Drawing and Sketching Vol 4: Learn to Draw with a Sailboat

1. Drawing and Sketching Vol 4 Learn to draw with a Sailboat: Hello, people. Have you ever dreamed about drawing a sailboat in Harbor, capturing the beauty of its intricated tails and the connection to its surroundings? I am Badillo Bay Perez, and after 30 years of dedication to drawing and learning from the best art schools, I'm here to guide you in the fourth volume of my drawing and sketching course series. In this ongoing journey, each volume builds on the foundation of the previous one, taking you step by step towards mastery in drawing. In this volume, you will learn to draw the most famous sailboat in the city of Barcelona, developing your skills to portray complex objects with intricate details. Through the rendering of this sailboat, you will explore how to draw it from different viewpoints. Mastering the distortion of the shapes through the perspective. This course is designed for all levels and will help you understand how to portray water and the objects that are reflected in it. You will learn how to relate the background elements of a composition to the main object, creating works that capture the harmony between the sailboat and its environment. Throughout the course, we will cover techniques that will allow you to effectively represent these irregular and complex elements. We will also explore the theory that will support our practical learning, including composition and how to interpret the relationship between the foreground and the background. Additionally, we will work with high quality materials such as graphite, white pastels, luxury paper, allowing you to express your creativity effectively and achieve the stunning works. So don't miss a chance to embark on this exciting FDC courney. 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. Welcome to my Bay Ater in drawing and sketching Volume four. Learn to draw with a sailboat. I see you in the first lesson. 2. Learning to Draw with a Sailboat: Hello, people. Welcome to this new journey into the world of drawing. We will begin our course with the elegant and fascinating subject of the sailboat. An intentional choice. Learning to draw a sailboat offers us more than just an object on paper. It's an enriching exercise that deepens our understanding of form, movement, and light. The sailboat, with its intricate structure and blend of curves and straight lines possesses a subtle asymmetry that challenges the regularity found in many other objects. Its graceful form rests lightly upon the water, and its aerodynamic design makes it both visually appealing and challenging to capture. Drawing a sailboat requires us to be attentive to its details and to understand how sports connect to create a harmonious whole. Additionally, the sailboat's relationship with the water creates reflections and distortions, adding complexity to the scene, and inviting us to depict the delicate interplay between object and environment. To delve into this approach, we will take inspiration from the works of Eudin Budan, an undisputed master of maritime scenes. Budan, one of the early pioneers of impressionism, dedicated much of his work to capturing ships in coastal settings. However, what truly sets his work apart is how he depicts the sailboat itself, not just as an object in space, but as a dynamic force interacting with the elements. His sailboats are not static or rigid. Instead, they seems to breathe with life, gracefully swaying in response to the wind. Budan's exceptional skill lay in his ability to express the sailboats form through loose fluid versus strokes and high light in the sails, the curve of the hull, and the precise details of the region while still conveying an atmosphere of the movement and light. In his paintings, Budan was particularly adept at showing the relationship between the sailboat and the water. He captured how light reflected off the surface of the boat, creating a sense of texture and dimension, the delicate shimmer of the sails, the subtle shadows of the hull, and the way the boat appeared to float lightly upon the water were all conveyed with a grace that makes it work iconic. Budan achieved a masterful balance between defining the boats lines with enough precision to give it a structure while surrounding it with an ethereal light that suggested both its strength and fragility. By ant's larger finished paintings, Budan left behind a wealth of sketches that are an invble source of inspiration. These studies offer a closer look at the way he constructed the sailboat. His sketches are filled with the gy loose lines that capture the essence of the boat's form from the slant of the mast to the curve of the hull. The preliminary works revealed that Budan was less concerned with detail in every small element and more focused on capturing the sailboats silhouette and proportions. He began with broadest strokes, establishing the boat's basic shape and relationship with its surroundings before adding the finer details that bring the boat to life. With this foundation, we will move into the court's main focus, rendering one of the most iconic sailboats in the port of Barcelona. The sailboat Barcelon. This remarkable sailboat, with its imposing and classic figure, is a visual treasure that embodies the tradition and elegance of sailing. We'll be drawing it from two distinct perspectives from the front, exploring the dynamic sweep of its lines forward and from the rear where the structure reveals unique details that define its character. These two perspectives will allow us to thoroughly understand its shape and how different angles reveal information about its form and proportions. Throughout these lessons, our aim is not merely to learn how to draw a sailboat, but to understand the complex interactions between light, form, and environment. Water with its capacity to reflect and distort will play an essential role in our composition, adding depth and a sense of movement. With each stroke, we will aim to capture the sail boat's essence, conveying not only its physical form, but also the serenity and nobility that it represents. So let us embark on this artistic exploration with the precision and sensitivity that Budan inspires. From the initial sketches to the final details, the process of creation will allow us to connect with the sailboat in a profound and intimate way. Inviting us to discover and portray the beauty of this majestic symbol of freedom and adventure. Let's dive into the art of capturing a cell boot on paper and let the journey guide us towards new forms of visual expression until the next lesson. 3. Paper Ship First Sketch Dark Paper: Hello, everyone. In this first sketch, we are going to train our eyes to get used to observe aumetric shape similar to a sailboat on a surface with waves. For this, we are going to use this small paper boat and the folded fabric to represent the water. The goal is to try to represent the shape of the paper boat on a surface with perspective. For this exercise, I'm going to work with dark paper. It's the only exercise we will work with dark paper. You can do it perfectly in white paper and with graphite. But I will do it with this color so you can see the shapes and lines better. So the first step is to try to make the outline of the table. This outline doesn't have to be perfect. That is to say we must take the pressure off ourself. The table won't be perfect on the first try. It's simply starting point to begin to build the drawing. Pay attention to how I draw these crossed lines to try to feel the correct proportion of the table. Now I'm going to guide myself by the part of the paper boat that sticks out of the bottom, the stern to start building the boat. Pay attention to how I created an angular line from the corner of the table to the tip of the stern to measure its size. All these details are important. Note that the tip of the boat at the bow also protrudes from the table. We must follow this sequence to build the entire paper boat, which in this case, is made up of straight lines that change their angles in conjunction with the perspective. Now we are going to start to represent the folds of the fabric on the table in a general way. We must take into account the illuminated areas. The idea is that we understand that in the same way that these folds have a certain randomness on the surface. In the same way we will find waves and currents in the water that follow an irregular pattern. But these irregular patterns are also affected by perspective. The only way to represent them appropriately is by relating each element that we build with the other. In other words, if we already have the vapor boat, everything must grow from there. On the other hand, irregular shapes like ocean waves in relation to a boat, give us a certain freedom when it comes to being precise. What does this mean? In reality, such precision will never exist because the viewer is not really aware of the precise shape of the wave. This is important when it comes to depicting them because it takes a huge amount of pressure off of us. For now, let's continue representing the illuminated parts of the fabric. On the other hand, you can see here that I follow a kind of hatching pattern throughout the sketch. I mean, all the hatching follows the same direction. The idea of this is that the viewer interprets the hatching as the language of the drawing. The change of direction in the hatching must be completely justified. And in this case, it must represent a light that covers the entire space from the same direction. Now, using a dark graphite pencil, I will represent the darkest areas of the entire composition. Pay attention to how I will also use an inclined hatching to follow the pattern we already made with white. One of the properties of pastel paper like this one I'm using is that it has a great capacity to retain pigment. No matter what it is, in the case of graphite, we didn't have to press very hard against the paper to leave a line. This makes it very useful for creating interesting gradients. The other hand, when one makes a sketch, the most intricate details are not as important as the distant perception of the entire drawing. The drawing must represent the essence of the image. In this case, it's the shape of the paper boat of these folds that should be the waves. So the intricate details will simply be one more stage of resolution on the initial general perception. Look how important it is to reinforce the contours of the paper boat at this stage. And just as important as the contours is the relationship between the shadows. There must be a relationship between all the shadows in the composition, such as the shadows of the boat on the fabric and those produced by the fault. There are coincidences in the tones that we must respect in the sketch. Now I'm going to use the razor pencil to clean up the lines of the background and bring out more of the shape of the boat. Now I'm going to reinforce the most illuminated part of the entire composition. If you look from afar, it's this internal part of the paper boot that reflects the light more intensely. So we must represent it in a more illuminated way. Now, to make this even more noticeable, I'm going to add a beige pastel to change the white tone of the entire fabric. This will allow me to represent the yellow light that covers the entire sin. But this pastel should not be applied randomly. It turns out that due to the regularity of the surface of the fabric, there are areas where this yellow light is more noticeable than in others. These are very subtle nuances that we must represent.Thise kind of things also happens when trying to represent the tones in the water and on the surface of the boat's hull. Now I'm going to give the final details with graphite. Remember, that is a sketch, simply a study to get used to the type of representation, a boat on a wavy surface. Pay attention to the other tool, the Pierre noi pencil is a type of dark, greasy pencil that allows us to achieve a much blacker tone than with any other pencil. It's darker than basil and graphite. The best thing is that it can be removed with eraser without leaving noticeable stains. And that's it. We have the first sketch of this course. Don't worry about the speed when doing it, because in the main exercises of this course, we are going to build the ships step by step, line by line, which will allow you to approach the sketches with much more skill later. For now, try to contemplate the shapes and lose the fear of drawing lines. I see you in the next lesson. 4. White Paper Second Sketch: Hello, people. This time, we are going to do another sketch, but from a different point of view, it's a kind of high angle point of view. Additionally, we are going to do this sketch using a white paper. This is a little bit more complicated, but we are going to do it step by step. So as we did in the previous sketch, I'm going to start creating the base, which in this case, is the top of the table. But remember, do not complicate yourself in the initial stages of the sketch because in the case of this surface, we will be able to fix it anytime in the drawing. So once you have the approximation to the top of the table, you are going to trace this horizontal line to somehow outline the space where the ship is. Right after doing this, we are going to measure the distance between the background corners to the center of the composition. I mean, you are able to notice that the paper shep is positioned right in the center of the table, and at the same time in the center of the can position from a two dimensional point of view. Now let's try to figure out what is the position of the ship's corners on the paper. One of the easier ways is to measure the distance between one corner and the possible position that the ship may have. After all, this is a polygonal ship. So once we get the position where every single corner is, we only need to get all of them together, but pay attention. Do not go in a rush. You are likely to make mistakes doing this. So try to be patient and try to be open to fix every single detail later on if needed. As I always tell you, everything is a reference point. For example, you can easily notice that the stern corner is touching the background side of the table. So we are supposed to use that kind of information to create the ship itself. It's important to address shading from two different perspectives. When it comes to rendering shadows, not only the aro Scuro is important, but also the shape of the shadow itself. What I mean is that we must take the shadows as a shape itself. They all are other forms on the composition, other elements, other subjects. So we are supposed to use the shapes themselves as a reference point. For example, all the faults we are outlining here are reference points also. So as long as we move forward, we will have more information to read the drawing again to rethink what we are doing, thereby having more information to fix all the details, those details related to the ship's proportion and the table dimensions. So once we have a general layout of our drawing, we can start applying the hat chin to create the shading. When it comes to shading, it's very important to learn to do it by using these kind of objects. In the case of a paper sheep, it has several phases that has a specific shade and tone. So we are able to apply different nuances to those different phases. Additionally, if you learn to use the hatching to create the shading, the decision making process behind the chiaroscuro will be right in the initial stages of the drawing. So if you are keen to plant all the hatching later on, the final finish will be more beautiful. You can notice that the fabric and the boat are made of different materials, but we could still say that the shade of the shaded part of the paper could match some shades of the fabric. That is the kind of sensitivity you must develop to better render the entire drawing and even have a unique language of shadows throughout the composition. Now I'm going to darken the most important and prominent shadows in the entire composition. Now I'm going to add a little bit of colored pastel so you can notice something. I'm going to use white and gray tones so you can see the difference between the tones of the paper boat and those of the fabric. The idea is to develop sensitivity because in the exercises of this course, we are going to work almost all the drawing in graphite, and we must be able to do this practically only using graphite. So what I want with this sketch is for you to notice that even though the surfaces may have the same tone, it's not exactly the same tone. And when I represent it with pastels, you can notice it even more. So look here, you can notice that the surfaces have different tones, but somehow they share the same shadows. But most importantly, the light that hits the objects has the same yellowish color. So despite all those factors that might seem the same for all the elements that are in the composition, in reality, the appearance of each object is different when it comes to rendering it. Now, I'm going to improve the edges of the paperboard to make it stand out even more from the background. And as a final detail, I'm going to darken the right side of the table more to better represent that the light comes from left to right. And that's it. We already have our second sketch. It's quite interesting. And above all, the aspects we have addressed while we are doing it are going to be useful in the main exercises of this course. I see you in the next lesson. 5. Theoretical Approach Artistic References Sailboat from the Bow: No. Hello, people. Before we dive into the construction of the Barcelona sailboat from the front, it's essential to ground yourself in some key references that will help us fully understand the nuances of sailboat representation. In this lesson, we will study the works of James Whistler, an artist whose approach to maritime subjects offers a rich source of inspiration for capturing the delicate interplay between water and light and the structure of the boat itself. Whistler, though primarily known for his portraits and nocturnes, often turned his attention to maritime scenes. His paintings of boats, particularly those that feature sailboats, are perfect examples of how to balance intricate details with atmospheric subtlety. Whistler's ability to render the delicate forms of sailboats in the distance, along with the complex region and sails, provides us with valuable lessons in capturing both form and texture with an economy of lines. Whistler' sailboats are often depicted in soft mute tones, where the boat's shape emerges from a misty atmosphere. He was not as concerned with sharp, precise outlines as much as conveying the overall mood and interaction of light and shadow. His boat, whether anchored in a harbor or caught in motion of water are treated as a part of the environment, integrated into the atmosphere rather than standing apart from it. This is crucial when you draw a sailboat. It's important to understand not just the structure of the boat, but how it blends with the water and the sky around it. One of the hallmarks of Wisl's technique is his use of Bradwell ton ships to define the form of the boat. He didn't rely on heavy contrast, but instead, he used subtle transitions in light and shadow to suggest the shapes of the hull and the sails. This method is especially valuable when drawing boats in the distance, where too much detail could overwhelm the delicate field of the scene. One of the most challenging aspects of drawing a sail boat is representing the sails and their intricate rigging. In Wisler's works, these elements are often drawn with minimal jet careful detail. The sails, sometimes billowing in the wind or subtly folded are treated with soft flowing lines that indicate their movement without overloading the composition. His rigging composed of various ropes, cables, and masts, is represented with a balance of clarity and abstraction. Rather than emphasizing every single nod or line, Whistler focuses on capturing the essence of these elements, showing their structure through a series of sweeping lines and light touches that evoke their tension and complexity. Whistler's handling of these details in the distance also teaches us how to approach the task of simplifying, while maintaining accuracy. The rigging and sails are suggested through the careful placement of curves and straight lines, focusing on the flowing motion of the lines rather than their exact placement. This method is ideal when you want to give the viewers a sense of boat anatomy without getting lost in the intricate details. In maritime art, particularly with the Wisler style, representing distance plays a significant role in achieving depth and perspective. Disabled, particularly when seen from the frontal view might be framed by the soft distance water and sky. The sails are not always rendered with a full detail, but are instead im blight through their shape and interaction with the surrounding atmosphere. Whistler uses lighter, more dilute tones to suggest the distance, allowing the boat to stand out subtly against the diffused backdrop. The sails and rigging seems to dissolve into the atmosphere as they recite in the distance, creating a sense of vast space around the boat. With the lessons from Whistler in mind, we will now begin rendering the Barcelona sail boats from the front. In this exercise, we will focus not only on the boat itself, but also on the surrounding elements. The boat will be the main subject, but we will also represent the water, the pier, the distant elements, such as the sky and horizon, using the subtle techniques that we have discussed. This will allow us to capture the sailboats relationship with its environment, creating a composition that feels both dynamic and integrated. Following Wisler's approach to rendering light, shadow, and distance, we will aim to represent the boat's delicate form in the serene atmosphere of the scene. Let's start then. 6. General Construction Sailboat from the Bow: Hello, people. We could start drawing this sailboat from any lining space. Really, any line at all. The key is to find an initial shape that gives us a clue on how to build the boats form. I'm going to begin by drawing a geometric shape, connecting three points, the tip of the mast at the bow, the point where the boat's hull touches the water at the front, and the point where the hull touches the water at the stern. This will give us a triangle with angles that are easily noticeable to the human eye. Now we can better pinpoint the bow of the sailboat. The cables that connect the mass to the hull also create triangular shapes, and these shapes are naturally discoverable with the human eye. Once we see them, we can easily trace them too, allowing us to build the structure of the sailboat with more precision and balance. This platform over here is the crost. And since we have positioned the main mast, we can set the crow nest over there. As long as you advance in the drawing, all these features will be more noticeable to the human eye, and you will find a reliable path on rendering this sailboat. You're supposed to take the shadow projected on the water as if it were part of the ship and pay close attention to this curve line that makes up the hull. It's an arch that rises at the bow of the ship, and then descends and rises again when it reaches the stern. That line that joins the stern to the bow and which in turn touches the water, it's also an arch. Try to notice the subtlety of the curvature of the lines that make up the hull. Now that we already have the main mast, we can try to create the second one. Try to pay close attention to perspective. From this point of view, the crow nest on the second mast is in a lower position. You can start creating all those features on the deck. Try not to get stuck on details. Just try to create a figure that contains all those elements so that you can then give details. If you feel that you can already give some details, even at this initial stage, you can do so. It's important that you feel confident by drawing. There are so many ropes over here. Pay attention to those ones on the bows mast. But most of all, pay attention to the angles they create on the ship. Now we can move on to this rope ladder over here. I think that the most important thing when it comes to creating these kind of ropes and ladders is to feel confident by tracing the lines. Now we can start giving some details to the le. We are going to create this line following the les edge. Pay attention to this dark stripe over here. How do we know what is the position of this dark stripe? Because if you pay attention to the reference image, the second mast is in the same position of that dark stripe. It's important from the very beginning start shading the lines themselves. I mean, lines themselves contain the value and relationship between light and shadows of the drawing. When drawing, try to take advantage of the regular nature of the features you are rendering. I mean, these ropes are not perfect. They tend to bend in some point of the pads. They are not straight all the way. So you can play with this feature to add realism to the drawing. Now, we must try to shade the most important features of the sailboat. For example, this main mast over here, in terms of light and shadow is one of the darkest elements on the sailboat. The second one is the same. Remember that we are making a guide map of our drawing. All these dark and light lines are giving us instructions to develop the drawing in later stages. And since this very stage, we can create a kind of hatching to represent the shadow on the water. Now, since we already have the sailboat structure, we can start creating the dock over here. I'm going to trace the ge, taking into account that space between the sailboat and the dock. And I'm going to create this structure over here from which the sailboat is connected. Remember that there are two ways to anchor a ship. This is one of the ways connected to this device, and the other one is the anchor itself on the ship. Of course, that one is on the bottom of the sea. Once you have the general structure, you can move on to more intricate details. I don't mean to say that you have to make them all, but there are some critical details like this one that are crucial for the drawing. And the reason is that these details are positioned in the ship's hull, and this is the very structure of the sailboat. I'm going to leverage this detail to create this rope over here. One of the most difficult things when it comes to drawing is representing those areas that we don't know exactly what they are. For example, this area of the sailboat deck. Even in the reference image is complex. There are lots of elements such as fabrics, boxes, even the small captain's deck, which is confusing. I recommend you first outline the entire space and then start with the most visible elements in the distance. Then try to draw the elements that you don't understand, even if you don't understand them. I mean, if you see a shape that you don't have any idea what it is, you are still seeing that shape, so you can follow it. So do not stop because you don't know what is there. Learning to draw by sketching a sailboat is a poetic experience, one that mirrors the journey of mastering art form. Any sailboat teaches us about balance and proportion, not only in the physical sense, but also in the way we approach the act of drawing itself. Drawing a sailboat also teaches patients how a single line can lead to discovery of an entire scene. It's about finding the rhdom and the curves of the hull and sails, much like how Cloudy Monet found the harmony of light and reflection in his paintings. A sailboat suspended between the water and sky offers us a perfect playground to practice perspective, texture, and the subtle transitions between shadow and light. And most importantly, it's a reminder that, like the sea, art as a vast and every stroke brings us closer to the horizon of our own creative expression. I'm doing these details at once because they are important elements in the distance. They are not absolutely necessary, but the idea is that this first lesson shows how to produce a consistent sketch of the sailboat. The act contemplation in drawing is essential. It transforms the way we perceive the world around us. When we draw, we are not just replicating objects, but learning to see them in their truest form. Drawing teaches us to observe with patients, noticing the subtle shifts of light and shadow, the textures that often go unnoticed, and the intricate details that define the character of what we see. Through this process, our eyes become attuned to the beauty of imperfection and the elegance of simplicity. It's as if we begin to unlock the hidden language of shapes, patterns, and lines to reveal the soul of the subject before us. Now, let's move on to the background. Since we already have the sailboat created, we have a lot of reference points to create that background. For example, over here in the Bow, we have the Bow's mast, and you can notice that this mast crosses that tower over there. I highly recommend you do not confuse yourself doing the background. You only have to sketch the background. This very lesson is a sketch of this drawing. So try to focus on those significant features on the background. Most of all those ones that give depth to the composition. For example, here, there are other sailboats and also there is a building behind. But outline them is more than enough to render them at this stage. Now I'm going to add another hat chin layer to the shadow projected on the sea. This is important because sometimes drawings are well done with respect to shapes and proportions, but the relationship between shadows and lights is not correct. So it's important to be clear from the very beginning that this shadow on the water is one of the darkest parts of the drawing. Now, I'm gonna reinforce these dark areas on the mast to further highlight the dominant shadow they have. And there you are. We have our sketch of the sailboat. Try to pay attention to the value of the line, the position, the curvature of the hull, and the position of the boat on the water. We don't need to create a drawing grid to make it feel like the boat is resting on a perspective. I see you in the next lesson. 7. First Details Sailboat from the front: In this lesson, we will focus on refining the details of the sailboat, creating a general shading of the structure, while reinforcing its most important lights. Try to think about this lesson as an extension of the previous one, where we lay down the foundational forms. It's important to note that the full details of the sailboat won't come to life until we reach the stage where we apply the white basil. But for now, we need to add enough detail to guide us forward. Each line enhance and shadow we create will help shape the final vision of the sailboat, given its depth and form even before the highlights are in place. So let's take our time and continue building the structure with patience and precision. Now I'm going to deepen the shading on the hull of the boat and emphasize its darker details, along with adding more depth to the water surrounding it. This process requires patience in a gradual approach, as each layer of graphite affects the overall balance between light and dark. We want to create a rich contrast that brings the drawing to life without rushing into it. Each stroke must be intentional, as we are essentially sculpting the form of the boat through shadows. So the key here is to build the tones slowly, constantly stepping back to assess the harmony between ight lights and the darker areas. The hull itself being a focal point of the sailboat, needs to careful attention to ensure that its form remains solid and grounded while still giving off the sense of movement on water. The water, too, needs to reflect the subtle ripples and shadows that enterat with the hull, which means that the dogs in both the boat and the water should work together in unison. It's almost like a game between graphite and paper, one where every shadow plays a role in the visual story. While shading, keep in mind that less is sometimes more. We don't need to rush the process. Each layer we add should be measured and delivered, contributing to the overall composition, a living space for future details. If you pay close attention to the hull of the sailboat, you will notice it's made up of wooden planks joined together. Capturing this detail is crucial, as it adds a layer of authenticity and texture to the drawing. These planks run along the length of the hull. We should depict them carefully using saddle lines that suggest the way the light plays across them. Later, when we apply the white pastel, these wooden details will become even more captivating, as the highlights will enhance the natural curves and texture of the planks. The edges of this dark stripe on the hull are very important. It's a distinctive element of the hull and must be done in detail. It's important to notice that some details you will see on the deck don't actually belong to the deck itself, but are part of the background peeking through the cables and ropes. This can serve as a helpful clue for capturing the sailboats deck. If you observe the main mast, you will notice that it has sections that are darker and others that are lighter. I mean, two distinct tones of wood that we need to capture. These sidle shapes in tone help bring out the texture and material of the mast, making it feel more lifelike and adding depth to the overall drawing. You must also develop the sensitivity to notice tonal differences between elements. For example, how one cable might differ from another. For instance, here, the rope ladders on the boat are darker, so we need to draw them with deeper tones to make them stand out in the composition. This kind of observation is essential for capturing not just the structure of the boat, but the feeling of the materials and the way light plays across different surfaces. It's a subtle yet powerful way to bring the drawing to life. Choosing the right graphite pencil tones is crucial for achieving depth and realism in your drawing. Each pencil from the softest to the hardest offers a range of tones, values that can transform a simple stroke into an expression of light and shadow. And this variety not only enhances the visual representation, but also enriches the viewers experience, inviting them to explore every detail of the artwork. The boys hanging along the hull of the sailboat are also important to capture with precision and proportion. Pay close attention to how they gradually decrease in size as they follow the curve of the hull. And since they are white, I'm using the razor pencil to match the tone. Many people become obsessed with speed when it comes to drawing, believing that quicker strokes equate to better results. However, this rush can often lead to frustration as the pressure to produce quickly overshadows the joy of the creative process. It's important to remember that speed is not a guarantee of quality. In fact, it can hinder the ability to observe and connect with the subject. Embracing a slower, more mindful approach allows for deeper exploration and understanding of the forms, textures being captured. Over time, as you cultivate your skills and confidence, speed will naturally develop, but only when it feels right, enhancing both the outcome and experience of drawing. That tower in the background plays a crucial role in conveying depth and perspective in our drawing. By adding details to this element, we can suggest that it's situated far away, creating a sense of distance within the landscape. I mean, that tower allows us to explore the relationship between the foreground and background, emphasizing the layers of space that exist within our artwork. As you observe how I enhance the shadows on the hall, pay attention to the background where only lines suggest a distant landscape. This is precisely how we should approach depicting a landscape in the background of a sketch. By using simple understated lines, we can evoke the sense of the scenery without overwhelming the viewer. H Now, let's begin adding multiple layers of hatching to the shadowed areas of the water to gradually darken them. This process involves applying gentle strokes in different directions, building up the density of the graphite. As we layer the hatching, we can create a sense of depth and movement in the water, making it feel more dynamic. Remember, patient is the key as we slowly develop these layers to achieve the desired effect. And there you are. Our sailboat now boast many more details, and its perspective against the background truly makes it feel like it's floating on the water. I see you in the next lesson. 8. The Water Sailboat from the front: In this lesson, we are going to create effects of water reflections, blending both sketching and detailed drawing techniques. This means that we will work in a style that merges the loose expressive qualities of A sketch with the precision and attention to detail found in a more refined drawing. The goal is to suggest movement and light on the water surface without losing the structure and depth needed to make it convincing. So the first step is to fill in this entire area with enough graphite to render the exact tone on the reference image. First of all, we must understand that the shadow's nature is produced by the sail boat structure. But the structure of the boat will appear slightly distorted due to the small waves and ripples in the water which represent its movement. This distortion is key to creating a realistic reflection. So instead of drawing a perfect mirror like reflection, we need to let the micro waves bend and blur the lines of the boat's hull, the mast, and the other elements. For example, I'm going to render this line on the boat. As you can see, I'm not doing a perfect line. Instead, I'm creating an elongated shadow that expands on the water. And this is because water is in motion and water mixes the shadows light. Distorting our perception of the sailboat. If you pay close attention to the reference image, you will notice that in the shadow cast on the water, the mast of the sailboat are clearly visible, so we must try to portray them. While it's impossible to see the finer details like the cables and ropes in the reflection. The more prominent elements, such as the mast and hull should be suggested with bold defining shadows. This contrast between pronounced shadows of the major elements and the subtle distorted shapes beneath them is key to achieving a convincing and dynamic reflection in the water. Observe the irregular and curved shape with which I represent the bow in the water. As we begin to build the darker areas of the shadow on the water, we should also focus on representing the small waves. This can be depicted with elongated horizontal shadows that carry light imperfections to suggest the natural movement of the water. Try to observe and understand the patterns that occur in nature, the way light and shadow play on the surface of water. It's crucial to step back and observe your drawing from a distance, especially when working on shading water. From a closer view, details like small waves or reflections might seem clear. But when you step back, the overall effect becomes much more cohesive. This perspective allows you to see how the darker areas and subtle variations in tone work together to create illusion of movement and depth. It also helps to identify areas that need balancing, ensuring that your shadows don't overpower the scene. Since this drawing will also include white soft pastel, we need to approach this stage with that in mind, recognizing where those white highlights will eventually be added. I mean, it's important to plan ahead and leave certain areas more open, ensuring we don't darken them too much with graphite. Those elements that cut across the water are crucial for adding realism and depth, like the rope connecting to the boat. Pay close attention to how I create this effect by erasing parts of the water I have just drawn. This technique allows the rope's contours to remain crisp and clean. Now this rope stands out against the darker background. Try to be mindful as you continue developing your drawing, especially when adding dark details like those in the water. The more graphite you use, the more likely it's to smudg the other areas of your drawing. There are two key things to watch out for. First, be careful about where you rest your hand while working. Placing your hand on graphite can easily smug it across the paper. Secondly, regularly clean your drawing. For example, right now, I'm cleaning the boats boys because they got smudch from my hand resting on the graphite. In the same way, some very subtle lines will disappear as you rest your hand on them, so you will need to retouch them from time to time to avoid losing those details. Remember that you are going to rest your hand more often than you might expect. This is also why it's important to draw on a Nisle whenever possible. I mean, drawing on a flat surface like a table forces you to constantly rest your hand on the paper, increasing the risk of smashing and losing finer details. A nasal allows you for better control and helps keep your drawing clean and intact. While I'm retouching the water, pay attention to how interesting the depth of the boat appears in the stern area. The curve of the boat really captures the essence of its hull. Remember, our goal isn't to make a perfect boat, but rather to create one that feels convincing. The slight imperfections, the natural flow of the lines all contribute to the authenticity of the drawing. A believable form is much more impactful than a perfectly rigid one. Now I'm going to expand the shadow over the water downward. I will use another reference image that captures the full shadow from a greater distance. Even though it's not exact the same viewpoint of the boat, it helps me complete the shadow, filling the entire lower part of the paper I'm working on. It's important to remember that sometimes we can use multiple references to create a more complete picture. We don't have to be restricted to win. The key is to adapt and interpret what we see, making it work harmoniously within our drawing. One fascinating thing that can happen while drawing water is that as you start to truly understand its form, the water in your drawing may begin to look either calmer or more turbulent. This is an incredible phenomenon because this subtle shift often happens naturally and can significantly enhance your artwork. It adds a personal doch reflecting your unique interpretation of the scene. Pay close attention to the dark value of the anchor bar at the top. It's the darkest tone in the entire composition, and this makes it a crucial reference point as we continue to develop the drawing. This element helps us navigate the shading of other elements, guiding our hand as we build up the layers of tones and shadows throughout the composition. And there you are. The water in our drawing is quite advanced now. Remember what I mentioned earlier, the final effects of the reflection won't be complete until we add the white pastel, but we will tackle that in another lesson. 9. Dock's details Sailboat from the front: Okay. In this lesson, we're going to focus on refining the details of the dock. The goal here is to give enough attention to the surface textures of the platform so that we can better convey its perspective as it stretches into the distance. Even though you are not drawing every single detail, suggesting them effectively is key. These horizontal lines you see across the concrete of the platform are an excellent detail to represent in the distance. We need to draw them in a way that conveys the length of the platform, making sure the lines become smaller and more compressed as they recede into the background. There is something important to keep in mind when making these marks along the edge of the platform. We don't need to place them exactly as they appear in the reference. Instead, it's crucial to understand their nature and how they change as they recede into the distance. This approach allows us to add personality to the drawing, giving it a unique touch while still conveying the sense of the scene. Notice how I'm adding the same details along the edge of the dock, even when they are not explicitly visible in the reference image. Once we understand the nature of these elements in the closest part of the doc, we can replicate them with subtle variations in the distance. This technique not only enhances the sense of depth in our drawing but also allows us to maintain the character of the scene. Remember that as you progress in your drawing, regardless of the area you are working on, you can always touch up other parts. This is because as we build space more effectively, we become more sensitive to details and start noticing things we might have overlooked before. It's a natural part of the process. Each new layer of understanding can reveal subtle adjustments that enhance the overall composition. So embrace this exploration. It's a sign of your growing awareness as an artist. Notice that between the two masts of the sailboat, there is a mast with a folded sail. We should strive to create effect of the fabric in that area. It may seem like a small detail, but it's significant. And even if we don't fully understand all the elements that are there on the deck, if we manage to discover some, it's much better. Now I'm going to complete the background. Pay attention to the element of the landscape. It's like a bridge that stands along the background. It's important because it crosses the mast, making us feel the ship is detached from that background. And there you are. The details of the port are completed, and now the perspective in space feels much better. Try to review the lessons carefully so that you can advance with consistency. See you in the next lesson. 10. White Pastel & Last Details Sailboat from the front: Hello, people. We have a right at the final lesson for this drawing, where we are going to apply the white pastel. Let's start by focusing on representing the shading of the clouds using hatching. It's essential to keep the hatching in one direction, flowing with those shadows on the clouds as closely as possible. If you feel you need to fill in those areas between the cables, go ahead and add some graphite there as well. The process of darkening a background with graphite should be done in layers. I'm going to blend this first layer using paper to smooth it out before applying the second layer. This approach helps create a more uniform look and allows you to build depth gradually. Now I'm going to add a second layer of graphite and continue blending until I reach the desired tone of the sky. This step is crucial for achieving that soft atmospheric quality of clouds. It's important that you don't hesitate to adjust to pressure on your pencil. Lighter strokes can create subtle gradients, while firmer pressure will enhance darker sections. Pay attention to how much better the sky looks now. It's a soft graduated layer of graphite that beautifully represents the gentle gradient in the clouds. Keep layering and blending until you are satisfied with the effect. Now I'm going to apply the white pastel to the sky, doing it carefully with a gradient that goes from the bottom up. This means the area closest to the horizon will have more white, while the top will be softer. Make sure to fill in the larger areas using the pastel stick or pastel bar. And for the edges, use the pastel pencil for more precision. In the reference image, the clouds are not clearly defined, so you don't need to focus on their exact shapes. Instead, concentrate on the overall shading in the sky. Pay attention to the darker, bluish areas as well as the lighter illuminated spots. It's all about capturing the essence of the sky rather than replicating every detail. Now I'm going to create a reflection on the water of those illuminated white spots on the sky. Our goal is to represent the white light in the water to match the brightness we see in the sky. To do this, gently apply your white pastel where the light from the clouds would naturally reflect, blend it softly into the surrounding areas to create a seamless transition, mimicking how light interacts with the water surface. Now, I'm going to spread this white pastel across the sky to fill in those empty spaces near the horizon. Remember, this area should be brighter to reflect the light effectively. Be careful as you apply it. Ensure that we don't smash the boat. Use a gentle hand to blend the pastel, creating a soft gradient that transitions into the surrounding areas. We need to be especially careful around the cables. These lines are delicate and can easily get as much if we are not attentive. So as we apply the white pastel, take your time to gently blend the edges without disturbing the surrounding details. Now I'm going to apply white pastel to the boat, starting with the boys. It's crucial to be very careful during this process. Remember, we have created fine lines on the hull that represent wooden slats of the boat. When adding the white pastel, respect those lines, allow the color of the paper to show through in some areas. This technique will help maintain the texture and volume of the boat, ensuring it looks three dimensional. Focus on following the contours of the hull as you work, creating a harmonious blend of light and shadow. Now, let's highlight the rope that connects the boat to the mooring pole. This detail is essential because it will help lift the rope of the water, which serves as the background in this area. Use a delicate touch of white basalt to emphasize the rope, ensuring it stands out against the watery surface. Now I'm going to use my favorite tool, the Pierre noi. In all my courses, I rave about this pencil because it achieves such deep rich blacks that are impossible to reach with traditional graphite. Notice how I use it to darken areas where the shadows are true and tense. These are isolated lines and shadows, but they are crucial for enhancing depth and dimension of the drawing. Another incredibly useful tool is the pure graphite pencil. Well, it may not be as dark as the Pierre noir. It's the darkest of the graphite pencils and can rely enhancer work. I'm going to use it to reinforce elements both in the background and on the boat. Take a moment to appreciate this incredible detail. Look at the dark stripe on the hull of the boat that we have created with graphite. Initially, it appeared very dark. But once we introduced the Pierre noi, that stripe changes its meaning and takes on a brown hue. This is fascinating because it shows us that it wasn't as dark as we initially thought, and it retains the color of the paper beneath. Therefore, all those areas we shaded heavily with graphite on the boat evolve into a rich dark brown with outrawing matching the tone in in the reference image. As a final touch, let's add a light layer of hatching to the darker areas of the sky. Remember that it's those delicate details that elevate our work. And there you are. Our drawing is complete. Look at the contrast and richness of the textures. Behold the sketchy marks that represent both the reflections and tones. We must try to contemplate the drawing by just visual language. It's a testament to how we can appreciate things more deeply, enriching our visual sensitivity. This process not only enhances our skills, but also fosters a greater connection to the world that run us. Thank you for joining me on this journey, and I see you in the next lesson. 11. Theoretical Approach Artistic References Sailboat from the Stern: Before we begin our work on rendering the sail boat from the rear, it's important to first immerse ourselves in the study of two key artists whose approaches will illuminate our technique Jan Constable and Wislow Homer. Both artists offer distinct yet complimentary perspective on how to depict sailboats. Their methods are filled with invaluable lessons that will guide our understanding and execution of this exercise. John Constable, the master of English landscape painting, is perhaps best known for his serene jet dynamic views of nature. When he depicted sailboats, particularly those close to the coast, he didn't just portray the boat as an object. He imbued with the presence of life, almost as though the boats were part of the natural world itself, caught in a gentle but constant interaction with the elements. In constable's work, we often find boats near the shoreline, their mast towering against the sky and the gan reaching like veins towards the heavens. The boats are anchored or sailing near the shore, where their forms are softened with effects of light, water, and air. Constable, in these works, embraces the boat's connection to the land, the delicate balance between the solid form of the boat and the flowing, almost formless nature of water surrounding it. What is striking in Constable's representation of boats is his incredible attention to light and atmosphere. The sailboat often captured in a late afternoon or early morning is bathed in a soft diffused glow that casts long shadows over the boat's wooden hull. The light dances across the crest sails, each fold of the canvas catching a different hue as the boat tilts gently to one side. We see the rigging, the lines of the sails, and the whole of the boat itself all transformed by light, each lined and curved interacting with the surrounding space, creating a harmony between object and environment. In many of Constables works, the sailboat is placed near the coast line, close enough to feel the shore's presence, but far enough to suggest a moment of solitude and serenity. This proximity to land allows us to Constable to explore how the boat's structure contrast with the infinite sky and water, where the rising line becomes less a boundary and more a point where all forms land water and the sky melt together. The sails touch with wind and seems to carry the boat on a journey, but the journey is quite anchored in the moment. The boat is not rushed over some far off place. It's part of the ternal landscape, gliding over water that reflects the sky in a soft undulateing dense. As we look closer at Camst's boats, especially those seen from behind, we can see how the hull and mast are treated with a light touch, delicate and expressive, while the sails are imbued with energy. It's through this subtle contrast that Constable gives the sailboat a feeling of life as if the boat is a living being moving through the water, guided by the whispers of the wind. This dynamic interaction between the boat and the environment is what makes Constab's depiction so captivating. He's not merely showing us a boat. He's showing us the relationship between the boat and its surroundings, the sky, the water, the light. So, for our exercise, Constab's approach is invaluable. The sailboat from the rear positioned close to the dock will be an ideal scene to explore the contrast of light, the soft reflections on the water, and the intricate relationship between the boat and the space it occupies. By studying his handling of the boat's structure and light, we will learn how to give our drawing a sense of delicate balance where the boat seems to float in harmony with his environment. While constable's boats are often tethered gently to the land, Homer's boats are part of A dynamic interaction with the Z. Homer's depictions of sailboats tend to invoke movement, and his focus on the boat's relationship to the water, how it cuts through the waves or sits firm in the water, it's key to understanding how the boat becomes an integral part of its environment. Homer's boats are grounded in the water. Their hulls are shaped with water surface, not floating above it, but actually interaction with it. By capturing this connection, Hummer reminds us that the boat is not an isolated object, but a part of a larger system of the sea. It's a powerful visual connection we must consider when we depict our sailboat from the rear. In contrast, Winslow Hummer's approach to sailboats emphasizes a more active connection between the boat and the water. While constable's boats are often tethered gently to the land, Homer's boats are part of the dynamic interaction with the sea. Now that we have explored these two masterful approaches, we can begin around rendering of the sailboat from the rear. In this perspective, we will be working with a slightly closer view, giving us the opportunity to include greater detail than in our previous drawing. Our sailboat will be near a dock, and we will add details like the structure of the mast, the shape of the sails, and the rigging that gives the boat its form and movement. We will be careful to show the sidle reflection of the boat of the water, allowing the hull to merge with the rippling surface. Just as Constable would have done, this connection between the boat and the water will add a layer of depth and meaning to our drawing. While the light will guide the viewer's eye, creating a supp atmosphere that surrounds the form of the boat. The dock, though it will be included in our drawing, will remain secondary with the boat remaining the focal point. As we add more detail, our focus will be on how the light plays across the boats details, how it interacts with the rigand and how the boat rests in his space, much like the boat's constable painted close to the shore still, yet always a part of the world around it. With this understanding, we are ready to embark on our next step. Rendering the cell boat from the rear with a sense of harmony and connection to its environment. Let's begin this next chapter on our artistic exploration. 12. Angle's Technique Sailboat Stern View: Hello, people. First of all, we must select one element in the composition that serves as a guidance to make it the cell boat grows from the very beginning. You can see that I have selected the section over here, the main mast, and the gans and cables around. All these elements together creates a kind of triangle from a bi dimensional point of view. But it's not necessary to create a triangle itself. It's enough to create some guidelines that make us imagine that triangle. You notice that I have drawn the main mast right in the middle. And from there, I'm stretching lines to the stern to start creating some details. You had to be smart by selecting the starting point. And the reason is that the main mast allows me to measure all the possible shapes around. I mean pay attention to all those things that are hooked to the main mast. So that element is not selected by chance, it's not a random selection, but an intentional selection to create the sailboat completely. The most important thing is that I have drawn tilted lines to create all those elements around, and all those lines grow from the initial shape, that initial triangle. To the naked eye, you are likely to take this as a complicated, but actually is not. And the reason is that it's more difficult to break down the whole sailboat into one single geometric shape than trying to draw it using this process. Since Human I is quite sensitive to angles, it's easier to make the drawing grows step by step using these tilted lines. I have seen so many drawing courses that encourage you to break down the entire composition into one single geometric shape, but that is quite difficult. I mean, you are supposed to have years of experience behind to create a drawing using that strategy. But if you are able to use this strategy I'm using now, it's as if you were going up a ladder, a reliable ladder. Pay attention to the way I'm relating all the distances, all the lines around that initial shape. Those measurements are a reference points to create the drawing. For example, this line over here is a horizontal mast that is resting on the deck with its sails folded. So we must pay close attention to all those elements that are nearby that mast. For example, we must be aware that the Capts bridge is just below that mast. But anyway, let's continue creating the other mast. And this is a great example. It's easier to nail the distance between one mast and the other than trying to create the entire sailboat in the first attempt. I mean, the entire hull, for example. So if we have drawn this mast, that means that we have an approximation of the sailboat length. So I'm relating lines and relating shapes to make the sail boat grow from the very beginning. I mean, the whole thing is that it's easier to create that nearby object. Close to the first object we trace and paper or the first line with trace and paper, then trying to break down the whole composition into one single shape in the first attempt. That is quite difficult. And from my point of view, that is the reason why so many students got frustrated in the initial stages of a drawing. Most of the instructors are teaching you as if you were a kind of drawing expert by nature. But anyway, be attention that since I have drawn the second mask, I have a good reference point to start creating the w. I mean, we all know that that second mast is close to the bow of the sailboat. So the front of the sailboat is supposed to come from there. On the other hand, the reason why we are supposed to use those elements like the mast and the agings as a reference point is due to the fact that the curved nature of the sailboat hull is something difficult to nail. So that outline that I have created of the hull, specifically that part in contact to the water, it's an approximation that I'm doing using as a reference the rest of the lines that I have created so far. So you can see here that I continue creating all these details in the riggings because as long as I add more details, I have more reference points. So now I'm going to try to connect the stern with the bow, create on these curved lines that represent the hulls volume. Pay attention to the fact that I never used definitive lines. They are all sketching lines and approximation. We must try to fill the wooden planks. I mean, the hull is composed by wooden planks. To the extent that we create enough wooden planks, we are ready to create those boys hanging out the hull. And, of course, we are also ready to create the decks H. Now I'm going to start adding some fine details to the stern. I would dare to say that some intricate details are important to make us feel the reference image upon our paper. We must try to visualize the entire reference image on the paper from a bi dimensional point of view. On the other hand, it's important to represent the chiaroscuro from the very beginning. But actually, I'm not doing shading, but instead, I reinforced some lines, directly sharpening some lines that are important to represent that contrast between light and shadow. Of course, I have added some hatching to the darker parts of the hull, those parts that are not painted in white. But the most important thing is that representation of the chiaroscuro through the lines themselves. And this part of the stern is quite important when it comes to understanding this. O Now, pay attention over here. I'm going to move on to these intricate details over here, but I'm going to start tracing that sail folded in that horizontal mast. That will allow me to have more reference points to move on to the captain's bridge below. In order to create the captain's bridge properly, we don't need to understand its entire shape completely. We only need to understand the place it occupies between the mast and that prominent elongated feature in the hull. I mean, that wooden ornament on the hull. So we are supposed to use those elements as a reference point to create that captain's bridge. What I mean is that space between objects is as important as the object itself. So by creating properly that horizontal mast in the ornament and the hull, we are automatically creating that detail, the captain's bridge. When it comes to creating intricate details like those ones on the decks, we must try to trust on what we see rather than understand what we see. Even if you were present in front of that sailod, you are not able to understand everything you see. I mean, there are so many ropes and cables and all the rigging and the sails folded that, in fact, I don't understand all the elements that are on the deck. But it can feel the presence of those elements from a distance. I mean, the general impression is so important. So if we only have that general impression, we must try to render that impression instead. What I mean is that if you are not close enough to understand what is the nature of those elements on the deck, try to feel that distant impression instead of complicating yourself, trying to discover every single element on the deck. Now I'm going to add another hatching layer to the stern. I mean, to try to represent from the very beginning the different surfaces on the stern and on the hull itself, those painted in white and those with the wood exposed. And of course, since we have added this another hatching layer, we can reinforce other sections on the composition. For example, the main mast, we can strengthen the darkness on that main mast and also in the other mast. When it comes to shading the composition, it's important to relate properly the chiaroscuro in the whole drawing. I'm not going to add more details to the sailboat for now, but I'm going to try to do the most general shading of the water using a hat chin. I'm not going to add details to the water. It's a kind of shading layout. And that's it. We have a very nice initial stage of this drawing. We can feel the perspective properly created on the drawing, and we haven't used any drawing grid. But as I always mentioned, this is just the beginning. I see you in the next lesson. 13. First Details Sailboat Stern View: H. Hello, people. Let's start directly giving another layer of details to this drawing. As I already mentioned, on the theoretical lessons, rigging is too important, but the most important thing is that perception we have from a distance, but that is a good question. Which are those elements that we must take into account when portraying something from a distance? When you look at the reference image, you can notice that the width of every single rope is not exactly the same, but that is not because of the nature of the rope itself. That is also related to the fact that there are several ropes overlap. On the other hand, there is also another important factor the background. The sky itself has different shades and tones. So the byproduct of the rigging upon that background is the visual effect we are able to detect from a distance. For example, pay attention to this section over here where the ropes get together close to the upper platform that grow nest. In those sections, we have to represent the ropes in a darker tone. Because that is going to give three dimensionality to the drawing itself. There are so many ropes around. I mean, all the rigging. So we're creating a kind of language to interpret all those lines together. And of course, some lines are going to be thicker than others. We don't need to complete all the ropes in one single moment. We can do that in several stages. So I'm going to move on to the pair over here to give some important details to the composition. For example, the iron ladder over here is quite important. It's not complicated to position the ladder. We just have to think that it's more or less at the height of the stern of the sailboat. But in the pair, when it comes to drawing, we must pay attention to the nature of what we are drawing. For example, these ropes over here, you must ask yourself something. Is precision necessary with those ropes? Will the precision of how I draw the ropes that connect the sailboat to the pair modify the nature of the sailboat? Obviously not. This is quite important when it comes to drawing. It's similar to when we are drawing a human face, and we must draw the hair. It's necessary to be completely precise with the hair. Will the hair change the identity of the person too much? The truth is that the hair is something that moves too much. So it's not a determining factor. So the same goes for those robes over there. Now pay attention to how I'm making these lines on the platform. The purpose of this is not to represent the platform as it is, but to represent the perspective of its surface. It's as if it were a grid, but in reality, they are creative details in the concrete of the surface. Pay attention to the fact that these details are not visible in the reference image. Basically, I'm imagining them, but they are very important to improve the visual effect of perspective in the Cam position. M. Now I'm going to move on to the background details. In this case, the background details only serve to differentiate the different layers in the distance. In a drawing like this, it's not necessary for these details in the distance to be so intricate. Just being clear enough to represent a clear object in that location is more than enough to nail it. So, for example, here, I'm creating that sail boot on the background, but actually the reference image features a smaller sailboat and additionally, is barely visible in the background. So we are trying to enhance that background to make the drawing more stunning. As we advance in the drawing, the details becomes slower and more thought out. That is part of the process. However, these are not drawings that take long hours. A completely realistic drawing implies a number of hours and hours of work, which often makes the process tiring and tedious. So the idea of this series of courses is precisely to handle a technique between realism and sketching that allows us to have an attractive drawing that works quickly without spending so much time on the details. So, for example, look here at the details of the ship's deck. Look how there are strokes that represent details that we didn't even fully understand. But even though we can feel that they are real, that they are present as a part of the ship itself, One of the key tips for representing these confusing areas is to pay attention to the dark and light tones. Simply by guiding ourselves by that, without hesitating too much, we can represent the visual effect in the distance. For example, pay attention to this rope ladder over here. Precision is not that important either. Simply by suggesting that there are lines that go in the same direction and that there are saddle lines. In the distance we create effect of the rope network on the ladder. Now pay attention to the outline of the rope ladder. Look at the volume and depth it acquires. Mm. Pay attention to the rhythm and bass in which I created this structure in the stern. Try to see that it's a slow process with patients. That includes a number of lines and small details with a lot of intention. I think the most attractive part of this drawing is precisely the stern of the sailboat. It's completely classic and representing the wood with the hatching becomes almost like an old engraving. We must try to be patient and relax doing every single detail. Now I will repeat the rope ladder process, but on this side. Of course, taking into account the internal and horizontal lines that must also established perspective. Now I'm going to proceed to create the rest of the rigging over here. Once we understand the language of the sailboats ropes, the rigging, we can even add ropes that are not initially in the reference image, but that help the sailboat look much better and much more interesting. Look at the three dimensionality that the boat gains as we add details. It's as if we could touch it. This is important. It means that in the drawing, we are even improving the contrast of the reference image, refining the elements that make the sail boat more interesting. Pay attention to the folded sailed on the mast. Notice how the lines suggest the fault of the sail tied to that mast. I'm not exactly depicting the fault of the fabric, but understanding the nature of the fault from a distance to create the visual effect. It's also important to represent the light shading under the sail, which allows the creation of each volume. Here you can see more precisely the details of the sail with the mast laying down. It's quite interesting. You can even notice the cylindrical shape of the mast. Now, look, what I'm going to do here. I'm giving details to the background right here to detach the sailboat from the background in a creative way. So I'm going to suggest some ships in the background. And that's it. We have reached the end of the second lesson of this drawing. We are doing very well. The sailboat already looks beautiful, but there is still much more to do. I see you in the next lesson. 14. The Water Sailboat Stern View: People. In this lesson, we are going to tackle this interesting subject, the water. It's important to mention that I have another interesting course focus on water. The impression is the water course. And it's also available on this platform. So I'm going to start by reinforcing that contort that outline that is in contact with water because we need to detach the sailboat from the water, and we must do this under one principle, the fact that the water is the darkest zone in the composition. So especially that section where the sail boat is in contact with water must be stressed with dark tones. So we are going to add another hatching layer over that tones on the water. But at the same time, we had pay close attention to the different hues on the water because the reflections are distorted by the waves, the gentle waves. So that shadow projected on the water is the byproduct of the sailboats shadow and the water in motion. Look at the way I'm outlining the shadow zones. This is very important because we need a kind of guidance when it comes to creating the shadows. So pay attention, for example, to this line I'm creating here. It has a kind of ixac pattern. We must try to do this layer by layer. It's not about speed or precision, but about creating the proper visual effect. We must do this at this slow pace because we need to isolate the sail boat. Basically, the water is in the foreground, so it's a critical element of the environment. Not to mention that we are rendering a sail boat that is floating on the water. On the other hand, to create consistency in the dark zones, you are able to overlap hatching layers in different directions. This is quite useful when it comes to creating depth in the water's representation. While drawing, we must understand the processes. Sometimes when we are creating a drawing, the construction stages may seem disordered, as if what we are doing doesn't make sense, but it's precisely knowing that we are in the right direction that make us continue. But this proper direction can only be seen to the extent that we complete the work. So we know that the construction process is sometimes distorted and apparently uncertain. But even though we are in the right direction. Yeah. Some of you may be asking yourself, but what can I do to figure out what is exact point of dark tones? We need to nail in the water. Well, you already have reference points. For example, the values of the darkest zones on the sailboat. For instance, the amount of graphite that is in the main mast. That is a great reference point. Now I'm going to start creating the light and distortion on the water, and we are able to represent in the create and these curved shadows. Pay attention. These are kind of dark spots. You it's important to mention that the water is another of those elements that have a certain randomness in the landscape. Even though we can try to render what we see, the idea is to understand nature and the representation patterns to have freedom when it comes to representing it. Pay attention to this serpentine line at the edge of this larger shadow in the water. Notice how little by little we are building the language of tones, creating more depth in the water and how the sailboat even looks better. Look at the intensity value of the graphite here and how it affects the ripple of the water when I trace the edge of that shadow. Here you can notice more the dark spots in the water. These are very important features. Uh We must pay attention to the more subtle parts of the waves, such as S slider sights. Try to notice the sequence that is repeated. Look at how you start to feel the undulating movement in the water, especially in this part near the pier. Note that all the shadows in the water are almost an abstraction, but they have a language that is actually very figurative when it comes to representing the movement of the water. And that's it. We almost have the water ready. And we will continue adding darker details in the next lesson, but it's quite advanced. If you need to go back in the lesson to review some details, you can do so before continuing until the next lesson. 15. Dark Details Sailboat Stern View: Hello, people. In this lesson, we're going to reinforce the dark tones of the entire composition, especially those of the sail boat. The reason is that since we created the water using quite dark tones, we must match them with the darker areas of the sailboat, that is bring the water lines, spaces, and contours of the sailboat to the darkest tone in the water. But before engaging in that, I'm going to finish these ropes that are supposed to cross the water to the pi. You can notice in the reference image that they stand out clearly on the water. This is a quite interesting effect that we are going to tip with the eraser pencil. So we only need to remove the graphite in the direction that the rope has. As I told you before, the direction of the rope is not that important because, in fact, the rope could be tied to any parts of the peer. This detail is just beautiful because it gives tremendous three dimensionality to that area of the drawing because we are dividing the space into layers. Pay attention to the sequence of black spots in the water that get smaller in the distance, representing the perspective and movements of the water. It's very important to understand the baton in order to create the appropriate visual effect. Now I'm going to move on to the sailboat. Pay attention to the nuances of every single stroke. You must be aware about the differences. Pay attention here. I'm going to trace this line over here. I'm going to reinforce and this contour, and you will be able to notice the difference. So notice the amount of volume it acquires. So it's those small sidle changes that make the drawing slowly improve. That is why we must observe a lot. For example, pay attention to these couple of ropes over here. When it comes to create these kind of robes that are lighter ropes than the background, we must take carefully the outlines of that rope. You already know that it was created with eraser pencil, but even though we must sharp that outline to create a volume on that rope. Once you start matching the darker tones of the sail boat to the water, both subjects will look better in harmony. Remember that the objects you throw all have value because of everything that surrounds them in the landscape. This means that if the water looks great, the sail boat will look even better and vice versa. On the other hand, pay attention to how very subtly darkening this area of the water here. I have to do this because there must be a difference between part where the water is completely exposed to the light in this section of the water. Now I'm going to proceed to create another layer of details on the pier. I'm not going to complicate myself doing this. It's just to improve the environment of the landscape. And as I told you before, since it's a platform that reaches horizon, it's an element in the composition that gives a reading of the perspective of the landscape, and that is crucial to the drawing. You can see here that I'm creating a sort of grid that appears to be marks on the concrete. But this false grid allows me to represent perspective. It's a good strategy when we need to represent distance and the surface doesn't have enough real elements to help us. In this case, it's not that it doesn't have elements, but that the reference image doesn't reach that far, so we must be creative. We are supposed to use our imagination. Now I'm going to improve the folds of the cells that is stored. The idea is to darken those areas where the fabric is more compressed and wrinkled. For example, those spots where the fabric joins. Now, I'm going to work on the CapTmes bridge. I'm going to improve its contours in the general color of the wood. We already have enough reference points to achieve this. Now I'm going to add another graphite layer to the stern. Look how beautiful it looks, how the pattern blends with the texture and grain of this beautiful paper. And that's it. I love this result so far. Sometimes artists are afraid of dark when using graphite, but I really love using a lot of graphite to create volumes, and this is a proof of that until the next lesson. 16. White Pastel & Chalk Sailboat Stern View: Hello, people. We have reached the final lesson of this drawing, and we are going to dress the final details, and also the pastel chalk. So as we did with those ropes that anchor the sailboat to the pair, we are going to do kind of the same with the background. I mean, with the sky. So the purpose is to detach the sailboat from the sky, which, in turn, gives rise three dimensionality to the drawing. So by creating this background, by creating this sky, we are going to provide the viewer with information about how far away that background is. And automatically, that will transform the language of the drawing. So you can notice that I'm applying a kind of hatching, an inclined hatching composed by slanted lines. So we are going to do this layer by layer, filling in the paper with this gravite to later on blending it. The reason why I'm doing it with a kind of slow pace is because we have to do it layer by layer to prevent spoil those lines we have already created. I mean all the rigging over there. So you can notice that to the extent that I add graphite, I'm retaching those lines, for example, here, they may mess, because, in fact, when we are drawing, we are touching the paper with the hand, and that is an involuntary factor that spoils our drawing also. I mean, you only need to check your hand while drawing to be aware about how much graphite remains on the hand. So I'm going to start blending this first layer of graphite. I'm using a tissue, you can use also toilet paper. So if you're not able to get a blender, a tissue is even better because you are going to use a new piece of paper. So once you blend this first layer, you're going to add another layer of graphite. The idea is that the background layer have consistency. So I'm going to try to fill in those spaces. I was not able to stay with the previous layer. We need to do this by using this process because you as a trasan you are supposed to improve your sensitivity to the nuances. So by doing this background in this way, we are going to foster this in your imagination. Now we are going to blend all the graphite again. Actually, we can use the same blender, the same tissue. But pay close attention. We had to be very careful with the rigging. Notice that now I'm trying to reach the rigging edges with the graphite pencil. M Once we get this gray veil on the background, we can start suggesting the clouds. So we only need to remark those songs in the sky where the cloud clusters are more prominent. And once again, we can blend those sounds also. But this time, we are going to do it applying a kind of circle movement. No. And now it's time to start applying the white shalk It's a white bustle bar. So I'm going to start depicting the lighter parts of the sky. Those suns where light bounces on the upper parts of the clouds. It's important to mention that this time, we don't need to blend a white bustle. Yeah. Now we can move on to the water. Since the color of the water, the water hue depends on the color of the sky because the sky itself is visible connected to it. We need to add this white bustle to the brightest zones of this water. Pay close attention to the fact that I'm adding the white bustle, but I'm leaving some spots in blank, and that will be part of the water nature. You can notice in the reference image that there is a kind of interplay of light and shadows in every single part of the water. But in some sections, this is more noticeable than in others. Pay attention to the amount of three dimensionality that the drawing acquires once I applied the white pastel. Now I'm going to start applying the white puzzle to the sail boot. Basically, what we need to do is to paint the sail boot, adding all the white painting to the hull. We must try to use the paper colour as a part of the nuances themselves. Now I'm going to improve the appearance of these ropes over here because they share the same amount of light that the hull has. So I'm going to add this subtle layer of white pastel. Pay close attention to the fact that even though I'm applying the white basil, I'm respecting the amount of shadow created with the graphite, I'm not supposed to destroy the chiaroscuro previously created. I must guide myself and mix the graphite with the previous layer of graphite progressively. We Pay close attention to this detail over here. You can notice that the Cap times bridge has several windows. So we're supposed to see the background through these windows. So I'm adding basil shock as if it were the background itself, as if it were the water itself. Now, I'm adding some last touches. Since we added this pastel shack, the paper colour changes its meaning in the drawing. I mean, the color of the peer surface is created by the paper colour in the drawing, and that is astonishing. And that is one of the most important thing I want to foster by using this technique by doing these drawings, the idea of using the paper colour as a signifier. And that's it. We have reached the end of this drawing. This is one of my favorite drawings from this whole series. The structure of the sheep really looks beautiful from this perspective, and the combination of white, basil and graphite really looks attractive with this color of paper. I invite you to keep practicing and review the lesson several times so that you can understand each part of the process. Thank you very much and I see you next time.