Drawing and Sketching Vol. 3: Capturing Ancient Urban Spaces

1. Drawing and Sketching Vol 3 Capturing Ancient Urban Landscapes: Imagine being able to capture the history and character of these ancient spaces, creating works that reflects their unique essence and the beauty of their irregular surfaces. I am Badillo Ve Perez, and after 30 years of dedication to drawing and learning in the best art schools, I'm here to guide you through the third volume of my drawing and sketching course series. This ongoing journey, each volume builds upon the fundamentals of the previous one, leading you step by step towards the mastery in drawing. In this volume, you will learn to depict the charming street of the Go quarter in Barcelona, where you will explore one of the oldest streets with its cobbled stones in the 15th century buildings, as well as the beautiful typical streets of the city with windows and facades that reflects the essence of the catalan architecture. This course is designed for those who wish to express their creativity intuitively and effectively without relying on tedious rowing grids. During this volume, we will focus on sketching and learning to construct these type of spaces, concentrating on how to understand the nature of these environments, to represent them intuitively and artistically. 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. Throughout this course, we will also explore the theory that will support our practical learning. We will delve into concepts such as composition, two dimensionality, three dimensionality, and how to interpret the complexity of forms in your drawings. We will immerse ourselves in the study of artists who have successfully portrayed the beauty of ancient urban landscapes, many of whose works can be found in museums. Additionally, we will work with high quality materials such as graphite, white pasteles, luxury paper, allowing you to express your creativity effectively and achieve stunning works. So don't miss the chance to embark yourself on this fascinating artistic journey. This course has been specially designed for you, adapting to your needs and pace. 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. This is your chance to develop your artistic skills and discover the true leisure upgrade. Welcome to my Bay Atllie in drawing and sketching bottom free. Capturing ancient urban landscapes. I see you in the first lesson. 2. Learning to draw ancient urban landscapes : Hello, people. In this first lesson, we will explore while learning to draw ancient urban landscapes is both a unique challenge and an invaluable tool for developing observation and perspective skills. Historical environments are filled with complex details and unique textures, but what truly makes them interesting is the irregularity of their structures shaped by both time and the terrain upon which they rest. Unlike modern cities where lines and surfaces tend to be straight and uniform, Buildings and streets in an ancient scene show inclinations, deformations, and worn surfaces. These urban landscapes reflect the impact of the years within elements like sunken streets, leaning walls, and uneven textures playing a crucial role. The goal of this course is to teach you to capture the irregularity and the unique character of these ancient structures, learning to view perspective in a much more fluid and organic way. In a modern in with new structures and flat surfaces, traditional perspective grids work well to organize proportions and guide perspective. However, in an ancient urban landscape, the irregular nature of the terrain and the wear of the years make these conventional guides less effective. One of the main factors is that in these settings, streets can be sunken in some areas due to the passage of time, and buildings may leaner twist due to wear and tear. Additionally, many of these places are built on hills or a neven terrain, where streets and structures adapt to the natural form of the ground. Following its slope and curves, a great example of how to represent and these characteristics authentically and expressively can be found in the works of Johan Bar Hall Jan kind. Jan kind was a Dutch painter and etcher known for his representation of urban landscapes and rural scenes. Through his works, we see a special sensitivity to historical settings and the character that time imprints on them. Jenkin often depicts dirt roads and uneven paths that contrast with the flat orderly surfaces of modern cities. In many of his paintings and water colors, we can observe how these imperfect and time worn surfaces become an integral part of the atmosphere. His urband landscapes are not governed by an idealized perspective. Instead, they show a natural and authentic arrangement of buildings, which often appear mes alined or tilted, revealing the effects of the age and the nature of the terrain. Jan kind portrays streets and buildings that adjust to the topography of the place without trying to impose a strict artificial organization. This is particularly visible in these scenes of cities and towns where structures are not perfectly straight or aligned in a rigid pattern. We can observe John Kin's mastery in capturing the essence of these ancient settings by analyzing his sketches in preparatory drawings. In these studies, he clearly shows the inclination of buildings and variations in the ground level, key aspects for understanding how we want to approach our own compositions. These sketches reveal a deep understanding of irregularity of the surface and unique layout of the construction. His process of observation and attention to detail becomes a crucial reference for us in this course, as it demonstrates how to construct space without solidly relying on a conventional grid. When drawing such a zen, the focus should be on the constant comparison between each element, the angle of inclination of a building relative to the surrounding street, the level of sunken sidewalk compared to the height of a doorway, and how buildings conform to the terrains relief. These visual relationships become our main guide to constructing space and capturing the authenticity of the urban landscape. Through this technique, you will achieve an organic and realistic representation that reflects how time and terrain have shaped these structures. This method allows for an intuitive and authentic depiction of the scene. Throughout the course, you will learn to hone these observations and use them as a primary tool for composing your drones without solidly relying on traditional perspective guides. In the following lessons, we will delve deeper into these principles and put them into practice with specific exercises. Get ready to view ancient streets and buildings from a new perspective that combines both technique and visual sensitivity until the next lesson. 3. Irregular and Uneven Surfaces First Sketch: Hello, everyone. What we are going to do in this lesson is to tackle the first practical exercise to understand the conditions in which an old urban landscape could be presented in which the surfaces are not completely flat. So this sketch will not only be useful for urban landscapes, but for landscapes in themselves. So I'm going to start by creating this completely flat surface, not to create the objects in it, but so that you can see how I'm not going to create the objects from it. So having these three lines that give me more or less the structure of the table, we could draw some lines on the surface that suggest the perspective as if it were a grid. But as you can see in the reference image, the objects don't rest on the surface. They are on a kind of raised cloth as if it were a hill. So I'm actually going to create a composition from this main shape, this parallel pipet that rises here as if this were a castle on hill. So as you can see, I'm not guided by any grid or the perspective lines of the table. I'm creating the geometric shape by relating the initial edges of the table, which we are actually going to modify later. So notice how I draw these angled lines from the edges and corners of the table to build this geometric shape. Now by attention to how I draw crossed inclined lines to also construct one of the sides of the ometc shape itself. I have also shown these inclined lines in the reference image. But as I always tell you, the human eye is sensitive to these inclined lines. You must imagine them in the object. The reason why humans are sensitive to these type of lines is due to an evolutionary issue. We have developed this way to walk, to run, to drive vehicles, to hunt, and to throw objects. Now look how I build the geometric shape of the background. It's growing from the shape that I have already created. It's not growing from its position on the surface. Another important element to use as a reference is a space between objects. This space is a two dimensional geometric shape in itself. So we must take this into account to properly construct the object. Having these three shapes already built, it's much easier to build the cone that is in the foreground, because, for example, it cannot be higher than the shape that is behind, and I can relate the base of the shape behind with the position where the cone should be. Now, it's even easier to create the lines that represent the fabric on the table. Now I'm going to remove some construction lines. Now that I have the objects and the fabric, I can fix the table to adapt it to the layout of the object, and that is the proof that I have created the composition of the objects from the objects themselves and not from the surface, just as we are going to do in the following exercises. Now I'm going to start applying hatching to the sketch, starting with the fabric. If you have already taken the other volumes, you are familiar with this. If not, notice they are mostly parallel lines going in one direction to represent a gradient of surfaces and objects. But pay attention that these parallel lines can also be curved when the surface where they rest is curved. For example, in the cylinder, the cone and the sphere. Observation is too important. That is to say that stopping to observe the drawing while we are doing it, it as unimportant as the moments in which we are drawing. Look, for example, here at the cone, first, I add a layer of inclined lines, and then I combine it with curved lines to generate the rounded volume of the cone. You have to add one layer upon another to add consistency to the shading. We will see all of this throughout the course in each of the lessons in each assignment. But it's important to understand this process from a fundamental basis. On the other hand, lines counters are very important. The value of the gradients must be included in the line itself. Now I'm going to apply this white pastel pencil to highlight the lights on the objects and on the fabric. One of the most important things to understand when it comes to representing light is to detect the intensity of the light and its tones. To help you understand this better. I'm only going to use a beige pastel in this sketch so that you can see that the light coming through the window modifies the tonality of all the objects in a particular way. And not only that, but within the shadows themselves, they are also reflected light. Now, I'm going to add some heat chin in the background to create better space, and I'm also going to reinforce some lines on the objects. And that's it. Look how nice our sketch looks like. It has grown without any drawing grid. This is a very useful strategy for you because it teaches you to draw faster, more intuitively and therefore improves your ability to observe balance and shapes in everything around you. But this is just the beginning. I see you in the next lesson. 4. Calle Paradis Gothic Quarter Theoretical Approach Artistic References: Hello, people. Before we dive into our next project, which involves rendering career parodies in the Gothic quarter of Barcelona, we need to examine some important references that will help us better capture the essence of this ancient urban landscape. Studying these references will enhance our understanding of how to approach irregular historical settings where time has left its mark on both the structures and the ground itself. So let's start by looking at Cornelius Springer, a Dutch artist known for his urban scenes. In many of his paintings, Springer does adhere to traditional perspective roles as he focuses instead on capturing the natural irregularity of the settings he portrays. His cityscapes show streets and buildings that feel authentic with surfaces that have aged and shifted over time. Springer's work is a study in how the terrain and structures adapt to each other, resulting in an imperfect yet harmonious composition that fills alive with history. What sets Springer apart is his ability to represent these elements with a sensitive almost narrative quality. The buildings lean subtly and the streets are uneven, reflecting the reality of these places rather than an idealized version. He was also an excellent draftsman, and his drawings capture this as an exceptionally well. His sketches often revealed inclination of buildings, the unevenness of the streets, and the organic arrangement of elements within the urban space. So by analyzing his drawings, we gain insight into how to convey the weight of history in our round renderings. Another invaluable reference is Edouard Manet. His paintings and sketches of the Rue Msnier in Paris demonstrate a keen eye for age and irregular nature of historical streets. L the highly structured avenues that would come with later urban development, Minett'sRo Mosni is filled with imperfections. The street itself has a slightly uneven surface, and the buildings lack the perfect symmetry and alignment within modern architecture. Through his careful rendering of these details, Mantte emphasizes the street's historic charm and the impact of time on urban spaces. Manet's works reveal how even a quick sketch can communicate a weight of years in the organic disorder that defines ancient streets. Observing his brush work and line work, we see how he uses slight ships in angle, irregularities, and dexture to capture the character of the place. His approach provides a guide for us, showing how small details like the tilt of a building or the unevenness of the cobble Stone Street can bring authenticity to ASN. With these references in mind, we are now ready to take counter round project, rendering Career Paradise, one of the most emblematic streets in Barcelona's goody quarter. This is one of the city's oldest streets with a history that stretches back to Roman times. Over the centuries, Carrera Paradise has seen countless transformations, but it has retained its unique character, shaped by the natural aging of its structures and the uneven ground beneath it. The gothic quarter itself is a maze of narrow winded streets filled with architectural details that tell the story of Barcelona's past. Career Paradise stands out due to its charm and the visible wear on its buildings. Over time, the buildings have developed slight inclinations, and the ground has shifted, creating an iden surface that reflects the centuries that have passed. Our goal is to capture these details, focusing on the gobbled stones in the walls, as well, rendering the streets character and the relationship between the buildings and the ground rather than relying on a rigid due to the inclination of the buildings caused by age and the sinking of the ground, we will not be using a standard perspective grid to organize this drawing. Instead, we will rely on the relationship between each element. Observe how one building leans towards another, how the edges of the street rise or dip, and how the facades create a rhythm that is natural rather than perfectly aligned. So by focusing on these relationships, we will be able to capture the organic structure of the career parodies authentically. This method allows us to render the scene in a way that feels true to its history and character, capturing the imperfections that make it unique. Throughout this exercise, remember that our goal is to represent the streets warm, charm and timeless beauty, bringing the viewer into an urban landscape that carries the traces of the century's past. Let's start them. 5. General Structure Gothic Quarter Carrer Paradis: Hello, people. Let's get started by tracing the tilt of the outlines of the main buildings, specifically the two on the left. This will give us essential information to construct the space that interacts with the sky. The relationship between all the buildings depends on how accurately we create this space. So we will aim to make it as precise as possible. Take your time as you measure and draw these lines carefully. We need to pay close attention to both our paper and the reference image to achieve the right balance. Now that we have the first vertical line corresponding to the main building, we can move on to constructing the second line and try to identify the geometric shape that outlines the sky. This step is crucial because it helps frame the relationship between the buildings in the negative space above them. Now, let's draw across the angled line that will help us define the shape of the space within the buildings. This line will act as a guide to establish the relationship between the structures and the open space. Once we have that, we can begin to outline the visible part of the building on the right. Remember to take your time with the angle of the line, as it will determine the accuracy of the spaces and the overall composition. O. Now that we have the contour of the right building, we can start describing the proportions of the next building further in the background, pay attention to its scale in relation to the first structure. The outline of this building is also important because it will help us further define the space for the sky. And now we can try also with the last building. Now, with this clear approximation of the skis space, we can begin constructing the inner buildings. Remember, everything we are doing here are rough approximations that we will keep correcting as we go. The key to drawing and sketching is to constantly refine your work. Keep drawing lines, keep observing and don't be afraid to make adjustments as you progress. Now, take a look at how I'm drawing an angle to determine the height of this building in relation to the other wing. We need to detect the exact proportion through these angles. This method is much more precise than relying on a grid, especially given the regularity of the ground. So by carefully observing and tracing these angles, you will be able to build a more accurate relationship between the buildings. Mm. Now I'm going to try to place those roofs over there. Try to not complicate yourself by doing this. I mean, you are not supposed to get yourself confused with these kind of details at this stage. For the moment, you only need to outline the roof of the tallest building that is in contact with the sky. At this stage of a drawing, we can really take the time to observe the contours in key spaces carefully. Observation is the secret ingredient in drawing. The more we truly look at our reference and understand what we are seeing, the stronger our drawing becomes. In the initial stages, it's all about laying a solid foundation. Every line matters. You are not just copying. You are translating what you see into your own artistic language. It's a bit like solving a puzzle. Each contour reveals a new piece of the composition. If we rush, we miss a chance to connect with the essence of the subject. And that's it. The design of composition is ready. We've laid the groundwork to build the rest of the drawing with an not fun and gradual strategy. It's so much easier to construct an entire urban landscape by starting with a single line and applying angles than by trying to break down the entire scene into one general shape. This approach lets us be more flexible and creative adjusting as we go. I hope you enjoy this method and I see you in the next lesson. 6. Central Buildings Gothic Quarter Carrer Paradis: Hello, people. In this lesson, we're going to dive into the details of the three central buildings, starting with the small one on the right, and then moving on to the rest. These details will not only serve as additional reference points, but will also begin to establish the unique visual language of our drawing. Since these buildings are the farthest from the viewer and the scene, their representation needs to strike balance between clarity and simplicity. This is where the art of synthesizing shapes, textures, light and shadow comes into play. So we will achieve this through careful hatching, the contrast of light and dark lines and smooth gradients that suggest depth and distance. Pay attention to this window over here. I'm trying to create this window. Measuring the distance between that window and the edge of that building is a kind of strategy quite similar to what we have done so far. Basically, it's the same angle technique. As we progress, you will notice how this language evolves. It will reflect not only the physical characteristics of the buildings, but also the atmosphere we are trying to capture. Every single line I'm doing here is part of a language. Think about each line, each shadow as part of a conversation between the subject and the paper, the material you use, the direction of your strokes, the pressure of your hand. All of these factors contribute to this unique language. Let's move on to this building over here to add some hatching. We need to discover what is the possible tone of that building. So applying several layers of hatching as we progress in the drawing is a good strategy. Now I'm going to start creating these little details, those windows on the upper part of that building. When it comes to creating these little details, the line is so important. It must not only trace the contours, but also represent the shadows themselves, and much more so than in any other closer object in the composition. When rendering the details of a building like this one that is situated in the distance, several key elements should be considered to effectively capture its essence. Try to use softer lines and lighter shading to convey atmospheric perspective, allowing the building to recite visually while still retaining its character. Texture plays a crucial role. Instead of meticulously detailing every stone, try to use broader strokes or hatching that suggests texture in age without overwhelming the viewer. After all, in the reference image, you are not able to detect intricate details from that distance. Notice how I am representing the windows with square shadows. If we got close enough to those windows, there would be many more details. But when contemplating the image from a distance, we are supposed to use a language that work from that distance. I'm going to draw this line here to divide the space of the building. At the same time, I'm also going to improve the contours of that building behind. On the edges of that buildings, there are typical ornaments of that age. From a distance, it's enough to just draw darker parallel lines to represent those ornaments. Now, I have enough reference points to build these windows over here. We should try to measure how many windows would fit between each window, and then we can know where they are positioned exactly. Another way to know where they go is to draw an angle to the edge of the building. For this type of more complex windows, you can start by drawing the urinal figure and then draw the dark shadows that represent the openings directly. You can see that already at this stage, we can notice the importance of representing the Kiaroscuro directly through the line. We have not done any shading, but we can already feel the volume of the buildings. Now I'm going to try to represent the arch of that building on the background. It's the entrance of a chapel, and we can barely see in the distance, but it's there. Mm. Pay attention to how I create the ornaments over there and how I have drawn parallel lines to create the brick pattern on the wall. Later on, you won't be able to see those lines, only the concrete bricks. Now I'm going to darken all these buildings to get closer to the Kyoto oscuro value of the material. There should be a substantial difference between the tone of the sky and that of the buildings. Now, feel free to experiment to create the texture. You can use cross hatching, several strokes to represent the bricks on the surface. Pay attention to the language I use. It's a combination of parallel lines, also small bricks. All of that in the distance will create the texture of the building. Although you should look closely at the lines you make and the ones I make, the most important thing is the fact that can be seen from a distance with the sum of all those small details. Remember that these buildings are almost the third plane of the composition. Notice, I'm creating parallel lines over here also to create the bricks. A Remember that these textures are the same as those of the castles, so we must do our best to give each brick a unique tone. And that's it. As we move forward, we will continue to refine and add more details, enhancing the depth and character of this scene, but that will be in another lesson. 7. Side Buildings Gothic Quarter Side Buildings: Hello, people. In this lesson, we will delve into the details of the buildings that are closest to us, particularly the two on the left. As I begin constructing this window with these iron bars, you will notice that the language I employ for these buildings is significantly different from what we used for the distant destructors. This is a whole new level of detail. We are closer to the viewer, so the features must be more pronounced and refined. The language of nearby elements is crucial, as it will guide our understanding and perception of the entire composition. Pay close attention to how we construct the edges of each element, as this will significantly impact the overall depth and character of our drawing. To a correctly position the windows and balconies, we must use everything around us cleverly, measuring the potential distances between the elements we wish to draw and those already present on paper. This meticulous observation will ensure the relationships between forms are coherent and harmonious, enhancing the drawings overall realism and visual appeal. And remember, every detail adds to the narrative of the scene, creating a richer and more engaging experience for the viewer. Pay attention to this balcony here. Look at its relation to the distant building. That building is a good reference point to place it appropriately. But don't stress yourself out. There is a margin of error in which you could be not completely precise and still the drawing and landscape would look perfect. What I mean is that simply if we were located slightly to the left or right, that perception of where the balcony is would change as well. So this doesn't change the beauty of the drawing too much. However, you should use these strategies to develop the elements in the drawing. See how I made the ornaments under the balcony. We are close, and I must get closer to the original shape. Look how I created the structure of the bricks on the wall. There are parallel lines in which I'm going to create the concrete bricks, but there are also mini bricks. That is the language of the wall that I must understand in order to be able to experiment on it. These bricks have irregular sizes, which helps us experiment even more. Every single time we do repetitive details, I will remind you to be patient. There is no quick magic way to do these types of details. Now that the balcony is ready, you can see the relationship between the balcony and the buildings in the background. This is very interesting. It helps us a lot to use this strategy. On the other hand, pay attention to the value of the line. The amount of information it gives us about the shadow and the volume is significant. Do Look at the angle I'm going to draw to know where that window is higher up. I'm doing it above the balcony door. You can see how everything is angles. Pay attention to these subtle detail that is very important. I am reinforcing the outline of the wall that is closer and I'm making the appearance of the edge with well defined bricks to know where the bricks are at that height of that building. Now I'm going to create all the bricks on the wall, the same process I apply to the low. You must be aware that as we go up, the bricks must decrease in size. The perspective is also upwards. Therefore, we must respect that proportion. H. On the wooden roof, for now, it's enough to apply the hatching to darken it and bring it to the tone of the reference image. Now we are going to move on to the nearest building, the nearest wall. What we need to do here is render the structure and arrangement of the bricks in the wall. Fortunately for us, they are irregular stones, typical of a castle. We don't have to make them exactly the same as the ones in the reference image. But we can guide ourselves quite a bit by the image, since it is a nearby element, and it is actually easier to follow the image after all. For now, we are just going to concentrate on the shapes of the stones on the pattern, arrangement, and perspective of these stones as we go up to the top of the wall. An important advice. We must draw the street sign as if it were a window relating the elements that are in the building behind. How far is that street sign from the door, for example. And as a final detail, we are going to draw some guidelines on the floor that is already built. This will simply work as a sort of drawing grid for later. And that's it. We had made a lot of progress on the details of the buildings, and there is still a lot left to do. See you in the next lesson. 8. Intricate Details Qothic Quarter Carrer Paradis: Hello, people. In this lesson, we're going to add shading and intricate details to the drawing. We will begin by working from left to right, starting with the texture of the stone wall. First of all, I'm going to apply a great deal of graphite using a single direction hatching technique with a darker pencil. Notice how I apply the hatching stone by stone. I'm not shading the entire wall in a generated way, but rather focusing on each individual stone. It's very important to apply several layers of hatching in order to create consistency in the tone. On the other hand, be mindful of how I adjust the pressure and direction of the hatching to reflect the natural irregularities and shadows of the stones. Now I'm going to apply a second layer. Notice the difference it makes. This allows me to fill in those empty spaces where the paper is still visible. By adding this second layer, we are achieving a richer texture and deeper shading, which helps to unify the surface and give it a more solid coescive look. Now let's plant the graphite across the entire wall to fill in those spaces where the paper is still showing. By softly smatching the graphite, we can smooth out the transitions between hatching and make the surface look more unified. Now that we have darkened this wall, the entire drawing has a broader range of dark tones. So before continuing with this stone wall, I'm going to darken the key elements of the other buildings. This step ensures we maintain balance throughout the composition. Always remember that the drawing should progress in a unified way to control the contrast between light and shadow. Now, I'm going to start creating the final texture of the stone wall. The first step is to reinforce the lines between the stones. These lines don't just represent the separation between them, but also give the sense of depth and relief. It's crucial to follow the reference image closely, paying attention to every detail because each stone has its own unique tone and texture. On the other hand, when necessary, we will adjust the shading to reflect the subtle differences between stones, enhancing the sense of realism. As I refine the metallic details of this window, take a moment to truly contemplate the reference image, focusing on understanding the pattern to follow on the cobbled stone wall. You don't need to replicate it exactly. Actually, I'm not doing that either, but there is a discernible pattern in the edges of the stones. Similarly, observe the wall's edges where the stone structure is evident. So let your intuition guide you as you translate what you see into your own interpretation, capturing the essence of the scene while embracing your unique style. As you progress through the details, there will come a stage where it might feel like what you are doing doesn't make sense. This is completely normal, and you should keep going. Remember, the drawing is not finished yet, so it's natural to feel uncertain. Just continue working, following the reference image as closely as possible, especially since this wall is quite close to the viewer. Remember to pay close attention to the edges, the edges of the stones, the edges of the wall, especially where it connects with the neighboring building, and the edges of the street sign also. These small details are crucial for defining the structure and giving your drawing a sense of solidity. Look at the incredible relief on the wall. It looks magnificent. Now that we have darkened the wall even more, we need to go back and retouch the rest of the buildings. Let's start with this nearby building from the top. We will reinforce the edges and significantly darken the shadowed areas. This step is crucial for maintaining balance across the entire composition. This door is a visual important element, not only because it's close to us, but because when you look at it, it's inevitable your eyes are drawn to the surrounding buildings. So it's crucial to give it the respect it deserves by adding enough detail, the texture, shadows, and even the small imperfections must be carefully rendered to emphasize its presence. Pay attention to how crucial it is to match the dark tones. Look at the reference image. The underside of the balcony shares the same dark tone as the roof in the background buildings. So these two areas should have equal darkness. We can notice that the tones in the background buildings are not quite dark enough yet and need to be adjusted. As for the windows, it's the same story. And we are supposed to create the contour of this building on the right. Remember that there is one more lesson left for this drawing. I'm going to retouch the shading of this building. It's important to contemplate the buildings from the distance. It's the only way to do a kind of comparison between every single tone in the drawing. Now I will apply the light layer of shading to represent the graces of the clouds. By using gentle strokes and varying the pressure on my pencil, I can achieve a soft grading that mimics the natural transitions found in cloud formations. Well, this concludes our lesson. I'm sure you all love how the drawing looks so far. But remember, it's not finished yet. We still have exciting details to add and techniques to explore in the next lesson. 9. Pastel Chalk & Final Finish Gothic Quarter Carrer Paradis: In this final lesson of our drawing, we will apply the white pastel throughout the composition, starting directly with the sky. Using a pastel stick or pastel bar, we are going to fill in the entire sky, beginning at the edges and generating more intensity where the sky emits the buildings. Be cautious not to smdch the buildings. I highly recommend you keeping a safe distance from them at this stage. Once the sky is filled, we can refine the edges later with a pastel pencil for a cleaner finish. On the other hand, we must also try to see the most illuminated areas of the sky. Try to notice that there are part of the clouds that are more illuminated. Now I'm going to blend this white pastel so that it looks consistent across the entire sky. Try to do this very carefully. You can notice that I have also applied pastel on the floor in the direction of the lines, and we need to blend that as well. Now, very carefully, we are going to use the white pastel pencil to reinforce the edges in the sky. Not only we are going to reinforce the edges, but we are going to try to put more pastel in the most illuminated parts of the sky. I Now we're going to use a very light graphite pencil to add very subtle gray tones to the clouds. As we have applied this puzzle, it's also necessary to tow the areas close to the clouds in the buildings. Now, we are going to start applying the white pastel on the buildings. We are going to start applying it on the street sign that is on the wall. We are going to use the white pastel stick or white pastel bar, and then we will blend it gently taking care of the ages. What we really need to do with the white pastel is to reinforce some of the building light areas like this one. But especially, we are going to texture the walls by adding a special tone to the stone bricks. Here, we can be creative, experiment, and take into account where the tones on the walls are lighter and where the darker ones are, but making a general reading of the tones in all the buildings together. White pastel is an excellent choice for creating the textures of the cobble stones in these buildings because it allows for a soft luminous quality that can enhance the visual richness of the stones. When applied delicately, the pastel can capture the sitle variations in light and shadow, simulating the roughness and irregularities of the stone surfaces. That creamy texture of the patel glides smoothly over the paper, enabling the artist to blend and layer tones. Additionally, the bright white can provide a striking highlights that mimics the way light reflects off the surfaces of the stones, making them appear more lifelike and three dimensional. You need to have a lot of patience during this process because it's slow, especially since there are many bricks or stones to work with. It's crucial to take your time to observe each piece and how it interacts with the light around it. Additionally, using graphite allows you to alter the tone of the texture and experiment with different depth and contrast. Over the years, this street has become a hub for artists, musicians and performers who often gather to showcase their talents. This lively scene adds a unique character to the street, making it a popular spot for both locals and tourists. The nearby cafes and shops further enhanced experience, allowing visitors to soak in the rich cultural tapestry of the neighborhood. As you stroll along the Carre Del Paradis, you can feel the history surrounding you while also witnessing the contemporary vibrancy that defines modern Barcelona. I'm going to retouch the white pastel over here on the sky. You should know that the stick pastel is easier to fall off the paper. And also depending on the quality of the pastel, the cheap ones tend to fall faster because they don't have binder. Pay attention to how well all the bricks look like. The drawing has acquired another level of three dimensionality. Now I'm going to try to finish drawing this wall on this building over here. Although it's not in the reference image, we can more or less imagine what it could be like following everything we have already built so far. Uh huh. Uh huh. Now I'm going to add a personal touch. Adding this stroke with a white pastel bar, I'm going to represent and the light entering through this place and projecting between the buildings. This is not in the reference image, but is a personal touch. Now I'm going to write the name of the street, Carre del Paradiz on the street sign with a great care. The handwriting doesn't have to be perfect. You can even experiment with this as well. Care del Paradiz is a very special street in the Gated quarter of Barcelona, known for its charming atmosphere and rich history. This narrow wind passage is a remarkable example of the medieval architecture that identifies the area with buildings that tell stories of the past. The proximity of these buildings adds a unique appeal to the street, each contributing to the dtintip character of the gothic quarter. This is the final touch of drawing. A And that's it. Look at the beauty of this drawing, the light, the texture, and the interesting appearance of the closest covalstone wall. The most important aspect of this drawing is experimentation. By rendering an urban landscape like this, we can add personal touches that create a unique and different perspective. I hope you have enjoyed this drawing, and I look forward to seeing you in the next time. So. 10. Sketching Building in the corner: Hello, people. In this lesson, we're going to make a sketch of this building to understand a principle that I mentioned in a previous lesson. What I want you to see is how from the general structure of the building, which we can see that is made up of angles, we can create a kind of drone grid. The very basis of this urban landscape is a grid. And it's important to mention that the selection of this urban setting has to do with the fact that the building is on a surface that we assume is quite flat. Quite different from the place in the Gothic quarter, where the ground was uneven. For example, if we draw two lines that intersect from the lower edges of the building, we could already have a grid that choses the flat structure of the surface. But we are going to continue building the details of this building now. Note that the building has several floors. One floor at the street level, which is quite high, and then another three floors. You can see also that I drew a lot of angled lines to try to get the exact level of each floor. Some lines were for research, and others were more definitive, but all were necessary to get the final ones. That is the very center of a sketch. As I already have the height of the street level, I can start building the arches, following the perspective. That is the arches must become smaller following the line that goes to the background. Now I'm going to apply the same process with the windows on the first floor, which need to be made smaller as they go to the background. We also have the guidelines, but not only that, we have the size of the arches on the lower level as a reference point to know if the size of the windows is correct. And now, you're going to do the same with the second floor. Remember that this sketch should take approximately 30 minutes to complete. This lesson is doubled in a speed, so it takes less time. But you should complete it in 30 minutes maximum. Now that we have the structure, we can start to do the shading first through the line. I mean applying the chiaro oscuro directly with the lines. You're supposed to apply it in the most important elements of the composition. If you need to apply some hatching like here on the arches, you can do that also. Now we are going to try to shape the right side of the building a little more. We're going to add a lighter layer of graphite and then reinforced even more the dark tones of the shadows in the elements on that side of the building. It's important to do it progressively and not exaggerate for the moment. Now I'm going to create this building on this side. As we already have the guidelines on the ground, it shouldn't be a problem to build it. Now we are going to clean up the paper a little bit because we are using a fairly white paper. H Now we're going to add a special element. I'm going to use this sepia chalk on the dark areas on the left side of the building. The result is wonderful. It's a sketching technique that you should always be able to use. H Now, with a pastel of this same color, I will create a light sepia layer that illuminates that side of the building. Now I'm going to use a black chalk to highlight the darker points on the right side of the building. These are isolated points, so be careful with this. You have to understand that even though I used one color for each side, there are small touches that I make on both sides with the two colors. I mean, not everything is completely one color because there must be a complete language for the entire drawing. Look at this gray color to make the shadow of the building. And I'm gonna apply also this blue color to the sky. By making this drawing, you realize that with some basic main colors mixed with graphite, you can achieve a very attractive color sketch. Obviously, it's not a color drawing. When you work completely in color, it's another technique, even with these same materials. Actually, something that we work on in my other impressionist drawing courses, but making types of sketches with some color is quite interesting. Sketch like this can be done anytime, anywhere, just in a sketchbook. Of course, I highly recommend doing more detailed drawings before and applying two things. First, reduce the time you spend doing detailed drawings and do lots of detailed drawings. Drawing a lot will automatically make you reduce the time. And that's it. Our sketch is finished. You can try to do the same thing with the other images. But obviously, the more irregular landscape you're going to portray is, the more time it will take. I see you next time. 11. Narrow Street with alley Gothic Quarter Theoretical Approach Artistic References Copy : In the next exercise, we will embark on the task of portraying a typical street in the gothic quarter of Barcelona, focusing on one of its narrow and picturesque lanes. This space characterized by the authenticity of the buildings that rise on either side, creates a cozy atmosphere filled with history. At the end of this street, a charming passage beckons exploration, promising secrets and stories that resonate within its ancient walls. Before we dive into wrong interpretation of this urban landscape, it's essential to study some references that will help us capture the essence of these unique spaces. By analyzing works by artists who have masterfully depicted similar streets, we can gain a better understanding of how to approach architectural details and the interplay of light and shadow. Fabio Fab, an Italian painter from the 19th century, is known for his vivid representations to urban life in everyday scenes. Masteralize in his ability to capture not just the architecture of buildings, but also the envience that surrounds them. Fabi infuses his works with a narrative quality, inviting the viewer to imagine the stories that have unfolded in those spaces. Through his use of light, we see how it filters through passages and reflects on Buildings facades, creating a play of shadow than light that adds depth and drama to his compositions. By studying his works, we will learn to integrate the textures of age stones in the everyday life that gives character to a historic Street. Another key artist in our study is San Dilo Bacaro, a 19th century Italian painter whose works focus on the representation of light in urban environments. Particular, one of his paintings, depicted in a narrow street showcases how the illumination generated by the buildings on either side creates a warm and inviting atmosphere. The way Bacalario uses light to highlight the textures of the stones in architectural details, provides invaluable guidance for our own work. In his piece, we can observe a passage in the background, similar to the one we will encounter in our camposition in Barcelona, allowing us to explore how natural light interacts with these enclosed spaces, creating countess that will help us bring our own images to life. Finally, we must mention Richard Parks Wanington, a prominent British painter from the 19th century, who left an indelible mark on the art of watercolor. His works often depicting urban landscapes, excel in capturing light and atmosphere. Bunnington is particularly known for his landscapes where streets are embraced by buildings casting soft shadows, creating a dramatic and poetic effect. His focus on subtle details such as the reflection of sunlight on stone surfaces and the color of nuances that enliven facades, provides invaluable guidance for understanding how light can transform an everyday space into something enchanting. Through his paintings, we can learn to capture the essence of the Gur environment, showcasing the history and wear that these streets have experienced over time. With these references in mind, we are now ready to embark on our own project of portraying this narrow street in the guided quarter. As we proceed, we will pay special attention to the knowns of light and texture, allowing the story of the streets to shine through our work. Our goal is to capture the essence of this urban landscape, as well as the rich narrative it carries using techniques and approaches of the artists we have studied. Let's start then. 12. Construction Ancient Alley : Hello, people. Let's begin this lesson by laying the foundation of our drawing, starting with the ground in a doorway we see in this mysterious street. It's the typical alley from the Barcelona Scothic quarter, with its ancient facades, hidden charming bars, and artist living in special places that you would not even imagine exist behind those windows. But observe how I use angles to construct this small tunnel. This element is one of the most important parts of the composition. As it not only supports the building, but also sets the proportion of the entire drawing. Take your time and be precise with these foundational lines. No. The reason I have chosen this charming spot is because if you look at the reference image, the color of the building's wall is almost identical to the color of the paper. This means we won't need to add color for our drawing to resemble the image. So by the end of this drawing, you will see just how beautiful it will look. For now, notice how everything depends on the angles. In all my drawing courses, I emphasize this. It may seem difficult at first, but the real challenge we imagine is just in our minds. It feels strange to think we can construct everything from those angles. But once you start, it becomes second nature. Pay close attention to this important detail. Due to the point of view we had in the reference image, there is a slight upward perspective. This means that even on the wall above the tunnel, there is a subtle upward distortion. If you observe the two parallel lines that make up that section, you will notice they very gently converge as they arise, creating that perspective effect. It's a visual stoning elements, though quite subtle, and we must develop the sensitivity to detect these kind of details. Pay attention to the manner I'm relating all these shapes to create next one. For example, this door over here. Every single detail I'm creating, it's a potential reference point. Remember, you should allow the drawing to grow proportionally rather than finishing one section completely during the construction phase of the structure. This approach helps maintain balance in harmony throughout the composition. If you focus too much on one single area early on, there is a risk that other parts of the drawing may not align correctly or could become disproportionate. By gradually building up each section together, you ensure that all elements evolve in relation to one another, making adjustments easier as the drawing develops. Try to think about it like a waving tapestry, where each thread plays a role in a larger picture. There is an interesting bit of history tied to this charming street. Just a few meters away from this spot, Pablo Picasso once had one of his workshops. The atmosphere of this area, rich in history and artistic energy, must have served as a great inspiration for the artist. Even today, the legacy of his presence remains viferent as there is a museum dedicated to Picasso nearby. Mm. When it comes to representing perspective in a drawing, we have certain creative liberties to distort the space. What do I mean by this? It means that the deformation of the space doesn't have to be exactly as we see it in the reference image. But it must maintain a sense of coherence. For example, you look at the left wall, there is a horizontal line dividing it. In the reference image, this line is more pronounced upwards. But from my perspective, I choose to lower it to enhance the drawings composition. I'm not destroying the realism, but improving the balance of the work I want to create. This way, the two parts divided by the line appear more proportional and harmonious. In the final result, you won't even notice that this adjustment was made. The intention is always artistic to create a composition that feels both visual engagement and balance. Personally, this detail of the lantern is marvelous to me. I can't help but wonder how many years that lantern has been there, silently observing the changes in this charming street. It carries a sense of history, a connection to the past that adds so much character to this scene. An important way to check if the windows on the yellow wall are constructed correctly is by ensuring they follow the subtle deformation I mentioned earlier. If you look closely, you will notice that the lines of the windows gradually converge as they arise. It's a very subtle effect, but we need to represent it. In fact, we should exaggerate it to make it noticeable. When we exaggerate, we are often not doing so as much as we think. Remember, when people observe the world around them, they are not consciously aware of this distortion. They perceive those walls as perfectly rectangular. So breaking that mental expectation to represent the windows in a two dimensional space is a skill that requires practice. It's about training the eye to see beyond what we assume is reality. I'm adding this light hatching to indicate areas that will be darker, and I will reinforce the regions with the deepest shadows in the composition. It's a sale, but essential step that lays the groundwork for the next stages. And that's it. The structure of our drawing is complete. You see, it wasn't that difficult at all, but this drawing is going to turn out beautifully. And the best part is that we have created this together. Remember, every step we take brings us closer to the final masterpiece, and I can't wait to continue this journey with you until the next lesson. 13. First Details Ancient Alley: Hello, people. In this lesson, we're going to make our first approach into the details, focusing on the smarter elements of the composition that hold significant importance. This stage is crucial, as it allows us to map out the Karo Scuro that interplay of light and shadow across the entire drawing through line work. So by carefully delineating these details, we set a strong foundation for the textures and deeper layers later on. This process not only enhances the visual interest of our piece, but also aids in developing a sense of depth and dimension. Each line contributes to the overall narrative as a drawing, guiding the viewers eyes and creating focal points that draw attention to key elements. Moreover, establishing these details early on helps us visualize how the final composition will come together. It's important to emphasize that we should not rely solely on lines to establish chiaroscuro. Detailed hatching plays a crucial role in this process as well. Hatching consisting of slightly thicker lines or stripes filled with graphite. This kind of hatching allows us to reinforce the darker areas of our drawing effectively. For instance, take a look at the inner edges of the windows, not only on the yellow wall, but also in the left side. Here, applying a strong hatching technique can significantly amplify the shadows and create a more three dimensional appearance. Although we are not focused on creating the texture of the wall just yet, we must add some layers of hatching to establish a foundation for building the texture later on. If you pay attention to the reference image, you will notice that the wall has various sounds and reliefs. So we can combine different types of hatching to create this base effectively. For instance, we can cross an inclined hatching with vertical lines that follow the walls perspective by varying the density of the lines, darkening in some areas more than others, we will enhance the overall appearance of the foundation. Now, pay attention to how I approach the bars of the window railings. I'm carefully rendering each individual bar. Assigning the appropriate tone value. In this case, these bars are quite dark, making them some of the darkest areas within the overall composition. Remember, every small detail matters when it comes to building a cohesive and harmonious composition. A Remember to frequently step back from your drawing to ensure that the line values are correct, and most importantly, that the details are creating the desired effect from a distance. For example, this area where the tunnel is located is particularly crucial. Our gaze naturally concentrates there, as well as on the yellow wall. Therefore, we must dedicate true artistic value to that section. It's crucial to respect the dark tone of the tunnel. Notice how in both the reference image and the drawing, nothing is darker than that tunnel. It serves as a significant point of reference for achieving the upper PA values throughout the composition. So by anchoring our darkest tones to the tunnel, we establish a scale of values that will allow the other elements to shine and resonate effectively within the overall structure of the drawing. Pay attention to how I am constructing a small grid from the man home J I drew. This grid will help create a sense of surface and perspective, and it will also serve as a guide for adding details to that entire area of the composition. Pay attention to the manner I'm creating this hatching over here to create a texture of the wall later on. This is actually a vertical hatching that follows perspective. M. A Remember to render the inner shadows of the windows. If we don't create a depth of the windows properly, we will not create a sensation that there is really an internal space behind those windows. Remember that at this stage, for the areas with more delicate shading, we can leave the empty space, such as that towel that is hanging from that railing and the window panes. Look how good the composition is starting to look now. We have darkened the left wall much more. A sensation of depth is starting to form, and the light is really hitting the place partially. But remark my words. This is just a beginning. I see you in the next lesson. 14. Intricate Datails & Shading Ancient Alley: Let's start once for all with the intricate details of the drawing. We will start with this window over here. We will trace the divisions between the glass panes of the window, and you can add something creative to this. I mean, you didn't have to be precise in the area where the division goes through, but it's important to respect the depth of not only the window but the others as well. All of these is part of the texture of this wall. Additionally, I recommend using a two B pencil to do these details. It's soft enough to darken a lot and still make small details. These edges I'm darkening at this moment are very important. In fact, if in the drawing you are making, the shape of the window is not the most appropriate, you can use these edges to correct the shape of the window. Look how interesting this window is. Pay attention to how it looks now and look at the difference after darkening the top corner to a depth. It's just a couple of lines that change this element completely. Pay attention to what I'm doing with these concrete bricks. If you took the first volume of this course where we made a castle, this should bring back memories. I'm applying different shades to each of the bricks. This effect is great. The effect in the distance is excellent. Look how the color of the paper starts to come to life. It starts to look like the wall itself. The value of the line in these windows is everything. It does all the language of the volume of the window. Pay attention to the fact that there are slight gradients in the color of the yellow wall. We must try to make them as subtle as possible. Even if it seems that the changes are not noticeable, they are over there. On this section, we will visually reinforce the contrast between the light on the upper half of the wall and the lower half. As we progress with the details of the windows, we should start to significantly darken the lower half. So it's important that this area conveys a sense of density in the graphite applied to the wall. Even though this wall has textures, it was originally finished smoothly, meaning that the areas where the concrete is preserved have a flat surface. To achieve that, we need to blend the graphite enough so that the particles coalesced more. We can use a blending stump. But if you have a tissue or toilet paper, that works perfectly, too. The tissue is ideal for this because it's soft and inexpensive. When you use it, gently rub over the areas when you want to create a smoother transition between tones. This technique will help you to soften any harsh lines and give the wall a more realistic appearance, emphasizing the contrast between the smoother and texture areas. Now, we're going to do the details of the background on the other side of the tunnel. It doesn't matter if you don't understand exactly what is there, but we must represent that this is another street with life just like this one. It's important to retouch the lines over and over again as you go. Look how well the volumes look on the left wall, and look how the volume improves when I reinforce the lines and edges. Although the details of the world on the right may not seem to be so important, not only because our gaze is not focused there, but also because of the angle, we must make that wall have the same tone as the one on the left. This will create an effect of isolation of the place, leading our attention even more on the center of the town, the yellow wall with the windows. And that's all, we had made even more progress in the drawing, showing the richness of tones that each of the walls have. I see you in the next lesson. 15. Left Wall Texture Ancient Alley: Hello, people. In this lesson, we will work on the final textures of this wall. This process requires a slow detailed work and is essential to cultivate patience when it comes to creating textures in a drawing. Many issues in drawing arise from not having enough patients to handle the small repetitive details, and this is something we need to overcome. First of all, we must break the myth that these details are not worth the time. In ancient times, creating a great painting took months precisely because of the dedication to the small intricate parts of the artwork. So while it won't take us that long in this case, we still need to approach it with patience. U Look at this area over here, where the concrete is torn. We need to find a way to represent the essence of what is happening in the surface. To achieve this, we must first understand what is going on. There are small elevations and perforations in the concrete, and keeping that in mind is crucial for accurately representing it. It's not just about adding random marks, but about understanding what those marks are portraying. Of course, the line is fundamental in this process. Just as a line can add volume to a window, it can also bring depth to a crack or intundation in the wall. Each mark should serve a purpose, capturing the texture and underlying structure of the concrete. So it's this mindful observation and intention that will make your drawing feel more real and detailed. Try to understand and observe the patient with which I'm adding these details. Actually, I believe that of all the elements in the drawing, these are the slowest to develop. They are not the most complex, but they require time. There is no way to create these textures other than by adding each crack one by one. Pay close attention to the pressure and strength of the line in each mark. Now I need to work on the textures of that fabric. You should pay close attention to the folds. This is the most important aspect when representing fabric. Even from a distance, the way the fabric bends and crises will give it life and make it feel real. This shadow over here is also very important. It's a shadow that represents the separation between the fabric and the window. This shadow creates a great volume in the whole part. No Now I'm going to slowly darken the whole bottom half step by step creating texture elements, cracks, and marks randomly. You should apply various shades on the concrete as well to enhance the texture. The other important factor is that you don't need to make all the marks to represent the wall. Just making enough to represent the essence of the wall is more than enough. Drawing an old worn concrete wall is an excellent way to develop our sensitivity to textures and details. These irregular surfaces with their cracks, stains and reliefs, force us to observe closely and understand how light interacts with complex, uneven forms. It also teaches us patients as each crack and mark adds to the visual narrative of the surface. Vigo Velasquez and Johanne Spermer also depicted walls and architectural elements with attention to textures and web. Though their focus was often on the interplay of light and shadow. Regardless of the desired level of darkness, adding multiple layers of hatching is essential for achieving consistent and rich shading in any drawing. This process allows for more controlled and gradle build up of tones, which is crucial for capturing depth and texture and form accurately. Each layer adds subtle variations in value, ensuring that the shading appears smooth, cive rather than rushed and patchy. And that's all. Look how beautiful the wall looks now. It doesn't even have all the marks, and yet it still portrays the same appearance of the original wall. Try to review the lesson again if you have any doubts, and I see you in the next lesson. 16. White Pastel & Final Finishing Ancient Alley: Well, we have reached the final lesson on this drawing, and we are ready to apply the white basil. I'm going to apply it right here on this window, since it's the brightest spot on the entire drawing. But pay close attention to what I'm doing. You can see in the reference image that what is being reflected in the window is the sky. And in fact, there are some clouds that are more illuminated than others in that sky. So we are supposed to portray that visual effect as similarly as possible. And to do so, we are going to illuminate each frame of that window differently. We are going to apply more white pastel on the left glass, especially the upper left one. But within those same glasses, we must illuminate the left side more as well. We can use the same white pastel to enhance the textures of the concrete bricks on the wall. Note that in the reference image, the color of the bricks is quite different from the yellow wall, and this white pastel will help differentiate those tones even more. This other element is very important. We need to make it feel like the street in the background is really exposed to the sun. So this time, you're going to apply both the pastel bar and the pastel pencil. Now, we are going to apply white pastel on the floor. The floor is also an area where light is projected quite a bit. We must portray that, especially define the areas of contact with the walls. Now, we are going to apply the white pastel on this towel over here, the fabric. We just need to color the brighter sounds. This step is super important. We are going to apply the white pastel to the internal areas of the windows on this wall. This will add tremendous volume to the entire composition. The result is instantaneous. To help differentiate the amount of light that the upper half of the wall has. With the lower half, we can add white bastel in this way, and this will help a lot. Now, pay attention to this magnificent detail. I'm going to add white pastel here to represent the relief that the wall has. Look how it looks combined with the graphite. Now, we need to look at the whole drawing and start to refine the details with the pastel pencil. We need to refine the smallest details throughout the drawing. A. Now we're going to do the same process with the graphite pencil. Remember that as we add white pastel, graphite lines tend to get stained and simply blurred due to the contact with the hands. O That street in the background also needs white pastel because there is a lot of light in that whole area. Note that on the right wall, even though it has details, it's almost a semi abstract composition that is representing a wall. It's almost like an impressionistic technique. This strategy is important when we want to speed up the process of constructing a drawing. Of course, if we do this, we must ensure that other parts of the drawing are more realistic, such as yellow wall with windows. Mm hmm. M. Look, here, how I'm adding the ray of light that hits that window. I do it with the pastel bar. Now I'm going to improve this window a lot more. I'm going to add more graphite, definition, and details to the lines and structure of the window. Now I'm going to add some light to the window panes, but I'm not going to overdo it. It's just a touch of light. Now, we are in the final details. And that's it. Our drawing of the old alley is now complete. Look at how beautifully the light and color of the central wall come together. We could have darkened the walls even more, but the way it looks now is stunning. The effect on the upper window is what I love the most, along with the hanging fabric on the left wall. There's so much to learn of the construction of this roll, which is why it's essential to go over each of the lessons carefully. I'll see you in the next time.