is representing the reflections. You should take your time doing this part of the shading and details. Try to enjoy the music while you do it. Now, we're going to try to add more details to this arch above the train. We also have to darken it more because if we see the reference image, its color is as dark as the train windows. In the same way as we did with the previous arch, we need to darken the darkest part of those mini arches on the wall. It's very necessary to use the same tones throughout the drawing so that there is an appropriate reading of lights and shadows. On the other hand, look at the volume that this building acquires by darkening those parts. They really look deep as if you could really go in there and that is magnificent. As we have already moved the tone of the train, we must now improve the areas of the ceiling to continue improving the general language of shadows. This is very important to do. We must move forward in a unified manner. M We must repeat the same process with the train on the right. But this train is more important. Not only must we create a reflection effect in the windows, but we must also detect and represent the gradient on the surface of the train. The train is partially white, but the light is not hitting it directly. Therefore, the light projected there is softer. At this stage, we must pay attention to the fact that the reflection projected on the window is brighter because we practically see the background of the station in it. We will achieve this tone later on in another lesson with white pastel, but we must leave space to be able to add that color. Pay attention to how I make a high contrast on the window, leaving the color of the paper on the window for later. Now we are going to work on the roof better. We must darken it and define it in the distance so that the sense of perspective is better. We must also match it with the dark tone in the front part of the train. Now, we must pay attention. This part requires patience. We must create the rocks that are below on the rails. We must achieve creating that texture step by step slowly. If you are ready to the course where we drew the castle, then you will have enough training and patience to do this. It's a slow and delicate job. Take your time, relax, enjoy the music, and let's get to it. Rock textures are very difficult to synthesize. I would say that textures in general are anything that involves small elements in the distance is going to take work. For some people, this is therapeutic. For others, it's somewhat unconstable. But I truly tell you that this type of detail takes drawing to the next level. And that's it. Our drawing already looks beautiful, and we haven't even added my favorite detail, the white pastel, but we will see that in the next lesson. 9. White Pastel & Final Finish The Platform: Hello, people. We are now in the final lesson of this drawing. Let's start right away by applying the white pastel from the back to the front. This approach is important because the light is coming from that direction and also because the smallest details which are often the trickiest are located there, and it happened to be the most illuminated. As you can see, the end of the tunnel, the end of the structure is the only place where we can glimpse the light from the sky. This keeps the scene its depth, and it draws our attention towards that distant globe. As we already know, that's the most illuminated point, we must apply both the pastel bar, which is more intense and the pencil pastel for the edges. This combination will help us to have a cleaner and more precise finish. You can see there are some buildings in the background, but it's not necessary to render them in detail. Simply outline the cantor against the sky, and the viewer automatically interpret them as buildings or some kind of structure. The beauty lies in the suggestion, allowing the mind to fill in the blanks while maintaining focus on the main subject of the drawing. Now, let's start filling in each of the square spaces on the ceiling with white. Follow the reference image carefully. And use the pastel pencil to apply it. The pastel pencil is harder, so you will need to press it more firmly onto the paper to make the white stand out. Since we have already drawn ceiling, the white will blend with the graphite, creating a slightly darker tone than that background we painted earlier. This is fantastic, because if you look at the reference, the ceiling is made up of light and dark panels that somehow filter the light. We must be patient and work square by square. Since these squares are small, the white pastel will spread over the lines, so you will have to constantly retouch the lines to maintain the structure and high contrast of the ceiling. Okay. Pay close attention to what happens from here. You can now see that the ceiling has developed a texture where the light enters, made up of a material that seems to be peeling away to the erosion. This has created variations in the intensity of light in some areas. Our task is to capture these irregularities. It's not necessary to replicate them perfectly, but rather to convey the effect that what is happening. Now, let's move on to filling in the train with white basil. We are going to apply it to all the areas of the train that have white paint, paying close attention to the ages. There is also a very thin white line on the roof. It's almost imperceptible, but is there. We need to draw it with great care. Mm Now, let's speak in applying white pastel to the platform. It's not necessary to fill the entire platform with white. We are only going to focus on the light reflections. If you look at the reference image, you will notice that the platforms color is quite similar to that of the paper. So we will enhance the height lights where the lights hit. Et's also start painting the right side train with white pastel. It's essential that both the tunnel range of the train and the platform blend harmoniously, especially that area on the right of the platform, near the train. In this entire region, there are intense light reflections that spread particularly across the train windows. Notice how I have represented these reflections and how I have applied pastel to the structure of the train to create a coercive effect. Pay attention to how I leave the divisions unpainted, allowing the papers color and graphite lines to remain visible. This creates a captivating texture on the platform, enhancing the overall look. You must remember to retouch the lines with graphite as you apply the white pastel. The pastel tends to spread over the lines, and since our hands are constantly moving across the paper, both factors cause the graphite to fade. Retouches ensures the line remains sharp and distinct, maintaining the clarity and precision of the drawing as you move forward. I Pay attention to the building on the left. I've applied a light layer of pastel to ensure it harmonizes with the rest of the composition. Notice that its tone of weight is softer than that of any other element. Deep subtlety is crucial, as it allows the building to recede into the background, enhancing the overall depth of the scene. M let's continue refining all the edges of the details closest to us, aiming for precision wherever possible. Try to focus particularly on the darker and more significant elements, as these will help to define the depth and clarity of the scene. Using a sharp, dark pencil will allow us to chiep fine lines in a stronger contrast, emphasizing the most important features in our drawing. U let's take a moment to contemplate the overall structure and balance of light and shadow in our drawing as we make the final dots, of course. This process is deliberate and requires careful consideration as each adjustment can significantly impact the composition. Focus on intentional details, ensuring that they enhance the overall harmony of the piece. Remember, this stage is about refining the interplay between light and dark, which will give our drawing depth and clarity. Take your time and make sure each mark is purposeful. The final result will reflect the thoughtfulness of your decisions. And that's it. Our drawing is complete. Just look at how beautifully the perspective in the ceiling comes together, along with the light cast on the platform and the train. Each tail crafted step by step and with intention artistically represents a space that is inherently beautiful, the platforms of one of the most tuning train stations in Barcelona. I see you in the next lesson. Oh 10. The Main Hall Artistic References Theoretical Approach: Before we begin drawing the beautiful main hall of the Stasion de Francia in Brarcelona, it's essential to draw inspiration from a specific artworks that will guide our approach, particularly in capturing architectural elements, the use of light and the sense of theft. The hall features classic arches, a random ceiling, a floating sphere, and a stoning check. Get marble floor. With this in mind, we will refer to two key artworks, interior of a gothic church by Emmanuel Dewitt, and a woman drinking with two men by Peer huge. This pieces will help us understand how to effectively represent intricate architectural details, lighting and perspective. Emmanuel Dewitt was a master of depicting interiors with a strong architectural presence. In interior of a gothic church, the Wit uses precise perspective lines that draw the viewers eyes through the vast expensive space of the church. The arch ceilings and large windows create a sense of height and grandeur. Notice how light burs in from the windows, highlighting certain sections while casting others into shadow. This interplay of light and shadow is crucial, especially concerning the impressive and brilliant floor, which is a key element of his work. As we prepare to draw the main hall of the Station de Francia, we need to capture the same sense of vastness and brightness. The effect of the polished floor in the weeds work is a fundamental detail we will aim to achieve in our drawing. Imagine how the arches lift your eyes towards the back where the exit Sortdasuda is located. Establishing clear perspective lines from the start will be vital to replicating this effect. Take your time to set up the vanishing points, thinking about how to draw the viewers attention towards the exit, similar to how the wit did with the arches and pillars in his work. This will create depth and guide the viewer's gaze naturally through the scene. Peter the Hutch, a woman drinking with two mens, provides another excellent reference, particularly for capturing surface textures and the quality of light. The Hoch is known for his ability to render different textures convincingly. And in this piece, you can see a checkered floor that while not showing evident reflections, subtly projects light, adding dimension to the space. Soft gentle glow from the window projects onto the floor, creating a rhythmic pattern of light and shadow. This aspect of light cast on the floor is especially significant as it enhances the atmosphere and depth of the setting. For our drawing, pay close attention to how the marble floor of the hall should reflect ambient light. The checkered pattern can act as a visual guide, leading the viewers eyes deeper into the space. Emphasize the construction of the hackat floor. It doesn't need to be perfectly proportional or in perspective to be attractive. Use varied shading techniques to capture the smoothness and wear of the marble with fine hatching and soft lines for a polished finish. On the other hand, notice how the Hoch doesn't make every tile equally bright. Instead, he uses subtle variations in shading to suggest areas that are more worn or shaded. These principles will be essential for achieving a realistic tactile quality in our drawing. Additionally, the light coming from the left, aching to the Hoch composition will play a significant role in creating depth and realism reflecting the atmospheric qualities present in the station's hall. When blending what we learn from both artists, consider how the elements interact. From the wit, we take the grand architectural structure and the interplay of light filtering through the large space, focusing especially on the bright floor that enhances the overall luminosity of the scene. From the Hoch, we focus on details and textures, as well as how the checkyud pattern contributes to the overall sense of perspective and space. This combination will allow us to create a rich and engaging scene that highlights both the grandeur of the station's architecture and the subtle details that bring it to life. Main hall of Stacion de Francia is an excellent subject because it combines many classical architectural elements, arches, domes, marble floors, and intricate wall details. By drawing on the techniques of Emmanuel the Witt and picture the Hoch, we can create a detailed realistic representation of this beautiful space. Remember, we are not trying to copy their work directly, but to learn from their approach to perspective light and texture. Through this practice, we will be able to convey the elegance and historic charm of the station, capturing both its architectural beauty and its atmosphere. So take your time with the initial sketch, focusing on the perspective lines and the placement of the key features like the arches in the floating sphere. From there, gradually build up the details, paying special attention to the light, shadow, and how they interact with the marble surfaces. With patience and careful observation, you will be able to create a drawing that feels as inviting and majestic as the station itself until the next lesson. 11. Construction The Main Hall : Hello, people. We're gonna approach destroying as if it were an atom that grows and transform into a complete body with organs and limbs. We will choose a section of the cam position as our starting point. I'm selecting the entrance in the background. That wall begins with a single line on the left. This line will be R atom. You can see that the wall is divided into two large sections, the upper arch with the clock, and the lower part with the doors. We will begin with the doors, trying to identify the geometric shape that defines this part. Notice it's a polygon with defined angles. Angles that show the left side is closer to us than the right, making it appear larger. Let's dip into capturing that perspective. Now, let's draw true crossed lines to confirm the size of our polygon is correct. Try to visualize those crossed lines in the reference image using your imagination to guide you. The next step is to draw a line straight down the center because the clock is located right in the middle, above the entrance. We can observe that the upper section is roughly the same width as the lower part, giving us a sense of how far the arch extends above the doors. This helps us establish the proportions of the structure with confidence. Of course, since the arch has a fairly large upper edge, we must extend it a little further to create it. Drawing is a process of contemplation in itself. That process should begin from the very start. It's not just about focusing on the reference image or what we are rendering in front of us, but also about deeply engaging with the drawing we are creating. This awareness enriches the entire creative journey, allowing us to see and feel more in every stage of the process. Now, let's build the architrave above the false columns. This element serves as a key reference point for constructing the sections visible in the archway. By creating the architrave, we can better understand the overall structure and proportions, which will guide us in drawing the finer details. Keep in mind that this section anchors the composition, helping to bring harmony between the columns and the upper parts of the arch. There's no room for fear as we draw. Just focus on following the lines and shapes. Remember, there is plenty of opportunity to make corrections as we move forward. The key is to remain calm and let your hand flow with confidence, knowing that the process is flexible and forgiving. Keep progressing step by step, and the drawing will naturally evolve. Let's step away from the entrance for a moment and observe how this line originates from the column. Let the chaquet floor guides you. Let's try to create the geometric shape of the floor, but do not rush. Feel where each corner of that shape fits within the composition. Now, we can go back to the entrance. Since we already established the size of the arch above and the section of the doors, we can now attempt to construct the doors. Our drawings showing us that the door cannot escape the space already created for it. Now, let's try to create this corner over here. It's an important element in the composition because first, it will give us the size of the third door, and it will also serve as a key to building the entire left wall. This wall will emerge from the perspective generated by the relationship between the entrance and the checkered floor. By focusing on this corner, we establish a foundational guide for how the rest of the elements align within the scene. We can move on to the central shape. I'm gonna try to figure out its nature, but it's just an approximation to not make this too complicated for now. We need to start seeing the floor as if it were an intended drawing grid. Actually, it's a great guide for us. Let's trace imaginary lines that connect one element to the other. But do not worry. The lines of each square on the floor aren't imaginary. They are visible and at the same time serve as a useful tool to help us construct the entire space. I know that many of you might feel scared about creating this shape on the ground. And I ask myself, what is there to fear? There are so many things in the world that can be frightening, like speaking the truth or expressing our love. But this is just a geometric shape, and we owe it nothing. We are its creators. It owes everything to us. There are two ways to create this star. You could simply try to fill the space and draw it intuitively. That would be the more emotional approach. It might turn out well, even beautifully. But alternatively, you could also focus on discovering where each of its corner is located, and that will give you a clearer structure to follow. Both metals are valid, and it's up to you to choose the one that resonates with your process. Oh Pay attention to creating this stars like mathematics of an atom. One line connects to another. One corner leads to the next. It's like a mathematical poem that forms this beautiful figure in the center. Each element plays its part, creating a harmonious structure that reflects both precision and creativity. Embrace this connection as you draw, allowing the lines to guide you through the composition. We need to continue adding details to the entrance so our minds can visualize the reference image on the paper. This is how the brain works. If you have already divided, the large entrance into two practically equal parts, dividing this smaller door into three sections should be straightforward. From there, let's keep constructing the lines of the floor, following the lines we have a ready drawn and attempt to discover the large polygon that surrounds the central black star. This process of exploration will help solidify the structure in your drawing. I personally dislike drawing grids. To me, they don't truly represent the irregularity of spaces. Nature is never perfect. Everything is an approximation of perfection. It's much more interesting to create some kind of grid based on the structure we observe, especially in a specific areas. Of course, in these examples, throughout the course, the surfaces are flat. So will we use the drawing grid derived from the flat elements we find in the composition? This approach allows us to maintain a sense of spontaneity and connection to the natural forms around us. We can add a slide hatch into indicated darker areas at once. I like to p that touch from the beginning. Let's attempt to create this other door. Since we already have experience with the first one, I don't think it will be much of a challenge to tackle the one on the right. Just remember to observe the proportions in the relationship between the elements, as well as the angles that define its shape. This consistency will help us maintain harmony in our composition as we progress. Take your time and let the lines flow naturally. To create this falls door on the right wall, pay attention to the distance between the points of the star and the falls door. Notice the angle formed between the top of the arch and the top of the arch in the nearest door in the entrance. These reference points are crucial. They guide us to ensure that our proportions and angles are accurate. Now, I'm uncertain about the size of the door. So I will draw a cross line to indicate the approximate angle formed by the door. This method allows me to find its actual size more accurately. By using these angular relationships, I can refine my drawing and ensure that each element fits harmoniously within the overall composition. Observe how I created this upper arch by simply extending the line from the column upward. This allows me to determine the approximate angle of the arch as it reaches the top. You may notice that many of the details on the walls are composed of stripes in the concrete. Creating them isn't difficult. We just need to draw parallel lines over those we have already established. If you make a mistake, simply start over. There's no reward at the end, other than the satisfaction of creating art. Now, let's create a circle in the middle of the arch. It will be our clock. I will set it to the time shown in the reference image. But you can choose the time when you fell in love for the first time. I'm sure you remember it well. This personal touch will make your drawing even more meaningful. For this last door, I don't think you will have any trouble. You already built almost four. The columns indicate its size. So we just need to let it grow right there. Trust the shapes you have established. They will guide you. Keep the proportions in mind, and let's finish strong. Now, let's move on to the most beautiful elements in the whole. That metallic sphere suspended in the air, like a planet in the vast space. The person who designed this place seems to possess extraordinary depth. Their creativity reflects a universal sense that captivate us as if that sphere has a gravitational pull drawing us closer. The structure of this place is now complete, but this is just the beginning. I look forward to seeing you in the next lesson. 12. Checkered Floor First Details The Main Hall: In this lesson, we will create this checked floor. As I mentioned, this floor serves as our grid. In fact, is a grid in itself. We must try to follow the pattern between the small squares, and step by step, we will discover that this is the easiest part of the drawing. Essentially, it's the mathematics that guises in understanding surfaces, particularly regular surfaces like it is when. To construct the squares of this floor, we need to understand where the lines come from and their nature. So we should see the lines as if they all originate from the entrance wall, extending into the hall to form the polygonal shape at the center and the star within it. This means that if we pay attention, we only need to divide some spaces in two, drawing additional parallel lines that logically stem from the same wall. I know it may seem difficult, but in reality, it's not. Once you have few squares, the work becomes easier. To draw the horizontal lines, we should follow the same process but extend towards the right wall. The entrance can also serve as a reference, as can the structure of the central polygon. If you see the referenceamag in detail, these lines should touch a specific area of that central polygon, which is our most valuable clue. For example, some horizontal lines intersect exactly at certain points of the star. So if, for instance, this line crosses one point, it must also cross the opposite point on the other side. Consequently, we must ensure that the structure of the grid respect this, and the star must align with this structure as well. This gives us two key insights for constructing the space. Another strategy for creating the grid is to count exactly how many squares fit across the width of the outermost polygonal structure. For instance, if there are ten or eight squares in that closet strip, we can determine how many squares should go on each side because there is a line that divides that structure in half. This line comes from the middle door and extends out to the tip of the star. M Then you can see that there are ten squares in total, five on each side. They must fit perfectly in that space. So I have made five larger squares on the side closest to us and five smaller ones that must fit in the perspective on the other side. This way, we maintain the visual coherence of the grid. So let's repeat the same process across the entire checked floor. We will determine how many squares should fit in each space, ensuring the lines aligned with those numbers proportionally. As you advance, you will find it becomes easier. Remember that even if it's not perfect, you can always adjust elements in the composition based on the grid, even after it's been created. Pay attention to the crossed lines that can help us build the grid more quickly. If you draw a line extending through the corners of the squares, you can determine the size and proportion of the squares in the distance. These crossed lines, like those near the star, will interact with the horizontal and vertical lines, automatically forming squares. This technique will streamline your process and keep everything in proportion. You must remember that we are not creating a grid per se. We are building a checked floor. One of the issues with Gris is that they are in cinematic film dances distort perspective, adding some deformation at the edges of the image that makes the image itself more appealing. Artists throughout history have applied this both intentionally and unintentionally. Resulting in unique and original representations. This irregular deformation perspective enhances the sense of space, depth, and proportion in drawings and paintings. That is the main reason I prefer not to approach spaces through grits. And there you are. Our checked floor is almost ready. This serves as a great framework for us to continue building. Of course, it has some imperfections that we will correct as we progress. I see you in the next lesson. 13. Entrance First Details The Main Hall: In this lesson, we are going to focus on adding details to the entrance and the side wall. The goal is to identify which elements in the composition should be darker and more defined to create a more effective shading later on. For now, we won't focus too much on shading. Let's take it step by step, and let's start with the entrance. A side draw the inner lines of these columns. Pay attention to the texture of the wall. If you took the sketching and drawing fundamental course, you might notice that it's quite similar to the stone texture we created in the castle. But this time we are dealing with marble bricks. Unlike rocks, these bricks are regular in shape. Despite that, the bricks have varied texture and tones, which is visually rich and allows us to be created with the shading. Creating the shape of the bricks isn't difficult because the entrance is at enough distance for us to draw space parallel lines and form bricks from that. We don't need to distort them match in perspective. Additionally, we wouldn't be drawing a long stretch of bricks in any part of the entrance, which makes it easier for us to experiment with the size of the bricks, especially as we adapt to the spatial deformation. By this, I mean the bricks we draw on the right side of the entrance should be slightly smaller than those on the left, as the left is closer to us. Pay attention to what I'm doing on this door. Another important aspect, I'm focusing on this lesson is how to convey shading through the use of lines and details. At this stage, we will darken the parts of objects and forms where there is generally more shadow. Keep in mind that the line itself should provide information about light and shadow. Sometimes the spaces we are drawing are so small that by simply darkening or lightening a line, we can already tell how much light and absence of light is present in the area. This technique is crucial for guiding the viewer's eye and setting the mood in the composition. Generating the value of shadow through line work is fundamental, especially in interior architectural drawings. Lines not only define structure, but also communicate depth and atmosphere of space. So by varying the weight, density, and direction of lines, we can suggest light and shadow helping to create a sense of volume and dimension. In interior spaces where lighting can be more complex due to the interaction of natural and artificial sources, effectively using light to depict shadow enhances the realism and emotional depth of the scene. It allows the viewer to intuitively understand the architecture's form, scale and texture without relying solely on heavy shading techniques. As long as I continue creating the bricks, let's talk about the capitals of these small columns. Depending on the size of the drawing, we are not always obligated to capture the exact form of the capitals. What is most important are three things, the general structure of the capital, how dark the capital is, and the number of irregular shapes within it. By combining these three factors, we realize we can simplify the design by merely suggesting the internal aspects of the capitals with darker lines that maintain the overall structure. This effect should be noticeable from a distance. That is the approach I will take with each capital in the drawing. I'm applying a similar approach to these lamps on the wall. It's not so important to perfectly capture the exact shape, but rather to focus on the key elements visible from a distance. These elements include the white parts of the lamp and that black structure connecting it to the wall. By emphasizing these essential features, we can create a clear and effective representation without getting lost in unnecessary details. Remember to step back from your drawing time to time to observe it from a distance. I will be applying this light hatching to the floor elements while reflecting on the progress made on the entrance. Taking a moment to view the entire composition helps you gain perspective and catch any adjustment that might be needed. Notice how crucial the value of the line is in this structure. The moment you draw it, that section of the wall immediately gains a significant sense of relief. It changes the viewer's perception almost instantly, giving depth and dimension to the surface. The power of a well placed line cannot be underestimated in transforming flat spaces into dynamic engaging structures. That corner is a bit tricky, but the key is to draw it as if it were a staircase, a staircase laid horizontally. Each column becomes a step of that staircase. If you approach it this way, it will be much easier to render and maintain proper perspective. Even though the main goal is to represent the lights and shadows through the linework, you can add some hatching to specific areas where you find it truly necessary. As you can see, you have done this in a few parallel lines to emphasize certain key dark bands. This subtle hatching helps deepen the contrast and create a richer texture, enhancing the overall sense of depth in the drawing. For example, the inner part behind the door is crucial to represent at this moment, or at least to suggest it. So if we need to use some hatching to achieve that, it's important to do so. So by using this hatching, we can indicate that there is a space behind the door without detailing every element. Look how well the capitals and lines of the world structure stand out. There are practically no shadows, yet everything appears to have a lot of volume. This effect is achieved through the careful use of line weight and the strategic placement of details. Even in the absence of deep shading, the definition provided by the lines creates a strong sense of form and depth. It's a great reminder that volume and drawing can often be suggested through careful line work alone. There is a clear rule in drawing that may seem obvious, but is often overlooked. The closer an element is to us in the composition, the more precise its form should be. For example, in this door, it appears to be closer, so its detail must be more explicit than those of the doors at the entrance. By focusing on capturing these intricate details of this near door, the viewer will automatically interpret the details of the more destint doors more effectively, thereby enriching the general reading of the composition. Creating these grills on the wall is quite straightforward. It follows a similar principle to the grid. We divide the space into lines and then draw intersecting lines to form squares at the correct angles. These crossing lines should perfectly traverse all the squares, ensuring that the proportions remain consistent. This approach not only simplifies the process, but also enhances the overall accuracy of the drawing. So You should be patient while creating these grills. They require some precision. Try to relax and enjoy the music you are listening to right now. This way, you can focus on details without feeling rushed. Remember, taking your time will allow you to achieve a better outcome and add a unique touch to your work. Now, for the final detail of this lesson, let's write in Catalan Sortida Citat. It's important to highlight that this space serves as both an entrance and an exit. We are simply viewing it from the inside. And here you are one more step rendering the most beautiful train station in Barcelona until the next lesson. 14. Checkered Floor Shading The Main Hall: This lesson, we will make our first approach to shading the checkerboard floor. We will start by darkening the darkest stripes of the floor. Remember to follow the squares closely. There's nothing new to construct this time. Our focus will solidly be on shading those darker sections. Make sure to shade the stripes without destroying the structure of the squares, as we will rely on this layout a lot later on. Be very careful with this. Shade gently while maintaining the integrity of the lines. Let's complete this stripe also with the same intensity, ensuring that we don't destroy the squares. Remember, the squares are crucial for our composition. You will understand their importance later in this lesson. H Now, let's shade the area between the dark stripes, specifically the outer zone of the polygon. We will use a medium tone that lies between the color we see around the star, which corresponds to the tone of the paper at this moment and the tone of the dark stripes. So I'm going to apply hatching throughout this area to create depth and dimension. Remember to maintain a consistent pattern as you work. Don't hesitate to adjust the pressure of your pencil to achieve the desired tone. Now I will apply another layer of hatching over the dark stripes to reinforce them even further. Remember to do this carefully. Ensure that you don't destroy the lines you have already created. Now, we'll use a blending stump to spread the graphite evenly across these stripes. This technique will help create a smoother transition between the shaded areas and enhance the overall texture of that surface. Now we will move on to the details. Carefully observe the reference image, paying close attention to the reflected tones in the darker areas in the overall shading. You could work on each square individually to capture the specific tone of each section of the floor, ensuring that the divisional lines remain visible throughout. This step requires a lot of care, patience, and intention. The reference image is crucial this time to help you achieve the desired tones. As you go square by square, take your time to blend and layer de graphite, allowing the texture and depth to emerge naturally. This is the way to bring the floor to life. In those areas of the floor closest to the entrance, you don't need to be as strict with squares, focus more on achieving the overall tone. Remember that near the door, there is also a dark and that may not be easy to see due to the distance, but it's important to include it. Use a softer approach in these regions, blending the tones to create a smooth transition. Take your time to observe the nuances in the tones and let them guide your shading. Now we're going to apply the same process we used on the darker squares to the medium tone areas of the floor, which appears gray in the reference image. Remember to work on these areas square by square to ensure that the dividing lines remain clear and elegant. Take your time to observe the variant shades of grade in each square. Start with a light layer of hatching and then gradually build up the tone to match the reference. H In this gray area, you need to be especially careful while shading the squares, as the tone of the hatching is very similar to that of the dividing lines. Make sure to frequently check the contrast between the shaded areas and the lines, adjusting as necessary to keep the lines crisp and visible. This type of detail in a drawing allows us to think and feel while we create. The repetitive nature of these details can elevate our thoughts and transport us to a different place. Always view this not as a challenge, but as an opportunity for expression. While a part of your mind should focus on achieving the desired effect on paper, let the other part wander freely. Let's apply the same dark tone to the star in the center, always keeping the squares in mind. But in the farther sections, it's not as crucial to adhere strictly to those squares. Look how well the texture of the floor is coming together. Continue with patients working square by square. It's essential to follow the process step by step to achieve the desired effect. You may notice that in this part of the star, I'm not filling in all the squares with a dark color. The reason for this is that in a later lesson, we'll be creating the reflection of the wall on the floor, and it wouldn't make sense to darken that area too much. So it's all about planning ahead and considering how different elements will interact in your composition. Now, as a final detail, I'm going to take the opportunity to darken the bars on the wall. It's important to advance some elements in this lesson that the entire drawing evolves coercively. H. And here you are. We had made significant progress and put in a lot of effort into constructing the floor. But there is still much work ahead to achieve the beautiful final result. I see you in the next lesson. 15. Walls Shading The Main Hall: In this lesson, we will focus on shading the entire wall, including the background entrance and the lateral side. Using the value of the lines we are previously drawn as a guide, we will progressively shade each surface with various layers of hatching. This requires a delicate touch, as the final result should allow the natural color of the paper to represent the ocher tome we see on the walls in the reference image. Take your time and remember to build the shading gradually for the best results. One of the greatest challenges when representing a gradient of shadow is depicting different colors and textures when there is the same amount of light. This becomes particularly difficult when working solely with graphite. And although in this drawing, we will apply what pastel in the final stage, it's primarily created with graphite. To achieve this effect, we must consider two factors. The first is the choice of paper. Here, the paper should represent the clean wall tone, such as the area around the arch where the clock is. However, we also need to capture the marvel areas which despite having the same illumination appear different. To achieve this, we must vary the tone in the gradient, subtly adding more darkness, even when we know those areas have the same amount of light. This requires extreme soldotin shading to differentiate surfaces that reflect light differently while maintaining a consistent lighting source. Notice how in this area of the marble, I'm not only adding graphite, but also reinforcing the lines with more intensity. I'm using these lines as a guide to shade the area and enhance the overall appearance. This process of retracing the lines with more strength allows me to emphasize certain details and improve the structure while maintaining a balance between the texture and the smoothness of the marble. So this combination of subtle shading and stronger lines creates a richer, more dynamic surface. Pay close attention to how I darken the capitals of these columns and emphasize the edges to create a volume. This might seem simple because in the previous lesson, we added some detail lines, but now provide us with enough information to do this properly. On the other hand, we must also understand the nature of light. The light is coming from left to right, so all the right hand edges of the reliefs on the wall need to be darker. This contrast between light and shadow enhances the three dimensionality of the elements, making them stand out more naturally within the composition. The softest and longest gradients we will find in nature are those rounded forms. For example, notice the smoothness of the grading on the curve of the arch. This is the reason why in many drawing courses, the first thing you are going to draw is a sphere. There is no other element that visually represents a grading more clearly than something spherical. Mastering this gradual transition from light to shadow is key to understand how to create depth and volume in your drawings, as it mimics the natural way light interacts with curved surfaces. The smoothness of a surface is another crucial factor that influences the quality of a gradient. This is because a surface appears smooth when its particles are smaller and more uniform. In this case, the plaster of the wall is polished and clean enough that the light hits all the particles with equal intensity. However, when a surface has small cracks on varying levels of relief, this effect changes. Even minimal textures can interact with light in such a way that they break up the uniformity of the gradient, creating subtle variations in tone and shadow. Here you can clearly see the importance of these lines and also the capitals of those columns in the overall structure of the drawing. This is a key lesson when it comes to identifying the most important elements of a composition. In this case, these columns are essential. As they give strength to the entire structure, it's as if the whole wall rest upon them. Drawing our eyes naturally towards them. On the other hand, notice how I don't detail any specific shapes in the capitols. Instead, I use irregular strokes to suggest that within the general structure, there are typical decorative elements of Greek capitols. Now, it's time to add the first shadows to the sphere. Let's imagine it as a small planet, witnessing our drawing process. Try to feel its glow and metallic aspect as we work on its details and shadows. This sphere has high contrast, typical of metallic surfaces. We need to capture the sharpness between light and dark to give it that reflective and shining quality. As you progress with shade in the drawing, you will naturally feel the need to adjust and enhance the value of the lines. Notice how even though we darkened these door details in a previous lesson, now it's necessary to darken them even further. On the other hand, remember that graphite particles tend to fade as our hand bruhes against the surface while drawing. This is why it's important to revisit certain areas and reinforce them to maintain the desired contrast and clarity. Stay mindful of the evolving balance between shadows and lines throughout the process. Now, let's move on to representing the details in those rooms behind the doors. Doing this well is crucial for adding depth and perspective to the drawing. It's important to render those spaces darker than the other elements in the entrance as they are farther away from the light source. This contrast will help convey the feeling of distance and make the spaces recede into the background. It's more important to represent the intensity of the tones and the precision of the shapes inside. In the same way as with the other door, I will enhance the intensity of the contours of each of them to equalize their tone in the drawing. This step is crucial for creating consistency and harmony throughout the composition. Remember to maintain the delicate balance of light and shadow to preserve the dimensionality of each element, including the doors. Mm. Pay attention to how important this door and these columns are for the entire drawing. As I mentioned earlier, they serve as a reference points for reading the other doors and mini arches. This is why it's essential that they are drawn well and attractively. Some elements in drawings are key to the overall composition. These columns and doors are among those critical elements, providing a structure and guiding the viewer's eye throughout the work. And here you are. Or drawing is starting to come to life. The shadows have given volume and relief to the scene, bringing us closer to the final result. I look forward to seeing you in the next lesson. 16. Checkered Floor Reflection The Main Hall: Hello, people. This lesson is truly captivating, not only for its simplicity, but also for the impact the details will have on the drawing. The difference between how the drawing looks now and how it will appear at the end of the lesson is significant. But for now, let's begin by enhancing the distance black stripes of the floor, the ones that represent the checked board area closest to the doors. As you work on this, focus on gradually building up the intensity of the shadows without losing the structure of the squares. Remember that if you are working in an area where the squares are not explicitly represented, simply match the dark intensity of that section. Now it's time to create the reflection. Imagine that right beneath the walls, there is a white surface where we will draw almost exactly what is directly above, but inverted below. We are not supposed to adapt to the constructed surface. Instead, draw the dark parts of the doors and columns in the same position as they are on the wall, but in the opposite direction. Pay close attention to the shapes and tones as you translate them downward, ensuring that the reflection captures the essence of the elements above while maintaining its own unique quality. On the other hand, pay attention to how even the elements that are inside that room, meaning behind the door, are reflected on the floor. This detail is crucial for creating a quesct composition. It's important not to be afraid of smuhing the floor as you work on the reflections. If you respect the shapes above, everything will turn out great. So just keep an eye on the proportions and ensure that the reflections maintain the essence of the objects above. In this central area, it's crucial to consider how the shadow interacts with the surface. Depending on where the shadow falls, you should apply more or less graphite. For instance, in this case, there is a part of the floor that remains white, so the reflections projected there shouldn't be as intense as those on the darker sections. The reflection cannot look exactly the same if the surface has different colors. Pay attention to how I represent the reflection of the columns. I don't need to draw all the details of the columns. Simply creating a shadow that respects the shape of the column is more than enough. This technique allows the viewer to perceive that it's indeed the exact reflection. In this section, you can now understand why I didn't darken that part of the central store. The reason is that the reflection we need to include there is quite illuminated. It's a part of the wall that is significantly brighter. So the reflection projected also has that nature. I mean, the light in this area is so strong that it overcomes any darkness that might be present in that section of the store. Now, notice how I'm adding contrast to the strongest details of that wall, especially where those details intersect with the start. I'm darkening those areas to make them appear sharper and more defined. Now that the drawing has more contrast, we need to enhance the contrast in that areas that aren't yet adapted. For example, let's focus on the bars on the right wall. We will darken their shadows to make them align better with the rest of the drawing. Now, we're going to take an important step by enhancing the texture of the walls and improving the appearance of the marvel bricks. Let's focus on darkening and defining some of the bricks to give the walls more life, which will in turn enhance the reflection on the floor. Darkening certain bricks while leaving others lighter will create a more dynamic texture. Et's repeat this process on the right wall as well. Remember to do it carefully, focusing on darkening and defining some of the bricks to create texture. Feel free to add some irregularities or personal touches. Perhaps you might notice that some bricks that naturally catch more light or others that have slight imperfections. Pay attention to that technique I will apply to at this final reflection. Since the object above is white, I will remove the graphite with the eraser pencil, both above and below to achieve the reflection, similar to the one in the reference image. And that's it. The drawing looks beautiful already, and there is still more to come. The final touch with white pastel will be magnificent. But we are going to explore that in the next lesson. 17. White Pastel & Final Details The Main Hall: Hello, people. Here we are in the most important lesson of this drawing. We're going to apply the white pastel across the entire drawing. We are going to spot the brightest elements on the composition as if the white pastel itself were the light coming through the windows. If you pay close attention to the reference image, that point on the background of the central door is the brightest spot in the picture. So we are going to start by rendering that spot using the white pastel pencil. We are supposed to use the pastel pencil as we need to have more precision. We are going to do the same with the other door with that spot shining in the background. We are supposed to use the same principle in the reflections. The light should follow its shape in the reflection. It should not adapt to the surface of the floor. Et's move on to the next point, the sphere, focusing on the highly illuminated areas of the sphere. Since this object is metallic, the light hits it directly from one side. We need to convincingly highlight this light. We will fill in the spaces of the sphere that show the color of the paper, essentially replacing that color with a white pastel. Now we can also complete that clock on the wall. Now we are moving on to a very delicate task. Working on the checked board floor, you will apply the white bustle to enhance the dividing lines between each square. Additionally, you will gradually apply the white bustle to each of the squares in the white area surrounding the star, keeping in mind the different tones, textures, and the reflections projected in each specific square. Notice that in these areas where shadows reflect on the white section and only filling in with white pastel where the color of the paper is visible, this technique helps avoid disturbing the work done with graphite. Take your time to observe how the shadows interact with the white areas. This will help you decide exactly where to place the pastel for the best effect. Look how beautiful the floor begins to look. It's like magic, simply magnificent. Now I'm going to retouch all those ornaments on the doors. The purpose is to represent all those glasses over there. Remember that after applying the pastel, revisit areas that may need a little more contrast or depth with the graphite to ensure the overall balance of light and shadow is achieved. Now I'm going to apply white pastle over there to represent the marble texture. The idea is to represent that the Greek ornament is, in fact, made of a different material than the wall above, and we can do this with the white pastel. In fact, the section of the entrance is made of marble as well. Now we are going to start applying the white pastel on the arch in the most illuminated areas. We must follow the gradient that we already created and not exaggerate applying it. Remember that you should feel the difference between the arch and the marble areas below in terms of tone and texture. H On these sections of the upper area, we must create a difference between those stripes that are in relief and those that are farther back. We can also do this effect with a white pastel. We must take advantage of the white pastel to highlight these objects that shine in the dark like this one, for example, the effect is quite interesting. Let's skip touching this arc. You must be very subtle at doing this. Now I'm going to add the numbers to the clock. Remember what I told you about the time? You can do it if you want to. Now, pay attention to this important detail. With a white bastelbr, I'm going to represent the sunlight peeking through the window and touching the floor. This is not explicit in the reference image, but it is a personal touch that will look great. Now I'm going to retouch the brightest spots of the entire drawing. I will do it with a white pastel stick. I will do it with a pastel bar, since its pigmen sticks even more to the paper. Now, as the light enters through this section, I'm going to reinforce the shadows to create a greater contrast to truly represent that the light is entering through there. I'm going to use more graphite. Obviously, we cannot forget this part of the hall. We must represent that the light also reaches this high part of the wall. Of course, we must do it subtly to create harmony with other parts of the drawing. Now we're going to fix a perspective problem in the shape in the center. If you pay attention to the dark polygon, that right corner of the polygon near the door doesn't show a deformation corresponding to the distance at which it is. We must fix that. This corner should be smaller and there is no problem in correcting it. This is something we must detect in the reference image. Although it doesn't show the complete polygon in that part, it does suggest that deformation if you look at the image closely. I'm going to use the eraser pencil to raase that stripe underneath, and then I'm going to reconstruct the squares and details that are missing. Um Now we're going to take a good look at the whole drawing and at the final white details. It's time to look more carefully than ever. Now I'm going to retouch these columns here, where the light heats more intensely. And that's it. Or drawing is complete. Out of all the drawings in this series and sketching and drawing, this one is truly one of my favorites. The reflection on the floor is stunning. It genuinely makes you want to be in that place, contemplating its beauty until the next time. 18. THe Hall Color Sketch: Hello, people. Now let's do a sketch exercise on the same work we did before, but from another point of view. This example is doable in speed because the lesson should last approximately 15 minutes. But the idea is to do it as fast as possible, not to win a competition, but to free your hands and manage to draw this. You can see how we started by making the geometric shape that contains the lower part of the entrance. But with the difference that this time my lines are not different. When it comes to sketching, lines are never definitive. We use several approximate ones that allow us a margin of error of millimeters, since it's impossible even for the best draftsman to draw definitive lines on the first attempt. There are two ways to draw these lines. We can do it directly on the paper, or you can rehearse the movement of the line before putting the pencil tip in contact with the paper. This way, you will significantly reduce the number of lines on the paper. Please note that I'm including the light and dark directly in the sketch lines. I mean, I'm not leaving this for a later stage. What I'm doing is quickly drawing angles to discover the shape and position of all the elements in the space. That is very important. It's important to identify which are the most important elements of the composition, those elements that can visually represent the entrance without going into too much detail, the arches, the columns, the passenger facilities, the elements that are back lit and, of course, the lines of the floor. When it comes to sketching, exaggerating perspective, and Karo Scuro is a powerful creative strategy that breathes life into your work. It's like adding a touch of drama to an otherwise quiet scene. Stretching angles slightly or deepening shadows amplifies the mood and draws the viewers eyes exactly where you want it. By pushing the countries between light and dark, you emphasize form and depth, giving your sketch a sense of three dimensionality and energy. Try to think about it as a plane with reality, bending it just enough to make the composition more captivating. This bold approach invites a fresh expressive take on everyday element, allowing your artistic voice to shine through. As I mentioned at the beginning of this lesson, the sketching process you are watching is speed up, but you should be able to complete it within 30 minutes to an hour. Actually, the time it takes will largely depend on how many details you want to include. If you are aiming for a more intricate finish, take your time to explore those smaller details. But if you are looking for something a bit looser, feel free to simplify and capture the essence of the scene. It's all about finding your balance. Pay close attention to this element that I'm going to do. I'm going to reinforce the shadow inside the arches of the doors. Notice how crucial these shadows are in the sketch. They practically give the entire lower part of the wall, its full sense of volume. Without them, the structure would feel flat and lifeless. Oh. Pay attention to how I'm going to approach the construction of the floor. I'm not focused on perfection. In fact, I will make it quite distant from perfection. Instead, I'm concentrating on capturing its essencee. To achieve this, we simply need to build harmoniously with the composition. There are elements in the sketch that might not be perfect, but if they are harmonious, they will work. The key is to draw coherently from our perspective, allowing the lines and shapes to flow naturally with the sin. We should use hatching extensively in the sketch. It's the quickest way to represent shadows without smathing our hands or slowing down. Hatching allows us to build depth and form efficiently, and it's perfect for keeping the flow of the sketch dynamic and spontaneous. Now, let's move on to a higher level of detail in the entrance in the elements that make up the two walls. Take a deep breath and allow yourself to relax. Imagine that you are actually there standing in front of this structure with your sketchbook, so you don't have time to overthink or smash your hands, yet you still want to capture the essence of the place. Try to focus on key elements. Use quick but intentional lines, and trust your instincts. H. Y If you feel like the drawing needs more depth, do not hesitate to apply an extra layer of action with a darker pencil over each of the shadows you have already created. This will give your sketch a richer contrast and bring out the forms even more. Layering shadows can create a deeper sense of space and texture. Try to be bold with your strokes, but also remember to keep them controlled to maintain the harmony of the piece. At this point, our sketch of the whole is complete, but I'm going to add a special touch, some color. So this will give you an idea of how this piece would look like with a hint of color at it, even though it's still a sketch, not a fully detailed drawing. On the other hand, it's fascinating to see which colors best capture the total range of the image. Of course, this is just my interpretation. And since we are working with a sketch, the focus is more capturing the essence of this scene rather than perfecting every detail. So let's see how color can breathe life into it. Pay attention to how I added the ochre color to the top of the entrance. Look at the pink color of the marble part and look especially how the white color represents the light that enters through the windows. Y y y y y 19. The Hall Graphite Sketch: Hello, people. Now you're going to dive into another sketch. But this time, it will be faster, more expressive, and loose. Throughout the process, you will notice I will make quite a few mistakes, but that is completely okay. The goal here is for the sketch to look attractive, capturing the essence of the place in an appealing way. Remember, try to focus less on perfection and more on the feel of the drawing. Try to enjoy the Spanish music you are listening to and let the pencil flow freely across the paper. Take a look at how I have already established, the general structure of the sketch. Now, watch as I add the shading using hatching, focusing on the value of the line and notice how I'm being bold and decisive with the lines I want to darken. The key here is confidence in your strokes. Let the lines flow and don't be afraid to make strong marks where the shadows truly need depth. H. Now, take a look. I'm creating the star in the center. To make the process easier, I'm simply marking the points where each corner will go on the floor. From there, I will construct the entire star. This method allows for the precision and clarity as I build the shape. And that's it. Notice how I capture the essence of the place. And even though the proportions of the floor might not be perfect, it comes across as a delightful caricature of the location. The expressive hatching conveys a sense of speed in which a sketch was created, adding a unique beauty to the composition. Keep all of these in mind as you explore your own sketches. I see you in the next lesson.