How to Simplify Complex Urban Scenes: Intermediate Urban Sketching Course | Teoh Yi Chie | Skillshare
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How to Simplify Complex Urban Scenes: Intermediate Urban Sketching Course

teacher avatar Teoh Yi Chie, Sketcher, watercolour lover

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Intro

      1:33

    • 2.

      Basic sketching tools

      6:38

    • 3.

      How to simplify a detailed building

      14:37

    • 4.

      Detailed building (continued)

      16:03

    • 5.

      Drawing on a much smaller paper

      7:55

    • 6.

      How to draw a busy market scene

      17:53

    • 7.

      Market scene: More details and background

      19:24

    • 8.

      Market scene: Adding tonal values

      17:13

    • 9.

      Market scene on smaller paper

      14:27

    • 10.

      Extra exercises

      11:35

    • 11.

      Nine Buildings in 9 Minutes

      23:26

    • 12.

      End

      0:51

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About This Class

Learn how you can simplify and sketch complex scenes with this course. This course will help you analyse and break down complicated scenes for sketching. You'll also learn to be more confident and manage the feeling of being overwhelmed. 

This 144-minute course is for intermediate learners who already have some basic knowledge of sketching from observation. For beginners, I recommend you check out my beginner courses first.

You'll just need a pen and some paper to follow along with the exercises. There's a bonus tutorial on painting with tonal values, and for that you'll need ink and brush, or waterbrushes. 

Here are the lessons in this class:

  • Intro
  • Tools for drawing (6 min)
  • Simplify a detailed building (14 min)
  • Detailed building continued (16 min)
  • Drawing on a much smaller paper (7 min)
  • Draw a busy market scene (17 min)
  • Market scene: More details and background (19 min)
  • Market scene: Adding tonal values (17 min)
  • Market scene on smaller paper (14 min)
  • Extra exercises (11 min)
  • Bonus lesson: 9 buildings in 9 minutes (23 min)
  • End

The bonus video was originally published on my Youtube channel.

Meet Your Teacher

Teacher Profile Image

Teoh Yi Chie

Sketcher, watercolour lover

Teacher

I'm an artist, visual content creator and urban sketcher based in Singapore. My passion is in sketching outdoors with pen, ink, watercolour, and digitally with portable tablets.

Through my Skillshare classes, I want to share the passion and joy of sketching to all who wish to learn.

You can find me easily on my Youtube channel (230K subs), blog and Instagram page (links on the left). I've hundreds of tutorials on Youtube, and many art supplies reviews on my blog.

If you want a more structured learning experience, these are the courses arranged from beginner to intermediate level:

1. Drawing with Pen, Ink and Watercolor for Beginners
2. How to Make Colour Swatch Cards with Watercolour
3. Watercolour Mixing for Beginners
4. Using a Limited Colour Pale... See full profile

Level: Intermediate

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Transcripts

1. Intro: Hello and welcome to this course on how you can simplify your sketches when it comes to drawing complex urban scenes. So I'm going to teach you how you can approach a complex, complicated details scene like this and turn it into a sketch that looks like this. And then simplify this even further to something that looks like this. This causes for intermediate learners. So you do need to have some experience when it comes to drawing from observation. If you are a beginner and you have no knowledge when it comes to drawing, I highly recommend you check calm. I the cost is on drawing for pickiness because the drawing exercises that you are about to watch, those drawing exercises do rely on some fundamentals on drawing. So you do need those fundamentals in order to follow along smoothly. Now the tools that you'll need for this cause for simple, you just need a pen and paper and maybe some water brushes if you wanted to take on the tonal studies exercises. If you have any questions throughout the course, do note them down so that you can ask me directly or maybe the answers can be found in the later lessons. Before we start, I just want to say this to live. This caused a review that amino what you like, what you dislike, and what I can improve about this cause or they can make better art courses in the future. And if you find this course useful, other students may find this useful as well. So your reviews will help artists. All right, Let's start drawing. 2. Basic sketching tools: In this video, I'm gonna show you some tools you can use for drawing. Now to follow along with the drawing exercises later on, all you need is just a pen and some paper you do need, or this discharges options for you to consider. So I like to draw outdoors on location. And when I draw those, I prefer to use sketchbooks because they are just easier to use. A hardcover sketchbook like this will provide you with a good backing so that you can hold it and draw convertibility. Even four or Saqqara are scheduled like this. This is also quite easy for you to WHO and fraud, even if you're standing or sitting. But for loose sheets of paper like this, It's not easy to hold and draw, so these are best used at home and this is very affordable. You can use any copier paper to draw or if you want to, you can buy those drawing pads. You can use this outdoors as well. These have hardcover backing. There is no difference between the more expensive paper and cheaper paper when it comes to practice. If you want to keep your art work by paper that is acid free, this will prevent the white paper from turning yellow with each photocopying paper is not asset freedom. As for this paper pad here, there is no mentioned whether this is acid free on not. So do look out for the acid really bowl if you are particular about the paper use, if you want to, you can also use a tablet for drawing. I do recommend using a tablet that supports are pressure sensitive stylus. The brand doesn't matter as long as the tablet supports a pressure sensitive stylus. And of course, you will need pens. You can use disposable pens or fountain pens. And here I have a pencil as well, which will help me to mock out composition before I start inking with pen and some clips where you do the paper so that they don't move her. If you want to color your ink drawings, make sure to choose a pen with waterproof ink. And if you are not sure whether or not the ink is waterproof, chances are it's not waterproof or do some research online first before you go out to any stationary shop to buy a pen. This is a roller ballpoint pen with waterproof ink. This brand is unique ball. You can also use a fountain pen. In this case, I have this fountain pen with waterproof ink. And this is the fountain pen and I will be using for the drawing exercises later on because this penny and produce a very thick line which is easier for you guys to see. Personally, I like to use fountain pens because I can refute the ink. As far as disposable pans, us have to buy new ones when you use them up. If you wanted to use what a holler over your incus catch, get a watercolor sketchbook. If you are just doing ink drawings, you can use any sketchbooks. So here, this is a landscape sketch book. This is good for drawing subject matter that is horizontal. You can also use a single. In this case, this is less wide compared to a double-page, which is kinda like a panorama scene. This is a portrait sketch book. When you open this up, this is more square root in size, so this is not as good when it comes to drawing horizontal scenes. When it comes to simplification the size of the paper or the scaffold and you use actually matters. So if you use a big sketchbook, you have a lot of space to draw and it may make you feel like you have to add a lot of details in order to fill up the pitch. So for example, here I have two big pages. I can't draw a lot of characters, but if I'm using a small sketchbook like this, I want to be able to draw so many characters because there's just not enough space. Or if I really want to draw so many characters, are there characters all people will be really small. Using a small sketch book is a great way to force yourself to simplify our sketch because there is just no way for you to add so much details on today. So he will force you to think about what you should include and what you leave out. So for beginners, you can consider getting a small sketchbook. Or if you're using a big sketchbook, you don't have to draw on the whole page. You can draw me be on half the pitch just to force yourself to think about simplification. If you use a sketchbook, be aware of where the pitch gutter is. Do not place your main subject in the gut. For example, if you are drawing someone, if you're drawing a face, don't put the face her in the middle. It's not going to look good. So if you use a sketchbook, it's good to plan in advance composition to make sure that your primary subject, your mean sub j is not in the gutter. If you feel like your sketches don't look good, don't be upset or disappointed. Drawing is a skill that can be learned and with any skill you have to practice in order to get better. So drawing is almost like playing a musical instrument and you're going to heat a lot of wrong notes. You're going to make a lot of mistakes before you can get back there. And with any skill you have to practice constantly to improve too, Of maintain your skills. So we have this sketch, Bu, um, I actually do a lot of experimentation. I try out different materials, trial, different sketching stalls. Sometimes the materials work, sometimes they don't work. So drawing is fun. It's about experimentation. So don't feel bad if your drawings don't look good because all you have to do is to practice to get better. In the next lesson, we will draw. 3. How to simplify a detailed building: In this lesson, we are going to draw this scene that has a lot of details. So this is the Metropol is beauty in Madrid, in Spain. And if we take a look at this here, you can see so much details on the side of the wall and dx, dy, we're, there are a lot of windows on the side of the beauty things. There are many people on the street and a cafes, many motorbikes part here. Many people waiting to cross the street. And we have quite a number of buildings in the background and a lot more windows. So this scene has a lot of details. So when I look at a scene like this, he can feel quite intimidating. Like where should use dotted drawing first. So if you have a scene like this, the first question you should ask yourself is, where is the main subject? What is the single thing that you should draw first if you can only draw one thing. So for me obviously it's going to be this main part of the building. This is where I'm going to start my drawing and I want to take some proportion, some measurements first before I start drawing. So this viewing here it is part of the beauty here is divided into 1234 sections and is four sections are kind are equal in height. So when we draw later on, we need to remember that this four sections are almost similar in height. We have a blend pitch. And the first thing I wanna do is to imagine how much space that beauty will take up on the page. So I'm going to have the base of the beauty, maybe somewhere here and all right. The top of the statue will be here. I am marking out the top and bottom of the building. So remember earlier on, the main section of the building can be divided into four sections, equal sections. So that's what I'm doing here. Marking out with pencil. If you want to challenge yourself, you can start Australia in to make it easier and less intimidating. I would go with a pencil first. So I'm going to sort of draft out a composition. So this is how much space that means section is going to take it up. I'm using the pencil with very minimal pressure to us to make sure the lines are very faint. So that later on if I want to erase the lines, I can erase them easily. So this is the side of the building. The site of the building is slightly wider, competitive means section. And we have another building here and the building here, one more here. So this stage is just marking out proportion, the composition. We have to draw the buildings in the background as well just to create that sense of size and perspective. When we have overlapping elements are it makes the scene look more dimensional. We have some tall buildings right in the background, but those tall buildings are so far away that day see mugshot on, on the paper. So that's perspective working for you. Alright, so I've marked out all the important elements. Now let's draw with ink. I'm going to focus on the top part of the building first, doom. So that's draw the outer h. This part is circular and when we look up from the street is will be curve. And we have some sculptures here. And we have some curve here. When drawing from observation. Spend some time, actually spend more time looking at your subject then what you have on the pitch. When you look at your sketch, It's to check your sketch to see whether or not it's accurate. But do spend more time looking at your subject at the reference photo in this case. So that's drawn the dorm here. And this part is almost horizontal but it's not. And this side we will curve down like this. There are some details here, so you may want to add those details. The main thing to do here is actually do draw them big ships first before you draw those little details. And if you notice I draw something wrongly. That is great because it basically tells you that you are really looking at a scene. You are able to spot the differences between the photo and what I am drawing here. That is fantastic. Because sometimes even when I'm drawing, I mean, I'll get all the things right. So if you are able to spot the differences, That is fantastic. Okay, so we have to top on, there are some details here for their sculptures. I don't want to draw them. First. Let's move down. This is the Metropole list sign. And don't be don't be too caught up with getting their perspective right. Especially when you are practicing. It's good to get a perspective, right? But don't be too caught up with that, because what we wanna do is actually to practice getting the composition right. So there you can feed this subject onto the pitch. All right, So here I am drawing the little blocks where the statues are standing on. It's actually quite difficult to see the DTUs. Now enjoying their statues. Draw slowly again, span a lot of time to observe how the statue's actually look. And I want to draw another block here. There is another statue here. You can draw on this semicircle structure here for the window, there is a window here. There is also another window here, but it seems like it's not all burn. There is another semicircle is structure up there and another one here. Another one here. There is this goal here. So this scene has a lot of details on surveys of the exterior. And while I wanted to do now is just not to draw those DTUs yet. I just wanted to draw the big ships, whereas get means you add up the drawing out. Okay, let's move down. So this peeler will go down all the way until here. So I wanted to draw the bottom first. But this, this line is not horizontal, it has some curve to it. And this is the bottom of the peeler. We have one rectangular block there and then two columns down. And then there seems to be another rectangular block there. In this case, these two pilus, or just two columns are actually behind a tree, which I will draw later on. I like trees because they lock whatever that is behind. So you don't have to draw those things that they're not behind a tree. So let's just draw a bit, prepare a bit faster. So we have another column here. And we can draw at some details here. Again, try to focus on the big ships. Draw with as few lines as possible. So this window is here. It seems to be a balcony there. Now if you are not able to see the details from the reference photo, it's okay to make up your own details because you can use your own artistic impression because sometimes even when drawing on-location our eyes, I'm just not able to see audit details. So this is the window at the bottom. There are windows at the top and then there are windows at the bottom. That's move down all the way to the bottom section here. Once again, I want to draw the bottom first. I want to place the base here first. There are some people here, so maybe I want to draw those people there. So my people represented by this single dot for the hit, this rectangle for the body and to x k That's draw, that's continued disliked down all the way here. And we have some trees here. So maybe I wanted to draw the tree here. I want to draw the leaves here first. So dad, I had to draw the details behind a tree. And this is the H, the H of the building, at least for this section. Now if we take a look at the columns, the columns dislike actually goes down all the way. It's a line. This line here is aligned to the column. So we want to draw the line there. And then we have this line here and then go down. You can see this side of the war. So what you have to do really is to span a lot of time observing your subject and just draw a big ships first. So here I drew the big shippers and then I divide the shape into smaller and smaller section. To draw the details. Always draw the big ships first before you draw the details. So this is starting to look pretty good in the sense that for someone who leaves in this area and displays, are he or she will be able to tell edit Dolan's what is disappearing because of the shape up the building and also the details. I wanted to talk more about the columns. So let me just draw this section of the column. This is the rectangular block here. So this is column one and this is called the number two. So when I have a lot of space to draw the columns, I can draw these two columns separate. The, However, earlier on with the sketch, I did not have a lot of space, so I actually drew something like this. I combined the two columns like this. So if you take a look at this versus this, this has more details. It has these little details here. If I want to draw this details here, I would just use dots. And with this two columns here, I have more space. I can actually add some details here. I always have extra lines here. But for this sketch, I'm just going to leave out this Ito's because I don't really have space to draw on this. So that's why my columns look like this. Now, there are a lot of details on the exterior here. I'm not sure if I should draw them. If you're not sure whether or not to draw them. I was at Jazz drawing them with very thin lines. So we have this fountain pen. I'm going to hold this pen for a political leader maybe to add some details. If you feel like the DTUs are going to clap dairy or drawing, then stop because you don't want to make the scene to be z with unnecessary details. Sometimes too much or too many elements are in a scene can actually make the scene look too busy. All right, having said that, I do want to draw the sculpture here. These are just some squiggly lines. If you look close at squiggly lines you want me would it held that and see actually sculptures, but added glands are from far away. You can sort of see there is some detail. It's just that you wouldn't know it or not in VR sculptors or whatever that is. Those are just a suggestion for details. 4. Detailed building (continued): So next up, I want to draw the trees. I always start by drawing the most important element first and are the biggest ship versed or the longest line first. So the next biggest shape with this scene is actually a tree that is in front of the building, which is behind. And its tree is big here, but we become smaller and smaller as it goes into the back ground. So I'm just going to draw really fast just to mock out the shape of the trees. These trees are actually individual trees, but the leaves look alike. They are combined together. You cannot see the individual boundary of the trees. So it's okay to just draw them as this big shape here. Sometimes I may want to add a brunch ought to, because we can see the branches. I'm going to start here first by drawing a beauty, because I'm afraid that when I draw this first and then draw the beauty my hand would smash to ink below. So I'm going to draw this top part first. So here I want to draw that left edge of this. You deem like this. Again, draw a big ships first. Draw the longest lifers. And Dan divide dis into smaller and smaller sections. There is a semicircle here. So I'm drawing the boundary of this here. There's a semicircle here. This looks like a window. There is another semicircle structure here for the window because this design is kinda see matric goal. And I want to have this line going cross hair and not a line here. There seems to be some sort of fans right up here. So maybe I can draw something like this. Now another way to force yourself to simply Phi is to actually use a pen that has a very thick nib so that you can not draw thin lines. If you cannot draw thin lines, you wouldn't be able to draw details. You can redraw a big ships. So that's another way you can force yourself to. Simply fine. It looks like there are some windows here, or maybe there are no windows there. Maybe it's just my eyes playing tricks on but a ships and look like they are windows. So here I want to draw some windows. Some windows are open and some are close. Oh, okay, we have another window here. And it seems like this tree actually extends all the way up to this line here. All right, So I read that sex tended Shri up there. For the next few buildings on the left side, I'm going to draw the GIN, the beak shapes first a rectangular block stat Ref, represented buildings before I draw the windows. So there is this tall building here and this line, we'll go here to get the angles on this line or right. I recommend you use your pen and measure the angle. And remember the angle and then draw the angle on the pitch. Make sure you remember the angle. Balloon draw what you think that angle is. Draw the angle from what you have measured. Case. So for this building here, there are some details at top. Arm is actually getting a bit difficult for me to see the details. Anyway, the main thing here is draw the big rectangular blocks first and then draw it a Windows. So here I'm going to use this single line to represent a Windows for windows in the background because they are so small, you can actually just use vertical lines to represent those windows. In this case, I'm using a fountain pen with very thick wafer, very broad nib. So my vertical lines are quite big. If you use a pan with very thin lines, Daniel lines will be. The manner in which case you may want to draw a small rectangular blocks. But my recommendation again is to try. So for example, if you feel like after you draw this rectangular block, it's too big, then you can switch over to drawing with a single vertical line. So disputing is closer to Earth, we can still see the shape of the window rather clearly. So that's what I wanted to draw a rectangular shape after. We do have some on details here as well. I'm getting a bit sketchy. I mean, becoming more and more sketchy. And also when you ask sketching, sometimes if you feel like to restrain, if you feel like you need to add DTUs. It can be good to sketch a bit faster. Because this is practice. Don't be too caught up with getting the accuracy right. Instead, focus on getting the composition right. You can draw this scene a few times to practice drawing again and again just to get a feel of the drawing process. So I'm gonna draw the road, the age of the robot, or is it a curb of the road? So this line at the bottom, it's almost horizontal here and then it curves up slightly. There is there's an arrow sign here. I want to draw the arrow sign here first because it seems like there is another curve here and this curve has some fans are under Georgia fans. And then I can draw the other curve here that we'll go here. So what I'm doing here is to draw the boundary of the, the curve is likely to create this area here. So day I can draw the details within this area. So what I wanna do now is to quickly draw the fans. There are some motorbikes, diaries, a street sign here, a street lamp there. We've some signs. There is a lot of DTUs, I'm tree trunks, branches. Some people at the cafe. In this case, you may not even need to draw the actual ships. Here. I'm just drawing suggestions of the people sitting at a cafe, suggestions of people crossing the street, some tree branches. So sometimes you may not need to draw the actual things. You can just simply fide m2, really basic shapes. In this case, it's quite busy here, so I'm simplifying them into oddest thoughts and is our shapes here. So when someone looks at this catch, looks at this particular area, look at does BZ area. The ships may not look like people, but in the mind of the person looking at this sketch out, he would imagine, oh, this could be people on, this could be more than bytes pub there. So that's the beauty with sometimes you don't even need to draw the exact thing you are, but you need to draw. And I'm going to play some door, some windows behind some rectangular ships. And I'm going to shape them. And we have some boxes here, maybe utility boxes. And their tree trunk here. Some DTUs for the trees. Plays dots like this to represent the leaves on the details, or just to add some texture to deaths catch. So earlier on, I have already given you some tips as to what he can do to force yourself to draw details such as using a pen with a very broad nib. You can use a small piece of paper or small sketchbook. Another way to force yourself to draw or simplify is to draw fast, right? Give yourself a fixed amount of time to draw. So for example, if you count when you draw with five-minutes, there's only so much you can draw. But if you have half an hour to draw, obviously you will be able to draw more details. So there are actually many different ways you can force yourself to simplify. Okay, so for this building in the background, oddest DTUs are kind of small, difficult to see. There's this street lamp here or trapping light here. It goes down like this, I guess. Sign here and not a Treat light here or traffic light there. For does feuding. I want to draw the exterior can go all the way down at the bottom and then divide this part into half. And once I divide the different sections into half, I can then draw the DTUs. We thin. The shape. Here. Seems like there are two columns here as well. In this case, I'm going to represent the two columns with two lines. Okay? So here I'm going to draw like really fast. Now fall buildings in the background. If you want to separate them from elements in the foreground, you can actually draw them with the null lines. Here. I'm actually drawing them with thicker lines because I forgot that I should draw them with the analyze. Never my I can do is show you how it's done with the buildings in the background. There are some, there are steels are more buildings in the background. So all these little dots here are actually people trying to cross the street. Kay, so just seems to be another traffic light here. Okay, and let's draw the buildings that are really far away in the background. I'm going to home, I found in Panama vertical li, like this. And once again, draw the beak shapes first. I'm going to draw the diagonal lines because its beauties are like moving into the perspective. And by holding that found in Panama vertical line, again, draw deadlines. And the inner audience buildings that are so far away in the background are going to have thinner lines. And followed this building here. I'm going to represent a Windows again as little dots. Now when drawing windows, they are very neat. All these windows are aligned horizontally and vertically. So when you draw them, make sure you get the alignment right. When you draw dots like this on their own, the are just thoughts, but when you draw them as a unit, D can represent windows. Hello again, desktop beauty of art, suggestions. So for this windows in the background, I'm going to use vertical lines to represent those windows. This is the bottom of the street. So I'm just using vertical lines to suggest that we knows. And we have some shops you're right at, bought. So on a block those out wherever they go alliance with more black ink, there's part of that photo is cropped off, so I don't have to draw that. So I'm just going to leave the line just hanging there like that. I may want to draw a few windows too, such as their windows and the personal gain. A sketch will be what a fuel in all the windows in his mind. So this is the completed sketch drawn with the help of some pencil markings right at the study to make sure that I can get the composition right, to make sure that I can fit the building onto the page properly. Now, if you want to add more details, you can do so. If you add a point where you are wondering if you should add more details or not. Whether you should MR. details, that is the stage where you can stop with the details. So if you're not sure whether or not to edit DTUs desk, that stage where you can stop adding details. And this section here, I did not even finish drawing the windows and it's all right. I'm just going to leave this blank area here. Blank. I'm going to make this sketch available for you to download. So when you take a look at my sketch, you can compare it to the photo and see whether or not you can spot any mistakes that I have made. And if you can spot a mystics, data's grew because you are really exercising your observation skills. In the next lesson, we are going to challenge ourselves even long by sketching on a smaller piece of paper. And I'm going to use this small sketchbook. 5. Drawing on a much smaller paper: Welcome back. In this lesson we are going to draw this seems seen as the earlier lesson, but on this much smaller area. So the paper that I used in the earlier, less than that was A4 size. If you feel like it, you can draw on an A5 size paper is pitch is A6 size, so this is about a quarter of the herd size. So again, first thing I'm going to try and manage in how much space the main building is going to take up. Here. I'm going to draw half of the beauty here. And have this line go up, go here to the right side. And this is where it as statue is. And then come down and draw to the right side. And this is west where the Metro Police sign is. And I can draw it down here and add a small dome at a top and a statue at top. This statue doesn't look very much like a statue. Doesn't matter. Here we are actually forcing ourselves to simply five because there's just no way to draw that much details. So here we need to draw the important shapes. We need to draw the rectangle block here for the columns. Let me just draw the line here first so they can join the columns to deport them. So decided to columns here. We have one window here and edit window here, two columns here. One window here, and another window here. Some statues at the top. Let's draw the semicircle thing, verse and a window. So drawing on such a small piece of paper with this fountain pen that has a very thick lights. Hi, challenging. So let's continue down or the way this is the base of the building. Okay? So this is really fun. When you draw this small. You can afford to draw a lot of sketches because small sketch like this is not going to take up that much time to draw. Okay? Here I want to draw this site first rather than draw here. So dad in my hand doesn't smashed it in. Again, let's draw the diagonal line for this feuding here. And we have not at building this building here. So when you draw this small, you really have to simplify the ships to as simple as possible. Earlier on I was able to draw the rectangular windows, but here I'm representing them with jazz vertical lines. We have trees. I'm going to just add some squiggly lines for the trees, some branches for the trees. And we have to move this curve. We have some fans, more trees, more viewings and a back ground or days I'm drawing out really fast. So if you draw a fast, you're wise, we will appear more sketchy. If you draw slow, your lines can feel like they are very restrained. Windows here, again, some details at the top of the roof. We news here more windows represented by a little dots. And this tall building right in that graph, which I'm going to draw with this fountain pen help almost vertical Lee. More windows. Here are suggestions of windows. A lot of people here in the cafe, motorbikes packed here, a street sign here. We've rectangles that represent a sign. Bots, shops into bet growl will be represented with rectangular shapes. People crossing the street. And we have the building in the background here. So for this building, I'm going to hold my fountain pen more vertical leaves so as to draw the thin lines more easily. Sorry about the noise in the background. It, dogs barking in the background. K. I like to use fountain pens because as mentioned earlier, you can use your own ink. And fountain pens can be quite a versatile. Because here, for example, you can't hold a fountain pen more vertical eater draw thinner lines. And you can feel the fountain pen with waterproof ink if you want to color your sketch later on with watercolor. So artists are little details. If a column here. Some of the blocks, I mean, for example, with Windows, you can draw windows if you can see the windows, but if you cannot see the windows clearly, you can just use a dot to represent the windows. Same applies to all the other elements. Actually. K, we have this operating in the background, kin and little dots to represent the windows. And as you can see, the sketch is almost done. I took maybe five minutes to draw something like this. So if you draw small, you can draw like really fast. But in this case you won't be able to add a lot of details because you just simply cannot add that much detail on such a small piece of paper on this small pitch. If you want to challenge yourself, I recommend you draw, are seen on a big piece of paper first. Then draw the same scene again, but this time on a paper that is half the size and then draw the same scene again on and not a piece of paper that is half the size. So the first time you draw, you can sort of remember the scene with the second sketch. You can focus on simplifying because you already know how the scene is going to look. So you can focus on simplifying. Drawing on a smaller piece of paper is a great way to force yourself to simplify. So these are two sketches of the same scene. This one, what's wrong with more details? This one was drawn with a lot of simplification. One is not unnecessary better than the other. 6. How to draw a busy market scene: Welcome back. In this drawing exercise, we are going to draw a BZ market scene. This is a street market sin in Hong Kong. And this has a lot of details. We have a lot of vegetables foods, we have Audi's sun shades here. There is no known so-called structural elements. There is no perspective, no vanishing pause on. All the elements that you see here are very organic. This photograph was taken while the photograph was standing. He, if you are going to draw this on location and you are seated down, then you may not be able to see all the vegetables on the table. So if you want to get or draw a scene like this, you would have to stand and draw. So the sketch book that you are using should be easy to hold. And I like this particular scene because we have some good action happening in front here and some background elements here to show you how this market is. And if you are drawing this on location, audience, people will be moving. So it's going to be a bit challenging when it comes to sketching people who are moving. So my suggestion when it comes to sketching people is draw the stationary people first as fast as you can before they move off. And when the people are always moving, you can draw stationary subjects for us like the vegetables, the boxes, the sun shades basically draw things that don't move. When the people stopped down to shortfall they are vegetables, draw them quickly. I'll be using a sketchbook for this sketch. So this is a portrait sketch book that opens up to this aspect ratio, which I think works very nicely for this particular scene. And note that there is this pitch gutter here. So I want to avoid drawing the two people with blue T-Shirts on the pitch gutter. So maybe I will have one guy on the left side and the other guy on the right side. And I'm going to use my pencil again to mock out the general composition. So I'm going to have the blue guy on the left is high. This will be the Haidt. This will be the shared and this will be lakes and this is the boots that he or she or he is wearing. And we have another guy here, which is who is standing very close behind him. Now you can make some adjustments while you are at this stage. For example, those two guys are standing very close together. But in your drawing, due to this pitch gutter, I may want to draw the a guy standing further away so that he doesn't trust into this pitch gutter. So here I'm just marking out the general composition. The two guys are the most important because one, I want them not to fall into the pitch gutter. And after I mock them out, I can pretty much mock out the other less important elements. All right? This is pretty much it. I mean, I don't want to block out some people who are walking in the background just to make sure I get the proportion of those people right, compat to the two guys in front for the drafting stage. We just want to mock out the height, the top and the bottom and midsection. And we don't need to draw that many details for this sketch, I will be using a food, a nib fountain pen, which is basically a pen nib that has a band hip. This pen, it is capable of drawing thin and thick lines depending on how you hold a pen. So this is a really nice fountain pen to draw with. Alright, let's start by drawing the guy in front first. I'm going to draw the T-Shirt first and I'm going to try and observe to shape as best as I can. So we have lakes here and we have to boots here. So trying to draw the lines without lifting your pen as much as possible. Don't want to go over deadlines too many times. The fingers here, oops, I thinking Hi. Got this angle bit off, doesn't matter. It's a sketch. If you're confident enough, you can actually just goes tree with n. You don't have to draw the pencil lines. But sometimes I still use the pencil lines because especially for complicated, since I were used a pencil lines just to make sure that I get the composition or perspective right here, I actually have a problem. You can see the ink bleeding. So this paper quality isn't that great and also this paper is not that thick. So when I use a lot of ink, the ink can actually bleed over other pitch. This paper, which is a 120 GSM, been drawing on a sketchbook with a thin pages. I like to leave the pitch before blank because if there is any drawing on this page, this is going to affect drawing. Or you can just get a scheduled with thicker paper. At least 200 GSM would be great. So next I want to draw the added guy standing on the right side. The height of this guy is the same as the height of this guy who is almost bent over. So let's draw the head here. I'm placing my finger at disposition because the bottom of the fetus actually high competitive bottom of the feet here. So when I draw it, share it later or other parts of the guy's body. I want to make sure that I have to licks and here. So those pencil lines are a bit distracting, which is why sometimes I may just choose not to use pencils because I have to erase pencils like a pencil lines later on is carrying a plastic back. And notice the thin and thick lines I have here that is made possible by drawing with this fountain pen. I can see another food here are the boots here. It is important to make sure that the boots, they don't end up on the same lab poll. Because if they Ana on the same level, the illusion of perspective is not going to be there. That's me at some details here. And maybe these guy is wearing some glasses. And I can use my fountain pen to block in the black here. Here we are going to use watercolor over the ink lines down. You don't have to colored hair like this. You can just pin this with watercolor. Next up, I wanted to draw the sun sheets at top. These are organic shapes. So when drawing them, make sure you pay attention to where these people are. So this sign-in sheet, we'll end here and we have another son sheet here and try to draw the shapes accurately. So if this line is vertical, draw it vertically. If this lies to you to Droid. To the nice thing about this scene is all these elements are actually quite organic. There's no fix structure. So even if you make some mistakes, it's okay. Here I wanted to draw a light bulb and not a light bulb here. I want to draw some light bulbs year. So when I draw the light bar, I have to place down in relation to where these two people are standing. So there is a light bulb here. There is a light bulb here. So sometimes I like to draw these little elements to help me get my positioning. And not a light bulb here. I mean, also want to draw the baskets here. Okay, that dow psi today is found in pen, is the ink flow Isn't that good? Or maybe it's just disp, particular pen that I am using ten doesn't have good ink flow. So it's important to have your tools first before you use them, especially when you use them outdoors. So there is a new pen that I'm using is still a foodie nib fountain pen, but the ink flow is better. If I use the faulty pen outdoors, it's going to be very frustrating because I have to keep adjusting. The piston, the ink cartridge insight to get the inflow. It's going to be very unproductive. So always test your supplies, test their equipment, has a paper or pen first before you use them outdoors. Oh, hey. So when drawing, as mentioned earlier, tried to draw with one line. When you can draw with one line, don't go over the lines are too many times. If you go over the lines too many times it's going to look fuzzy, your line quality is going to suffer. So we have another person standing here, which I didn't notice. The height of this person is slightly lower compared to this person here. So I'm going to draw this sharper here, which looks like a lady. And this lady seems to be carrying a bag. So sometimes when I'm drawing, I may just draw this single shape without I'm in this whole character without even lifting my pen. You can draw a faster this way. K, We have some baskets here. The baskets are angle at different angles. So this scene is really nice because the, there are a lot of angles. It's not a very neat and tidy scene. And when you can get all those angles right, homie can make this scene look like really busy, really lively. We have Mall baskets here. Last case here. Some vegetables here. We have some baskets here as well. Now this is a real rad of photo will start to add a photo is cropped off. So I'm just going to draw this basket here and just leave it as it does. This is where at a photo and so the person looking at it sketch, well FY20 end up brass top to sketch using his or her imagination. And here I want to draw some baskets. Narrow is a peeler here it seems debt goes up. When I draw this vertical aligned doll, I wanted to make sure that this line doesn't intersect with this lady here in any way. Try to avoid the lines touching each other. Or if you want to draw the peeler behind a lady, you can do so. Make sure that the year is in front. Don't have deadlines touch each other. Because what we are trying to, what we are trying to do here is to create the overlapping illusion. Or if there is no overlapping elements, then don't make them overlap. Here's an example. So for this line, I want to make sure that it goes behind a year. So when you look at something like this, you can tell straight away that this lady is in front of the peeler. So far I have drawn the outer bound, the R0. So after dry the outer boundary, I can actually fuel in the US with thin. I notice at this stage that sound and light bulbs that I have plays are actually in the home position unfortunately. But it's no big deal because again, because this sketch or this scene has no, no noticeable structure, it's alright, if you please, the elements at a wrong position. The person who can sketch, we'll not be able to tell. The B will, will not be able to identify it and mystics. But having said that, whatever you draw should still be livable, It seems like there is a balcony up here on the photo is cropped off, but I can tell that there is a balcony up there because I see some rulings. So I went to draw those railings like this. For the rulings. I drew the frame first. So I drew the frame like this, the exterior frame. And then I draw the lines within like this. You can draw them Foss and there are some think they are started the fence here. So for this fans, I want to have a crisscross fan just to break the pectin here. And there seems to be some little elements behind. When sketching. I would just jump around the page, jumped around a scene. K, another son is shed here. And the one here That's continue with section here. So here I notice something. This basket, Buddhism rate basket here was drawn too low. So if you look at the full, though, this reed basket should be at the height of where the T-Shirt meets the pans. So I've drawn this to low. Good thing here is I'm going to just add a few more baskets here. And we have to table here. The age of the table, we have another edge of the table here. There is too much space between the potatoes here and each of the table here. So I may want to draw some boxes behind. So you'll notice I am actually straying away from the photo or the photo is showing me. Let me just put some potatoes here as well. To prevent this high all things from happening, it'll be good to, again draw the boundary thirst. So for example, draw the boundary here, here and here and here. Just divide them into shapes and cruise ships and then draw within those shapes. This will help you draw more accurately. We have some melons here, or is this odd? Is cabbages? Yep, cabbages. Some cucumbers here in baskets. 7. Market scene: More details and background: This ROM, we have some, I'm not sure what this R. So if this fountain pen, I can hold it vertical Lee to get those thin lines. And not a basket here, I want to draw the vertical lines what it pos, good. Perhaps I want to shade this area here because it's black, it's in shadow beneath. And I wanted to draw the shop owner to sell and a vegetable sell them. The height, sorry to hate. Fashionable cellular is at the same height as it is guy here, but slightly smaller. So when drawing, make sure to draw it slow. Smaller. And also to hate is too, it's the left side of the hand. The hand is here. The hit is somewhere here. So when you're drawing, make sure you get the positioning right. K we have the eye and the mouth. And we have this Lady is wearing love. So I went to draw it a glove and just time or I wanted to make sure that I draw the hand properly. Nowadays, my hand here, it's not drawn accurately. It's a beautiful, it looks a bit weird. And we have another hand here. And Italy seems to be holding a plastic back. K, I think that looks all right here. Back to drawing the vegetables. So we have some Raul vegetables here, but the vegetables in the back are horizontal. All right, This is have some mix them. Met Ching ships. Next up. I wanted to draw all those little elements in the background. So we have a prostate back or some plastic bags hanging here. Here. I can draw much faster. The backs are easier to draw. You have something hanging here, maybe a cup of coffee or bag of coffee there is hanging there. Notice I'm using really thin lines to draw these details in the background. This will help create the illusion of perspective of all elements that are in the background. You can draw them with thinner lines. And also this will help make the foreground elements are more prominent. We have, I'm not sure, a beggar and vegetables here. So all this elements in the background will be drawn with thin lines. Thinner lies much thinner lines. And I want to draw the strings that are holding up the banks. There are a lot of Bach's here. So at this stage I am actually not following what I see from the door because I cannot see all the details into photo. This area here is too dark. Well, maybe I should zoom in on the photo and take a look. But the main thing is draw this with thinner lines if possible. If you use a ballpoint pen or you use some ADA roller ballpoint pens, I felt tip pens. You may not be able to adjust a linewidth unless you change the pen. What I mean is if you use a felt tip pen, then you have to change to a felt tip that has thinner lines. K. We have some covering here. I want to draw the pet than on the covering. And that is one reason why it's more productive to use a fountain pen, because you can't add just a line waves depending on how you hold a pen. This is to covering here and back on and try and match the pectin of the covering 0. There is another person shopping here. I didn't see the lady. It seems like a lady. The okay. In this case, I will probably not draw the lady standing here because it's going to look a bit red with a hate popping out. How many, if I want to draw that shopper here, I would draw it further away from this person. But if I draw it foot away, it would mean the shopper is in the pitch, got her. So in this case, I am not going to draw that shopper. I'm just going to draw a table here and put some vegetables here. The important thing when it comes to drawing a scene like this is not to lose concentration because there are so many things going on. It can make you lose concentration very quickly. And then you may start to draw the wrong proportion, draw things at that wrong cations. So it's always important to like draw slowly, spend the time to actually observe and draw slowly. If you don't have time, if you've find at your schedule, your very busy schedule is very tight, then use a smaller sketchbook. Using a smallest sketch book will allow you to draw a faster because you don't have to draw that many things because the sketch will be a slower, I sorry, smaller. K. There are more shoppers behind this case. I want to draw the hand you're on the feet of the other shopper, aligns with the plastic back here. So I wanted to make sure that o, there are actually two shoppers here. K, the shapes, I'm going to just blend the ships to gather. But make sure that when you're drawing the people behind the ship is still recognizable as a person. So here I want to add more details. We have some metal frames as holding up the sunshade. So just keep adding details to make the sketch look more life. Lee, It's getting a bit challenging to oddest details. The sketch is starting to look more and more BZ for this area here. It's actually in the back grass. So I want to draw all these elements here in the background with the lines. We have our manometer. We have a few more shoppers here. So once again, I'm going to place my finger here to mock the bottom of the feet of this lady here. And the height of this lady is here. At the bottom. The hate, the height of the hate is at the bottom of the neck of this person. So I went to draw the head here. Like this, just a hair. We have boundary for the shirt and the pens, and we have the pans here and lakes here. This lady useless or carrying a bag. So I will usually placed my finger here. Often there are some rare to mock out certain areas where I should not draw beyond. So for example, with the other lady on this site here, once again, I'm going to place my finger here and the heat of this lady will be here. The hair seems to be tied up. The middle section is here. We have the hands, your hands here. To licks with Buddha all the way. You can draw this for all. I mean, you don't have to place our finger here. You can draw this based on observation, but I'm make it easier for me to get the proportion right by placing my finger here. There are a few more stores in the back grows, so let's continue to draw those stores. So I'm going to draw those tools really quick. I'm going to break down doors into bigger ships and then a few in this smaller ships again. So once again, I'm trying to draw the elements around the boundary. You have some lights here. So where is hanging here, some fruits here. We can see some people in the background, but not very obvious because they are too far away. I know so little they are under the shade. So here I'm just going to draw circles to represent a hit and rectangles to represent the bodies. There is this little guy here to Hades here above to handle this. So I'm going to draw a circle here to represent a hate and rectangle to represent a body desist. Feet. Okay, this shape, it looks a bit and we get to a squarish to blockage. And where you can use this method to add more people in a scene, just make the ships softer, less rectangular. There seems to be another person's standing here on the right side, but it's cropped off by default door. Anyway, The Hate We'll start here. A midsection, he's here. So to T-Shirt should literally this, oops, maybe I should try to hit larger. So when you know where to hit is, where the meat section is, you can draw the feet. This is about half, sorry. This height here is about the same as this height here, the bottom here. So we have something like this. And this person, it's looking quite static because it's facing the front. Most of the people here actually are walking or they are bending over to check the vegetables so mixed and matched a different posture. If you have too many people standing up facing the front, it's going to look a bit weird, is going to look like they are posing for you. So try to make your sketch organic. Is for this on bucket sketch you should make an organic because it's a very organic seen. So ADH is little details here. I'm just adding squiggly lines. I'm going to use some thoughts as well to suggest details. Sometimes I may draw a rectangle here. There are few sun sheets here, but at this point, at this stage of the sketching process, I am not able to see all this very clearly, so I'm just going to use suggestions. We have a sign BAD here, we have an a sunshade here. But all these little elements in a background should be drawn with thinner lines and not a light bulb here. I'm going to draw the parallel pectin on his son. She just to make this more obvious compared to the sun sheets that are behind. So this sunshade is going to be like little hack. We have an under a sunshade here. Is it here? I'm actually not too sure. I'm kinda lost. So I'm going to have a son shit here and I'm going to draw parallel lines like this. This pot here is actually the building on. But this photo is overexposed though it's difficult to see where all that EQs here. Yep, it's very difficult to draw the details here. So maybe I should just draw just a few windows. Oh, there is a street lamp here. Actually thought this was a street. Them all we can do. But it's not actually k. So I'm just going to draw a few lines here just to suggest some T2s that there is something going on in ground. It's not just white, it's not just this guy. This balcony here. I'm going to add some vertical lines just to make this h more theoretic Makita Tierra, each k We have some diagonal lines randomly coming out. Seems to be an office block behind a tall residential building or office block behind. And seems like there are some ions or trees here and v, I want you to draw some organic plants here. And for this top beauty behind, I'm going to add some dots here to set jazz. We induce some vertical lines here too, such as small buildings in the background. So this sketch is almost done. You can actually stop at this stitch Once you have no idea what else to add to this sketch, that is, when you can stop drawing. So let me just Stop drawing. I may want to play some dots here for textures. Make sure the ink is dry before you erase pencils. If you did not use any pencils at the beginning, then you don't have to do this. Some of the vegetables here cannot be seen that clearly. So you can use your artistic license to make the vegetables on Venus. So this is the sketch we have. Now. Why'd a challenging scene to draw if you are to draw this on location. So we've seen like this, my recommendation is to always draw static, stationary elements first, like the balcony here, the structure, the beauty in the sun shades all the things that do not move. You can draw them first. And also because all these people are moving, they are going to be overlapping. They are going to be standing in front of the stores behind. So before you draw this thaws, you'd have to maybe leave some areas blank so that you can draw those people later on in front of this boss. If you draw the stars first and then someone happens to come along and standing final installed, then you want to be able to draw that person later on because you have already drawn this thought. So it would be good to actually leave certain areas blank to anticipate some customers. Later on, Let's take a closer look at ganache. You guys do at more details if you want to. But the sketch is actually considered complete here. So this area here is difficult for me to see because it's very dark, black. Or I need to do is to make sure that I draw these areas are odd elements here, very thin lines because they are in the background. And he's out. In fact, that balls just draw them with very obvious shapes and don't go over the lines too many times. Okay. We have to person the two guys were in the blue T-Shirts standing here shopping for vegetables and people in the background. So when you have big people and small people, gives the illusion of depth, it gives the illusion of perspective. In the next lesson, I'm going to teach you how to make this sketch and look better by adding tonal values are grays and blacks to give this catch more contrast. 8. Market scene: Adding tonal values: In this lesson, we are going to add some tonal values to this sketch to create more contrast and make this look at there, the tools you need are some brush pens. You actually just need to, one that has light gray ink and there that has the black ink. If you don't have brush pens, you can actually use ink from your ink bottle together with watercolor brush to get black. You can just use concentrated ink to get the light gray. You just have to add more water to the concentrated ink. I'm using water brushes here because it's more convenient. I have actually feel the gray brushes with this ink caught moodiness, Lexington Green and one brush, this one. This was diluted with a lot of water to get the light green. So the first thing I want to do is to paint that lacks. I've already painted some blacks for the hair here and is a real here. But if you take a look at the scene, this is actually, sorry. If you take a look at the photograph, this is actually a high contrast seen with the lax in the dark areas. So we want to create the DAT high contrast look. So I'm going to start by filling in order very obvious areas that are supposed to be black. So I'm going to fill in this area here. Take your time to fill in shapes. The area, make sure that the shapes are still recognize a bowl. After you view in the blacks. For this back here, I'm going to paint it in such a way that is still looks like a back. So I'm not going to pin this whole thing lac. I still want a shape on the back to show. So I can see the stripes here, the back stripe there. I think this looks all right. It still looks like this lady is carrying a bag. Sometimes you have to know when you can cover the details and when you should not covered details. So I'm just going to block in order for the black areas. This part here you can see this is discharges vertical lines, so it's It's difficult to tell what's going on. So I want to add some Lexus, well, just to add some details, some contrast. Just to break the break those shapes because they are just parallel lines earlier. Or this area is that there are some plastic bags or bags hanging around, so I don't want to paint everything lac. I still want to leave some details in the background. It would be nice if your brush pen oil brush has a sharp tip. This will allow you to paint those tiny areas easily. So just keep going. Make sure you leave. Some DDoS. Don't paint over all the T2's that you have drawn that's pinned a hair of this lady. And this is some Carver behind. So earlier on I drew the pet than on the cover with those thin lines and now I want to paint over some of those pectin. So you can see with the black shape makes parallel lines to Patton's behind. Look, ma. Yes. Now the lines are going to be thicker on the left side, but as they move into the background was lies are going to be thinner. Notice how just by adding some blacks to death scene, the contrast is immediately that there. Now you can see some sort of light and shadow. Using blacks is a great way to sketch quickly because it's just black. You can just add black to anything and it can create contrast so quickly. To shoppers here I need to paint a seed wet. The shape of the shoppers. Make sure I get to ship correct. Lack pens of these two shoppers. Now if you draw, are paid for PFOS with a brush pen, you can get texture lines, but I'm not going to do that. Hey, these guys, those are all wearing black here. Let's have a table here. Sometimes you may want to combine a shape. So for example here I'm combining the shape up this pens to get it with the bottom of the table here. But in this case, I wanted to leave a gap here. Two separate shape here with this person here. Painting like this is really fun. And if you want to, you can still paint over with watercolor later on. But if you want to paint with watercolor, makes sure that the ink that you're using is waterproof when dry, otherwise, everything is going to smear OSCE much. So as mentioned, the year, make sure to test your supplies first before you actually use them to create art. You don't want unexpected surprises. There are a lot of people in the background. So with brush pen like this, you can create crowds of people very easily just by placing thought to represent a hit and then draw shapes. So this is suggestion of crowd of how busy this market scene is. You have another shop or here, another shop for here. And more details here, more blacks here. Like hair. Notice the pet than that I have drawn for the sun and shade earlier. Now. I could have left is just blank because now I'm going to color it and create the pet done with this brush anyway. So I could have not drawn dose lines earlier. For example, here I could have left out the lines here as well. This is a sign board, we have some tax on it. So I went to add a little DTUs here. Or is this a sign board? Oh, actually I'm kinda lost. Oh, this is not the time Odysseus and other sunshade. This is the actual assign bought their Mohsen sheets in the background so I can use this brush to draw as well. There is the ciliary seems like there is a rectangular sign here. So I'm going to use this to lock out this shape here. Yeah, that looks all right, it looks fine. So after adding the blacks, I can see this scene immediately looks so much better. And this process actually doesn't take much time. So you can add blacks really quickly. Some windows are going to be black as well. You can actually save a lot of time by not drawing the windows and just use just this brush to draw some vertical strokes to represent the windows, to suggest to Windows. And we have a lot of sign-in sheets here actually in the background. So I'm painting the shapes of the sun shades are using diagonal lines. Next, I'm going to use this light gray brush to paint over almost everything, except for those things that are supposed to be white and light that plastic bags here, the light bulbs, the boots, the white boss gate, and some of the Sunshine State under the sun. So all those will be lagged just white. I will paint all the other elements with this light gray wash. Makes sure you don't paint over it a light bow props. So all these elements are going to be like in shape. Make sure you don't paint over the light bulbs. I have to emphasize that again. The plans, you can pin it, we're like Greece or you can just leave them as white. I like to mix and match the Greys and whites. Now this is the light gray if you only have one grade than you don't have to do the next step that I am about to show you. But if you have more green, then you can add more tonal values. This is what we have so far. The second wash has dried very nicely. So now I want to add an additional wash just to make it some of the grays, doctor. So this brush pen has darker gray and I'm going to paint over the lighter grays. Some areas. So definitely we will have this part here. Address. It will be darker, and some of the baskets will be darker, some will be lighter. I am not going to paint over everything again, just I just wanted to create contrast for some of the darker sorry, the lighter areas, just to make some of the lighter green is darker. For the cabbages or melons. I'm going to leave them white. For the boots. I'm going to have some shadows, some shading on the boots. So after you add this, that can wash of darker green, the contrast for this scene will be even better. So he's Lady is wearing, this shop owner is wearing dark gray. We have to make some of this darker and it background. When you have more tonal values, you have more information. So if you are just drawing with pen and ink, It's just black and white. You don't have this shadow inflammation. But once you add tonal values, you will have to shadow information. K OMB should I make, this should re, know, I shall just leave this as white just to make this two guys are more prominent, begins the back row. So these are some decisions you have to make when you are painting. Should you make something more prominent or should you just paint over it? Okay. Katie sketch is almost. All right. Let's put some dots. I can use this to add some dots and textures as well as some quick textures on the growl. Even though I am going to keep door should white eyes. Do you want to add some shading? Just to give this some detail? Like this. I think it looks better. We have some shading. If you have a clip like this, you can actually add some textures by running your brush against a clip. So this will create a splatter marks very easily to add texture to your scene. This is the complete scene. So let's take a closer look. So we have some texture here. And this is like greed is, is darker gray overlaying the lighter green. We have the light bulbs. The ships here are not very recognizable. But when we look at something like d is from a glance, we can imagine the details that's going on behind, but we still need to draw a circle. For a few years. Symbols or shapes to let the viewer know what exactly is happening here is Odysseus vegetable store and these are some plastic bags. There is a not pet or not stick to the wall here. Ada stall there. We have all these vegetables on different tonal values are some are lighter, some are light gray, some are darker gray, where the shadows are here, Blacks. These provide good contrast against the white. And we have audios are little details here and back grow on his thoughts. What is ships stat suggest people, shoppers in the background and all these squiggly lines, That's the jazz items that are on sale. And we have some textures here to suggest that the growl is quite dirty or there is a lot of texture or this is concrete. So this part of the sketch I wasn't able to draw because of the limitation of the photo. I cannot see what's beyond the photo. If you are drawing this on location, you can easily just start by drawing the main subject and Dan draw out and few that pitch. But since we are working with a photo, that's the limitation. I'm going to make a scan of this sketch so that you can download and take a closer look. So in the next drawing exercise, we are going to challenge ourselves even further again this time by drawing the same scene on a much smaller pitch. 9. Market scene on smaller paper: This time we are going to draw this same bucket sin, but on a much smaller pages. So this is going to force you to really simplified details as much as possible. And once again, I wanted to start by drawing two guys a shopping for vegetables. So I'm going to draw the guy on the left side first. Oops. There's ship is not a looking good. Doesn't matter. You know, sometimes you can actually use a small sketchbook to had dropped out the composition very quickly before you draw the same thing again. But on a much larger piece of paper. This will also help you spot some are problematic, a radius. So for example, here, I drew this wrong only because I drew these two files, or I was just calculus. So if I am to draw this, the gain, I can know that this could be a problematic area and draw this more accurately later on. So as much as possible. Again, I'm going to try and not lift my brush. Sorry, I lift my pen. I'm going to draw a subject matter with as few lines as possible. K we can draw some sudden shifts here on top. Can the beak shapes are the most important ships. So you need to get dose, right? You have another sign-in sheet here that looks like this. And this time I'm not going to draw it a balcony up there. I mean, the real things up there. I'm just going to make this and you're just going to draw the details here. I'm going to also minimize some of the details that I draw. I'm not going to draw like all of the Ottomans that actually see. So that's this time on a straw to basket because earlier on I drew to basket to remember. So this time I went to draw the reed basket much high year. So DAC and get the positioning right. And this is the age of the table here. And we have again, the lady shopper here, years. And this is the back that she is carrying. It's a very big back and dress. How do they fix? Mall bus gets here that's drawn to bus kids and then few into shapes later on, during the details later on, I'm going to draw the bus tickets and draw the vegetables. Later on. I just wanted to get the beak shapes out first. Okay, you notice my hand, it's a bit 30. I accidentally went older ink lines that are not dry yet. This is the site peeler, some DTUs. We have this lady, sharp corner here, vegetable seller, here. K. What this, I'm going to use like really simple shape, very blocky shape. Sometimes you wanted to draw straight lines, but sometimes you want to draw a live very organic lines just to create that variation. If everything is straight, then it's going to look boring. If everything is organic, it's also going to look boring. So you want to, you really wanted to have a mix of organic and inorganic shapes. Same applies to drawing or painting tonal values. I cannot have everything black, oh, everything gray. It is the variety that makes your art looks more interesting. Look more interesting. Let me just put a light ball here. The light bulb should not be here, but let me just put it there. This is so-called optimistic impression. And other light pole here. Mom vegetables here. So far again, the details in the background I want to draw. Then we're very thin lines. You have the plastic bags and kin and hope fruits behind, drawn with very thin lines. In fact, I'm not even going to draw the ship's water vegetables behind. I'm just going to use lines like this, single lines like this to draw doors. Vegetables behind. This is that carver from earlier. We have a lot of pulls behind that I'll use to hangs off some boxes stacked wall. This is a very complicated scene. We have a lot of things to draw and shade here. More details here. It's difficult for me to make out what this is actually. More shoppers here. And that is sharper here. And sharp burs here. I'll tourists, maybe. The next will be here. This is the back ticks. And other tourists, perhaps they do look like tourist Kimmy K. And we can draw more people in the background. Suggestions of people, not actually people, but suggestions of people. We have a lot of banners here, rectangular banners. So solidus lines are going to be diagonals. Sum up the banners aren't going to be horizontal rectangles. That is why does sketch is interesting because there are a lot of mixing and matching of shapes, of variety. There's dots here and there I'm drawing are the fruits. So when you are forced to draw on such a small area, you really have to think about how you can suggest a details rather than draw the details. So the main idea really is to draw out a big ships first and then try and draw a small shapes. But if you don't have space left who draw this small shapes, you can just leave them out. So draw the big ships, Earth, then draw it a small shapes. For elements in the background. Remember to draw them with thinner lines. Let's draw some details on the basket. Let me make this black. Now for this sketch, I am not going to use tonal values. I'm just going to use black and white like this. Let's put two dots here for the ice. Is white like this. If I use tonal values, it can make this in look to BZ. Maybe HE on this shirt. Let me just make this shift back and let me just make it black. Because earlier I drew the wrong alliance. So now I want to fix that by making this shit like and I think it looks here. I wanted to draw the pet than for the power that is behind. Yep, I think it works here with this black t-shirt and the back and this black area here and a growl. But don't cover over all the areas. We still want some light to show, true. We still want to see some details. Okay. Or this will be plaque. This ladies wearing black pens. S is this lady. They could be wearing jeans that genes can be blue. But when you are coloring with black and white, when you're drawing with black and white, you only have two options is SIT, going to look black. Is it light on dark or is it a light? Dark on light. So you have to make that decision yourself. And it's this play off, light versus dark and dark versus light, that mix drawing. Look interesting. Maybe this is sine bought. Maybe this is not assigned thought. Okay, this sketch is almost done. Maybe I just want to add more people in the back ground slit or dots to represent the people in a bet growl. And some dots here to represent the ground, a concrete ground to add some texture. Could it concrete growl. Some blacks here. Okay, this sketch is almost done. So you can sketch something like this really quickly. Because I'm just sketching on a really small pitch. There is really only this much, just a lot of details you can add until you few up the pitch. So you can fill out a page like this really quickly. Whereas if you are drawing to draw, this seems seen on an A4 paper. It's going to take some time because you have a lot of space for you to add T2s. K. Same scene, but simply fight. Here. I wanted to make sure that the hate of this lady is do you recognize a pose? So I don't want a color or black and make sure that there is this outline here. More vegetables here. This lady seems to be wearing an apron. Is it? Or maybe there is no apron. I'm not too sure Actually it because I can't see clearly anyway, I'm going to have her rare and apron. So this is the shape of the apron. K, maybe some lines here. What should vegetables here, maybe some details here. So shadows here. Some shadows here. Some pet done on this sunshade. So this was quite fun to draw. And when a comparative sketch with this sketch of the building from the earlier exercise, you can see here we have more information. We have not just like odd, but we also have the black spot is shadows or the darker sheets. Whereas here we only have odd, we have some spots of blacks here. If I were to add black to this catchy would greatly improve the contrast. And to add blacks, I would add it to the leaves here and also to DO windows. 10. Extra exercises: In this video, I'm going to show you extra photos you can use to practice on your own. This is not going to be a detailed tutorial. I'm just going to show you how I would approach a scene like this so that when you are drawing, you can think about my approach. So this is one of the photos and this is a one-point perspective scene where all the diagonal lines on meeting at is vanishing point, which is somewhere around here. By the way, I have oughta causes on perspective drawing. So you'll find this scene challenging to draw because of the perspective. Do check out my other drawing courses on perspective first. So when I see a scene like this, the first thing I would do is to find out where the vanishing point is, and it's somewhere around here. So we have this vanishing point later on when I'm drawing, I can just draw all the diagonal lines pointing to the vanishing point. I don't have to draw that line is strictly from observation. I will also want to find out where the horizon line is. So in this case, the horizontal line is somewhere here, and this is the line where all the states off all these people into sec. So when I'm drawing the human figures in the senior later on, I have to draw the heat's on that horizon line. As mentioned earlier, the first thing to do is to find out west and vanishing point. And in this case, the vanishing point is somewhere on the lower right side. Sometimes I would place an ink dot there or sometimes I'm age as position my finger dad to tell me that that's the vanishing point. So I wanted to draw the bottom first curve that is pointing to the vanishing point. And we have data is tall building here. The one with the flag and the top of the top beauty points to the vanishing point. Make sure the angle is Ri. And we have rate, which is level here. And we have a lot of buildings on the left side. And from what I can see, those buildings are at this height, the beatings in the far background at this height, is it? Yep, I think so. So let's draw those buildings to the vanishing point. I mean the diagonal lines on those buildings to the vanishing point. Now if you draw on location, you can use pencils. If you have a scrap piece of paper, you can use the paper to plan out the composition first. So that is exactly what I'm doing using a scrap piece of paper to plan out a composition. And at this stage, if you find a thing challenging, you can make a mental note as to how you can tackle that challenging pot or section later on. So this is how I would block out the scene. If I'm drawing on location, I would just traveled is we've illustrated away. But the process would be the same. Oops, this line is wrong because this line is diagonal. I should point to the pension point. This, yep. So there are a lot of people in this scene and all the hits will be on the horizon line. There are also some people, sorry, some vehicles. And a vehicle is slightly lower compared to the hates. The horizontal like the flex that you see here on the n of the flux that you see here are actually directly on top of her passion point. So when you draw the flex, Make sure those ends are ending on the vanishing point. So we'll get one flat, two, flat three, flat six. And then you can go onto draw out their sections out of buildings in the background. So just draw the big shapes first and then draw the buildings and as sub-divide a building's into different levels and then draw the windows within those divided ships. So this is how I would approach this particular scene. And for the tall buildings in the background, again, if possible, draw them with thin lines to create the illusion that they are very far back into background. Eduardo Windows, photos, buildings in the background. Again, you can represent that way which is thoughts. Or sometimes you can just draw parallel lines like this to represent rows of windows on beauty. If you get the big shapes or the perspective of wrong, right at the beginning, that is going to affect your sketch, your host sketch later on. So it's very important to get the perspective right, Correct At first, stitch at the beginning. Because for example, if you've drawn a beauty thing with the wrong proportion or with the wrong perspective, or the windows, all the details within that building, they will be wrong because you have already drawn the wrong shape right at his time. Which is why it's very important to get the right composition and a right perspective right at the start. This is the second reference photo. And now this scene is actually less complicated and less complex compared to the earlier scene. Because here you see a lot of big shapes that are represented by the roofs. So you see this big shape here. And within this big ships, there aren't a lot of details. Within this big shape. Here. You can see two chimneys. So unlike the earlier photo I showed you, where there are beak shapes like this. But within the big ships you can see a lot of little windows and triangles, squares, rectangles within rectangles or window frames. But here it's just beak shapes. And we have a few chimneys. War. And we know on a wall or a wall for Windows on a wall. So this is actually last complicated to draw compared to the earliest in the challenging part here is to again find out west vanishing point so that you can draw on diagonalized it a vanishing point and also find out where's the horizon line. For this particular sketch. You can use it as a warm up first before you tackle on the mall complicated sketch. So for this particular scene, I would probably draw this base on observation because the vanishing point here is actually not that important as there are too many buildings with their own vanishing points. If what I am seeing now solves confusing to you, do check out my course on perspective drawing. So right now I'm actually just drawing based on observation. Draw the big ships first, draw the longest lines first, and then draw the big shapes and then a few in the details like the windows, the chin nice. Later on. On a small chimney here, when small chimney here. Rather something like this requires a lot of patients. Drawing requires a lot of patients and more careful you are, the more accurate your sketch will. Ok? So sometimes when it comes to drawing, it's not because you cannot draw. You just need to know the basic skills. When it comes to drawing. For beginners, it is very important to learn the skill of drawing from observation that will really help you improve. So right here is where I am drawing the back, just seeing where the domus. So there is this war here and it's warm up to if you have drawn the shapes. You can just draw the windows on the wall. And this is to don't behind. You have to do up there. If you find is challenging. And again, you can use a pencil to mark out the general composition first. So this is how I would approach a scene like this. And sometimes I like to draw or draw, for example, draw some parts here. I mean wanted to draw some parts here, and then a few in the blanks later on. Well, okay, So disc hatch really does require a lot of patients because they are just too many ships here. So I think I shall stop here. You can practice using the photon that I have provided and see if you can draw this scene. The next lesson, or the last lesson in this course, originally published on my YouTube channel. The title on that video is called night meetings in nine minutes. So in that video, I attempt to draw nine shootings or scenes in nine minutes. So I spend about one minute to draw each scene like this. So as mention in this course, there are a few ways you can force yourself to simply Phi. One way is to use a pencil or hand that can only draw thick lines, in which case you want to be able to draw tiny details because the tool that you're using is a blunted tool. You want to be able to draw tiny details with a blunt tool. So that's one way you can force yourself to simplify. The other way is to draw on a small piece of paper. And the third way is to limit the amount of time you can and to grow. So if you can only spend one minute to draw our scene, obviously you will not be able to draw a lot of details, so you have to find out what you can draw and what you cannot draw. Sometimes what you don't draw is almost as important as what you draw. So we have one minute. You can only draw this amount of detail. And if you have more time, you can draw more details. So this are the three ways you can force yourself to simply buy. 11. Nine Buildings in 9 Minutes: Hi everyone. The topic for today's video is simplification. And I'm going to challenge myself by drawing nine buildings in nine minutes. So this Assam buildings and scenes from Barcelona seems like some of the beauties quite challenging. I'm going to use this timer here to time myself. All right, I'm not sure if I'm going to be able to talk. I sketched this very quickly. So the trick to a simplification is to draw the big elements first, followed by the details later on. And there is not much to think about because you have to draw that really fast. I mean, draws on Windows to suggest that this is a feuding k, some rooves here. And this is actually quite challenging. One way to draw faster is to draw small. Because if you have a large piece of PR, if you are drawing on a large piece of paper, you're going to draw more details and that's when you take more times. Okay? So this is what I can for a hallway, funny. One-minute images at some grace for shadows. I wasn't able to draw the details such as the windows because there wasn't any time. And you're used to Greece. Darker gray or the rooftops. If you use a water brush like this with colors, in this case, it's just re-watch, can actually add horns very quickly. And this will really help us sketch very quickly. So just by adding tones like this, you can see the form of these buildings. Are they starting to come alive? And I can use this black brush to draw windows. So rather than using pen and ink to draw the squares, I can use this to just dab onto the paper to create the illusion of windows. This is obviously very convenient and can help you to work faster. Is brush pen is, well, this is the pen tail color brush pen that I have refilled with ink. Next, we have some grand off, Amelia, if I remember the name, this beauty, k, I'm running out of time to 3D. When it comes to simplification, the goal is to keep it a subject recognizable while you leave out the details while drawing. So for lines that contribute to the form of the beauty include a recognizable shape or the buildings those lies are important and have to be drawn. But for little DTUs within the big shapes, those details, you can actually live them out. This particular sketch is extremely challenging because this building is actually all about deed Who's on it. So by leaving out the details, It's, I guess it's still recognizable because of the shape. But it doesn't bring across the essence of what this building is about. If you know what I mean. There are like count less windows here. These four towers. I've actually been to saccharide off Amelia during their urban sketches symposium that happened a few years go in Barcelona. And it was fantastic true, but it's really inexperienced. Go into disputing is meeting it feels like a castle. Next we have this, okay, this is extremely challenging because this time I'm going to draw like huge. Probably shouldn't draw it a Windows first because the windows are the details. If I draw this, I mean I have time to draw the top, so let's draw the top. First of all, it is, is very challenging. Seems to be a statue here. Let's continue with. Windows here, k. So all these lines that contribute to the form, you have to draw them to make this building recognizable ox. Alright, let me just add a few more details to this sketch to finish this up. When you draw on a larger piece of paper and you don't have a lot of DTUs as catch can look and complete, which I guess is how it looks right now. So if you add a bit more details, that sketch can actually look at her. K we have windows here, peelers here. And let me use the brush again and it's time to get some colors to it, some values. We have data at a top, this statue here. I forgot to press the record button for this or let me just redraw this. So sometimes when you are drawing really fast, it can be quite stressful, especially when you're doing this sort of challenge. So you may make mistakes, but it's okay. K. So this is very challenging. How do you add all the details in this scene? We're adding the details, if you know what I mean. So on this side here we have the trees. We have some buildings here as well. This is a one-point perspective scene. While there are, there are a lot of details in the background. And for Viagra, I'm just going to use very thin lines. Well, and concentrate. Knows we need some windows. Hopes. I wasn't able to draw a lot here because there are just too many things to draw. Now this is a one-point perspective scene, which means there is some vanishing point somewhere here. So the diagonal lines, they will go to the vanishing point. Diagonal lines like the top and bottom of a Windows team has pointed to the vanishing point k. So now I'm just using the black brush pen to add some details. Okay? This is actually quite a fun scene to sketch because it's very challenging. And let's switch to this great brush. So I can use this brush to separate some of the buildings here. And maybe a lighter gray to add a bit more details. Maybe some dots here to, well, this is a brick wall, so maybe some dots here for the texture. Okay, third was building number four. So now let's draw. Sorry, that was seen number four, streets seemed number four. Let's draw. This is the same oh, pivoting from earlier. But this time we are drawing from a higher elevation from Hyatt girl. K. We have songs, beheadings, ups, cityscape in the background. Okay, This is very challenging. A, we need to draw the big shapes. Remember the big ships were just running out of time. I probably should have zoomed in a bit more soda. You guys can't see me draw. Sorry about that. Let me just touch up this catch with some values. Some windows here and there. So this time I did not draw it a Windows because I can paint that we induce using. This brush pen, the CDS gave in the background. That is challenging. So images painted the shapes using this brush pen. Kid. So now it looks like these are actually mountains in the background. Because of their lack of DTUs beauty and say they have sharp edges, straight line. So this looks like some forest all mountain in the background. So maybe I can just draw a little straight lines here and there just to you. Yes, I'm DTUs. Okay. This next scene is very challenging because the perspective is very challenging. And there are a lot of details. And in this case I do have to draw the details like the real link here for the buildings, for the side of the wall. This is tough. If I didn't draw the rulings that details, it's going to be the scene is not going to be very recognizable. Right here at the top is needs to be smaller because this is further away. And we have to top of the building, terror is what come down at it at a very steep angle. Because of perspective, I'm running out of time. Some plants here. Okay. So again, that's at some values to this catch. This is dilute Lexington agree ink. So when you dilute Lexington Green, It's the very light value you can get. And this is Lexington gray. This is great for painting. Our meat and values are darker values or shadows. For the black, I'm going to use it to paint it the plants here. Well, we've got some plans here as well. The vanishing point is actually right down there. So all these lines that you see, they are actually supposed to be very steep. I may actually want to add some more details here. So now that I am not timing myself, I can actually draw slower with greater care. Yep, my line step now you look much better now. More confident and straighter. This system window. And not a window here. That's some little T2's. This is the bottom. This was actually my first triumph that I forgot to write caught again. So this is building our scene number 6. Next we have this verticals scene that I'm going to draw in this very small area here. Okay, we can have this balcony. This is a one-point perspective scene. One person standing here and another here. A door here, windows and the balcony here. And another one here. This is when drawing smaller, I don't have to draw that much detail, so this is great. It's actually very difficult to see the details and discovered dark photo. So most of the sidewalls here are in shadow, like really dark shadows. With some of the ink out. The bottom off the balcony. Black, the doors black. Person standing here. Now it's not recognizable as a person, so. Oh, well done. Building number eight is, see. Wow. This is very, very difficult. I'm not sure what I'm drawing. Disputing has a lot of form like the law of protruding parts. So all the protruding flat's order, protruding parts have hind step contributed a farmer. So I actually do have to draw all those lines. K this that I'm sure. Once again, that's used gray marker to paint into details nouns, there are a lot of those pectin, like the dot patterns. So let me see if I can add those dot, dot, dots. Those dot patterns are actually square towels, possibly squared hosts. So my pen is not like repeatable, like those square tos. Okay, I think it's not too bad here. For this last sketch, I'm going to draw like a small k. We have some vehicles on the ground, okay? The vehicles challenging, very challenging because there are actually quite a lot. And I have to make sure that the size of the vehicles, they relate to each other because vehicles into bentgrass supposed to be small litter. Oops. This one is this vehicle is not right. I probably am not able. It's not going to be able to draw the windows for this sketch. Let's paint this with the ray. I'm going to leave some white for some of the white windows that are reflecting the light. K to be equal, I'm going to leave it wide, fold it back off the vehicle, so I have some white. Oops. This should be a silver car. That's we do with that. And now let's have black. The bottom of the vehicle. That's going to be almost black. Windows her I mean, just pin does whole thing as one to shape. Okay. We have some tiny windows in BEC growl like really small. Okay. Very challenging. The thing with sketching so far as the IV is, if you are sketching on location, a probably won't be able to remember much of this scene is almost like taking a photograph. I prefer to take my time to sketch, went on location so that I can really experience the experience of being there, drawing on location, experienced site, and the song. That's what's so fun about urban sketching because of the experience, it's not so much of the, I mean, the drawing is nice, but part of urban sketching is really about the experience of being there on location. So this are the NIH buildings or scenes drawn in nine minutes. If you have a very limited amount of time to draw, that there's only so much details you can add. Now if you want to draw more scenes, you can draw small. If you draw small, you can actually draw more because when you draw small, you don't have to add so much DTUs. I mean, you draw small, you cannot so much details because there is no space on a paper for you to add details. The fountain pen that I used here, and this is the singular fountain pen we've zoomed nib. I'm using this fountain pen because the lines it produces, it's very thick. It's very easy for the camera to capture so that you guys can see the lines more clearly. And other trick with simplification is you don't actually have to draw the details. You can just adjust the details and the person looking at your sketch will be able to fill in the blanks. For example, here, this little black dots here are just suggestions or Windows and white area here, suggestions of reflection of light. This is a financial engine exercise you can do on your coin. If you find it to a stress food who draw under one minute, you can just change it to draw under three minutes. The goal here really is to make whatever your drawing as recognizable as possible without using or drawing too many lines. If you are someone who draws with very steep lines, this exercise can help you loosen up. And this is also very good exercise for a warm up before you draw something with more details. If you guys want more drawing tutorials, you can check out my YouTube playlists and do consider supporting me on Patron as well where you get access to even more in depth dqD tutorials. Thanks for watching. See you guys in the next video. Bye. 12. End: Thank you for following along with me in this course. My last advice to you would be to practice more, the more you draw and the better you will get. Even for me, even for the drawings that you saw earlier, I had to draw them several times. So for example, with the mean sketch that you saw in the first lesson, this is the original sketch and this was my practice sketch and I also mean other sketches just to get warmed up. So practice, the more you draw, the better you get. If you guys have any questions, feel free to contact me. And it was so if you enjoyed this lesson, to live a review for this course, let me know what you like or dislike or what alza, I can improve on this cost. Thanks for joining me. See you in the next cost. High.