How to Sketch a Detailed Street Scene with Pen, Ink & Watercolor

1. Intro: Hi, my name is T0 and I'm an artist, graphic designer, and urban sketcher who enjoy sketching out on location. In this course, I'm going to show you how to sketch this, the street scene with pen, ink and watercolor. Now this is an intermediate costs, so you do need to know the basics of growing and perspective in order to follow along smoothly. If you do not know how to draw or don't know perspective are highly recommend. You check out my other courses, the beginner's guide to drawn on location and the beginner's guide to perspective before you take on this course, this is the reference photo we are using which you can download in this course, I'm going to teach you how to analyze the scene. What to think about before you start sketching, how to draft out the composition, identify problematic areas. How to draw the details, how to simplify, how to suggest the details and identify your own mistakes and learn how you can correct your own mistakes to evolve your growing techniques, the tools you need for this course, our pencil, a pen with waterproof ink, watercolor, watercolor brush, watercolor paper or watercolor sketchbook, and two cups of water. In the first lesson, we are going to analyse the scene that we are going to draw before we get started, I want to ask for your help. If you find this course, you will do live this course, a review so that you can help other students to let them know whether or not this course is any good. Alright, let's get started. 2. Analysing the Scene: Before you start sketching, it's always good to spend a few minutes to analyze the scene or the reference photo you are working with. This can help you identify certain areas that you need to pay more attention to. And also if you're drawing a vessel location, it would be great to walk around the area to see whether there is or there are any better compositions of views for this in the camera man or woman was probably standing in the middle of the street to get this V0. So this will not be abused. That is possible to sketch on location because you wouldn't be able to stay in the middle of the street to pain with your schedule or your easel. So first thing I'll do when I see such a complex thing is to make it easier for me to draw, make it more accessible, make it easier because it can be quite overwhelming to see so many things. We have the buildings on the left side, the buildings in the background, buildings on the right side. These are all in perspective. What I wanna do is to find out where's the vanishing point for the building on the right side, because we can see many diagonal lines. For the building on the left. It's not really difficult to draw because it's kinda facing you directly. So there isn't much perspective going on. So the shapes are mostly rectangular, even the windows are rectangular. And for this building in the background, again, it's mostly facing Earth. Perspective would be here on the side. There is also some perspective here on the side wall. So first thing, we need to find a VP, the vanishing point for this sin. Let me switch to a different color here. Just draw the diagonal lines down. So just have all the diagonal lines connect. You can draw this diagonal lines from observation, but it would be easier to find a vanishing 0.1. So now that you know the vanishing point is here, when you draw the diagonal lines, you don't have to draw them from observation. You can just draw them to the vanishing point. This will help you draw these angles way more accurately and faster. If you are going to be drawing this as a detail, really detailed illustration. You have to spend more time preparing, analyzing the photo, maybe create a few drops on paper first, just to get a hang of how the sketch or how the illustration is going to turn out. So even the awnings here are affected by the vanishing point. We have two cyclists in front of the car. So we have the cycle is overlapping the car which is overlapping the buildings behind we have this sorry, this car in front overlapping the building. We have this person overlapping the building. This is good. This is going to create foreground background. We also have the buildings on the left and right side overlapping the building behind. We also have this building here overlapping the beauty behind. If there are overlapping elements, just remember to leave space to draw those overlapping elements that are in front. And if this cycle is, are these two cyclists are actually in the middle of the road, not overlapping and the cars are buildings. I'm me actually just use my artistic license to move them somewhere else just to create the overlap being a look. So you can use your artistic license to change certain things. We are not going to be reproducing this photo in photo realism style. So you can use your artistic license to change certain things. You can even change the color of the building if you want to. The next thing I would pay attention to would be the proportion. So let's take a look at this building that's called is the main building in the background. This is the height. There is this smaller building here, a shorter building here, which is about 1 third of the height. So when we are drawing, we need to make sure that this is tall building is proportional to the small building, or the small building is proportional to the tall building. And we need to make sure the buildings on the left and right sides are proportional to the top. So we are going to be using this to mean building as a measurement tool. So for example, we have the cloth face here. So when we are drawing this part here, we need to make sure that this point here aligns to the clock phase. And you can see the corner here of this building. This will ally slightly above the club face. You can use windows here as measurement tools. You can align, you can compare this windows to the window here and here. So I can see the windows on the left side here on disputing. They are actually taller, higher compat to the windows here. And I will use all these points here and compare them to the main beauty. Sometimes my proportion will be off. But if you really want to make your proportions more accurate, it will be great and really helpful to mark out the general composition and a proportion. With, we started with pencils first. 3. Finding Your Style: Let me show you what I did yesterday before I start sketching in the sketchbook. I tried to recreate the scene with pencil and wash, and I didn't like the look that I have here. So I was trying to practice squash. Maybe it's because I did not complete the painting and I had some difficulties with the media that I use. This is cold press watercolor paper, so there is some texture. I actually used a wooden pencil to draw the lines and the pencil became blunt really quickly. So I had difficulty is drawing those thin Lysol. While drawing this, I switched over to using a mechanical pencil and that's why you see the lines here are thinner and thinner here. The advantage of using wooden pencil is you can draw thin and thick lines. The advantage of using mechanical pencil is you don't have to sharpen the pencil. So depending on the look that you are going for, choose the appropriate tool. For this sketch. I feel like using a thin and soul would be better. A pencil that can produce a thinner lines would be better. Or you can use hot press paper where the paper's surface is smoother. It's going to work much better with wooden pencils. So we have some pain here on the left side and right side. This were painted. Wash. Gouache is opaque, but it's not a 100% opaque. So that lies beneath, we will still show through. So one thing I like about gouache is the colors can be solid. And this is what I have so far. I actually wanted to paint the windows with guage. Here you can see up into two layers with gouache. And I can still see the lines beneath. What I want is actually a 100 per cent capacity, but I don't think I can get that with wash. Maybe I will have to use acrylic wash, maybe acrylic brushes more opaque. So for this sketch, I wanted to have some solid colors or gains are blank areas like this with light odd to create contrast. There are some pencil smudging here. Here we have solid colors again. These actually worked fine. I painted this in solid color so that I can draw white lines to represent the white window frames. Here we have black against the white, the awning for the wars. It's very challenging. So I could have drawn with pencils, but I just wanted to try something different. So I went with watercolor lines in a state. And this scene has so much details, it's just not possible to draw everything. So I didn't like how this looks. So I redrew, seen again with pen and ink, which is my favorite media. I'm just more comfortable with pen and ink. I feel like if you want to try something new, especially a new media, it will be good to test out the media on scrap pieces of paper first before you use them to paint or draw. I have this big block of watercolor paper that I use to test our color mix composition. Or maybe just dropped out a scene to find out what's challenging about this scene. I find that it's more cost-effective to buy a big block of watercolor paper compared to smaller watercolor paper. Pets with a big block of watercolor paper. You can see I can do some row studies on a single pitch and the paper quality for this is quite good. I actually use both sides of the paper because watercolor paper has a 100% cotton content and it is more expensive, but watercolor techniques do work much better on a 100% cotton watercolor paper. The brand of paper is important, but it's not that important. So this brand is Bao Han, which is a brand from China. Actually purchase this because I saw it at an art show and the pricing is extremely competitive, actually, very attractive compared to popular brands such as Fabriano and arches. You can go with Fabriano and archers. Fluid, Saunders, their wind, they all make good watercolor paper. Just choose one that suits your budget. Next thing I want to talk about is, the more studies you do, the more practice you get, the sooner you will find your style. Your style will find you. So for me, I don't feel like I'm a wash person because you would think wash requires you to really wait for the first layer to dry completely before you can paint a subsequent layer. With watercolor, I feel like it's more versatile. You can paint wet on wet. You don't really have to wait for the first layer to dry unless you are trying to recreate certain effects. So I feel like I'm looser and more relaxed when painting with pen and ink compared to painting with quash. But just try out different media just to see which one other media tools you prefer. There are artists who loved to draw with wooden pencils or maybe graphite blocks or mechanical pencils or markers or crayons. There are also beautiful colored pencils. I actually purchased this box several years ago. You can see it's still quite new. And as this box of crayons, which is still quite new because I'm not really a colored pencil or crayon person. There are artists who just draw with digital. The thing is, you want to know which tools or supplies you'll live until you try them. So try as many supplies, as many styles as you can. What you are looking at right now is me applying watercolor crown on the watercolor paper in this sketchbook because the sketchbook is already five years old, I'm not sure if the paper quality is still intact because here in Singapore it's very humid. Some of the pages from the earlier pages, they were actually affected by humidity. So I'm applying watercolor ground to restore the sizing so that watercolor can still work on the paper properly. And I'm only applying on one page because I'll just be drawing on this single page. I don't want to draw and paint here because I'm not sure if the paper quality is intact. If it's not. When I draw and paint, the ink is going to soak over to the other sketch, which I actually kinda like. So I don't want bad surprises. So this has to be completely dry before you can draw and paint on it. This is the Daniel Smith watercolor ground, and there are several colors. Minute is titanium white because the transparent one wasn't available at the Art Shop. 4. Let's Draw pt1: I will be drawing the scene in this portrait format, A5 size sketchbook, which is actually considered a small sketchbook for this rather complex scenes. So if you really want to draw all the details, you will have to use a bigger Canvas. So with this model schedule, I will have to simplify a lot of details. And it would help to use a fountain pen that can produce very thin lines. Otherwise, if your lines are too thick, the sketch is going to look a bit off because you won't be able to draw details with the thick lines. So first thing I want to do is to mark out the composition, the layout. So earlier we saw the main building is three units and shot a building in front is one unit, so I'm going to live another unit here at the bottom for the cars and two cyclists and front. So let me just mark out the base here. We have the building here, the shot building, and we have 12. So this will be the top of this height. Here will be the height of the main building. Not including the spiral, not including the very sharp pointy and at the end. So I may also want to mark out the shape first just to make sure I have enough space for the buildings on the left and right side. If I find that I don't have enough space, I will have to redraw the proportions. When I'm drawing later, I will probably draw everything a bit smaller because I find that for me as I draw, I will, I tend to draw things bigger and bigger. So that is the concern here. I will not be erasing the pencil marks later. So right now I'm just going to mark out all the areas were very faint pencil lines, which are probably not going to be visible when we ink and pin this with watercolor. Speaking watercolor. I have applied the watercolor grown this paper. Hopefully that will not affect the watercolor quality. Okay? Remember where the vanishing point is. This is where you can use the vanishing point to help you Macau diagonal lines. I'm just going to draw a few diagonal lines. Okay? I believe I should have enough space. I'll probably move the main building slightly to the right side here because I have a tendency to draw bigger and bigger. I will start by drawing some thing, **** is small. So this is the triangular part at the top. I'm drawing this really small. Hopefully I don't run out of space later. So depending on your drawing habits, you should draw things either bigger or smaller. K, I'm holding the pen bit more vertical lease so that the lines can be thinner. Otherwise, the pen nib for this fountain pen is actually quite thick. So as you're drawing, try to spend more time observing what you see rather than your drawing. When you're looking at your drawing, you should be comparing what you have with the scene. So focus your attention to looking at your scene, observing your sin. Makes sure that you draw all the parts are correct when the parts are left out. So for this part here, I'm actually not a growing this with perspective knowledge. I'm just drawing based on observation. Come down here. Okay, I have a sense that I may actually run out of space. So hopefully I don't. This is the window here. There's one we know here. There is also one window on the side here, which I'm going to represent as this vertical line. Because of perspective, this window on the side is compressed. Continue to draw with thin lines if you can. You can outline the exterior with R. You can draw the 0 with broader strokes. But for interior details, draw them with in minds. The reason is because exterior outline should be more prominent because the online is the building itself. K, where am I? So this is the halfway point. This point here is line here. This invisible line here is the halfway point. So it seems like I may have enough space to complete this sketch. So from here down, this would be the second unit. Two-thirds of the height. I am not really drawing exactly what I see. I'm actually using a lot of artistic license to draw the impression of this building. Hey, this is what I have so far. Is this building straight? It should look straight. Sometimes when I draw, I find that the building will start to move left, move right. So when drawing, it's good to maybe put your sketchbook further wages to look and see what you have so far. That will be a good habit to have. Always look at the big seen. Oops, notice this line, it's a bit wobbly, or it should be a semicircle, but opps, I actually drew it a bit wobbly, but it's okay because it's a sketch. Again, if you are drawing this as a detailed illustration or ask the Commission P is for a client. Definitely be more careful. Definitely have more preparation. I may even draw the whole thing with practice it one time with pen and ink before I draw the actual thing with okay, so we have the semicircle part here and we building with code down here before it's overlapped by the other building in front. So far I'm using thin lines to draw this. So you really have to get a feel of how your tools we'll perform. Even know you align your pen can only produce a thicker lines or maybe switch to her pen that can produce a thinner lines. So this is the building in front. Let's draw the site here. We have another line here. There is this little triangle here and a roof. It may be too small for you to see. So let's add some details here. I like to draw here and move somewhere else. When I'm sketching with the brush strokes, I can add little dots like this. I can add really thin dots by holding my pen more vertically. You can see some pencil lines. Hopefully they will not show up later on. K. Let's draw this vertical line to the right side. K looks fine. So for our research looks fine so far. We have another horizontal line. Kay? As I draw slowly, I feel like my lines, they are first DFF. So for sketches I tend to like to draw a bit faster so that aligns can appear there or look more confident. So this part here, let me just zoom out slightly. We have the second unit, so this building will be this tall. So remember there are overlapping elements in front. We need to leave space for the car that's right here, and maybe cars that are just right in front of this building. But the base of the building will be here. So this is the base of the building that are marked out with pencil at the start of the sketch. And as I've said, I tend to draw bigger and bigger as I go on. So now I have to move the bottom of the building down. K. Let's continue. Oops, not enough ink. I will one to draw. Let me compare the roofer. So the height of the roof here will be the height of these two windows here. So there will be another unit here at the bottom. So when you are drawing, always compare. With things that you have already drawn, it takes time to create art and I'm not a very patient person, so sometimes I may want to save some time just by drawing faster. Sometimes I may just drove from my memory. If you drove from your memory, if you have good memory, you can draw cars from your memory. But cars can appear with different perspectives. So it's good to draw them from observation. You have to spend the time to make them look right? So when you are really drawing, it may feel like you're in the zone or you will lose track of time and time passes really quickly. Okay, so we need to draw the diagonal lines and make sure that the diagonal lines are of the correct angle. I don't have the vanishing point for this diagonal lines, so I'm just going to draw them based on observation. There seems to be a street sign in front. We'll draw those later. There is a lady here crossing the street. I will want to draw that the heat is higher compared to the vehicle there. Okay. Let's have longer legs. My shape is a bit of so maybe it's a bit off. Which is why I said, you need patients to draw detailed illustrations, otherwise, you may lose focus and start to take shortcuts. Like what I did just now. This is what I have so far. Let's continue to draw the right side. This building on the right side will be the very challenging building. Let's let's just make sure we get the main building done first before we move to the right side. Okay, So this is the little spiral. Spiral was that pointy n and the n, the n will be here. I notice in the photo this triangle is actually polar, so mine is a bit squashed. You find that your elements are squashed or you still need to use those squash elements as measurement tools so they can please add elements are accurately. So I need to place, let me just draw the bigger shapes first because I didn't know where to place the pointy end. So I'm going to draw the bigger shape of the dome here to the right side and comes down like this. And I can draw now, I can draw the dorm at a top like this. So you will find that it's challenging to draw certain areas. Maybe you want to, or maybe you can move to other parts of your sketch first and then move back. Okay? Okay. So this is the dorm and this is the right side here. It's very challenging. So remember, whereas the vanishing point, it's actually to the left side of this vehicle here. So I place my finger here and I'm going to draw this line here to that VP. And I'm going to draw another line, sorry, I'm going to draw the balcony beneath this semicircle here. We have, let's see. We have this line, horizontal line. This is the second balcony. There is another balcony here. So this line is directly beneath this point here. This is the semicircle thing. Let me just draw it here so they can get some perspective. This is the side. So this point here is directly beneath this point. And I can draw the other balcony here. So I'm dividing this into one too. Three. Just make sure I get the proportion right. Before I draw the details. Next, I want to draw the diagonal lines. The, with the distance of this line is very short compared to the horizontal line. Again here I'm going to draw a smaller, because I have the tendency to draw big. This is the bottom of the balcony. And this is the balcony. And makes sure that diagonalized good down to the VP. And also make sure that balcony align vertically. So this will be the edge of the building. On the right side. There are too many vertical lines for me to see, so I'm just going to draw them like this. If you cannot count the vertical lines, you don't have to draw those vertical lines. I mean the exact number of vertical lines. Okay. This is what I have. We have the third balcony. Let's draw the bottom part here. That's fraud building here. So this is where having the pencil graph is going to be very useful. As part of a k I should have extended disputing to the right side. Doesn't matter. That's now when you try to draw a line. When you're drawing a line, try to draw it with one continuous stroke cell here you can see me draw this line with 123 different lines. It's not going to look good because you won't be able to those lines per family. So try to draw one line with just one line whenever possible. Here I'm drawing this. We have several lines because I made some mistakes with proportional here. Next I want to draw the first floor here. I may have made some mistakes with the proportion here. So you can see this distance. It's actually, this part here should be Lahore. It's a whoops, see things like this will happen. So if mistakes like this will happen, this perspective is a bit off because if you join these two, these two lines should not be parallel. If you move them to the BP, the distance here will be smaller. The distance between these two lines here will be wider. So the perspective is a bit off here. Should I draw another line? Yeah, fixed it slightly. Next, let's draw the awnings. We have 123. This one here is mid-size. The end of the earnings should go to the VP. We have another one. This one is the smaller one, and we have another big one here. Okay? Some street lamps which we will draw later. Let's continue to draw the thing here. So I made a mistake. So now this part here, it's much taller. I'm not sure if I can fix that now. I should just leave it as it is. So that's why I'm getting the proportions right is fairly important because if you get the proportion wrong, all the things that you are going to draw between this area here, in this area here it's going to be off. You may be able to get the details to look right, but the proportion is of k. Let's continue to divide this sketch here. Another habit that I have when it comes to sketching is I find, as I lose concentration will tend to draw faster and faster and that's where I will make mistakes. When drawing on-location. Actually doesn't really matter if you make mistakes because you are drawing on location. So it is going to be tougher, spread likely to make mistakes. But that's part of the fun of drawing. On occasion you get that rawness. People understand that you're drawing on location, that you will make mistakes. 5. Let's Draw pt2: Let's draw the top part here. The part that comes out. Oops, I realized that the part that comes out should be here. So this angle is difficult. Draw this angle to the VP. If you cannot comprehend what you are drawing, for example, if your brain is saying that you should not draw this line at this angle because it looks off. Just ignore what your brain is telling you. Just draw that line to the VP. I can see this part here is thicker. And I want to draw some horizontal strokes here to remind me this is the underside of this extruded part. The diagonal lines seem to be at the correct angles. So next I want to divide this building on the right side into different sections so I can see another line that comes out here. Again, makes sure to draw that line to the VP. So what makes sure that the line, I may have to do this action. So rho times just to get that line, the angle right. Next, I'm going to divide here. So here and here. So as the lines move down the line, the NGO should change like this with the VP here. Okay, So this is the part where I met the mystics Ottawa where I made a mistake. Otherwise, different sections here should appear to be equidistance. But it's okay. We'll just draw what make use of what we have here. So once you have this, you can just form. There are similar or semi-circles here. So you may want to divide them into different sections. I count 61 trick you can use to divide the six into equidistance is to draw the bottom first. So we have 123456. So we have the bottom drawn. You can now draw the semicircle top. And I realized there is another balcony that starts here, just beneath the semisolid over here. And I realized that I did not leave space to draw that balcony. Because the balcony actually looks like this. So if I draw the balcony right now, you can see I did not actually leave some space here. So if I had drawn this, get, I've prepared, if I've drafted this more carefully with pencil, I would have identified as problematic area. I guess it's okay. It's a sketch, so maybe I can just draw it like this. So when sketching, there will be mistakes, especially if you are a beginner. And just learn from those mistakes. This is the balcony. Makes sure this balcony aligns to the bottom balcony. And make sure all the windows a line from top. Now, notice how thick my lines are right now. Hey, if you draw our elements with thick lines, those elements are going to get your attention. So probably wrong choice of linewidth here, k, k. So here I actually, on this side of the sketch, I actually made a lot of mistakes. So this is really where you should be really careful. Let's divide this into different sections. So each time you draw a line that is not at the correct angle, you will know that it's off. Straight away. You will know that it's off. So that's really important. So that's why it's very important to find out whether P, P is solve for. I think this still looks alright. It's not like totally off. Just remember that when drawing, sometimes we are not trying to replicate the exact likeness. The final drawings to see how you can use your drawing skills to recreate a scene. Which is why it's always very fun to see how RT, how different artists would handle the same soon, interpret the same scene. Okay? Makes sure again that everything is aligned vertically. If you find that you don't have space to draw the details, you can just leave those details at all. Okay, So this part is very challenging. Hey, for the top part again, and we're just going to draw some vertical lines. If you find that everything is compressed, you can just use vertical lines to represent those details. Next, let's draw the vehicles puck here by the side of the street and two cyclists. So the top of the car, for this car at the back, let me just draw this with thin lines again. We'll go down like this. We have to tires, this is very compressed or draw the tires were close together. You may not even be able to draw the details on this side of the vehicle. And we have the other vehicle here, this is the back. We have a wheel here. We have the side of the vehicle. So this shape, as you are drawing, your brain is going to tell you, Hey, this is not how the site of a car looks like, but you should draw it. How are, as it's shown in C. We have the cycle is, the shoulder is here. Let's place the shoulders here first. The head guy is wearing a hat. We have to hire, or maybe the years showed us come out like this. Is pushing bicycle, bicycle. I'm just going to draw it with a contour line drawings. The body. We have the lady here. If I had the side. So on the body we have another bicycle here. So as you're drawing really this part, you really have to pay attention to the shapes and silhouette. This, let's continue to draw the vehicle. This is the front of the current window. The wheel which is here, which you probably cannot see. But if you have enough experience with drawing cars, you will be able to fill in the details from your memory. But when it comes to drawing cars in perspective, it's good to rely on what you see, drawn them based on observation. In the background we have the buildings. Should I draw? I shall leave the windows. I don't want to draw the windows. I can draw the windows with white gel pen later. After this. This line will go down, pass through here. We have this building here. So maybe I can draw the street lamps right? Now. There is one here that's ends here. Oops, my line is not straight. One here. One strip them is higher, taller than the other. And the street lamps are in perspective as well. They follow the same perspective as they're building, which is just behind. So the top here overlaps this owning here. Okay, my street lamp doesn't look that great. So at this point, I'm starting to lose concentration. So if you find out you are losing concentration, you may want to take a break and come back to this sketch later. If I'm drawing out on location, I may actually just walk around just to stretch. Our arms just to stretch my legs. And maybe you just stand away from the sketch so that I can look at my sketch from a new perspective and I can gain some new insights. So that's what I would do when I'm sketching on location, or just walk around, stretch my feet, and look at my sketch again. Well, there are many shops here in front. Photoshop is I'm just going to use my artistic license to draw the shop France. Maybe there are some posters. Just do suggest. There are actually shops here. And next we can draw the building on the left side, which is first simple building to draw, relatively speaking, compared to the main building and the building on the right size. So for this building, I want to draw the person here walking. The feet will end at tires here, so we have to feed her arms out. This guy is stretching, is scratching his head. We have a vehicle on the left side. So when you draw the vehicle, make sure you use the person on the right as a measurement tool. I'm going to draw this vehicle a bit smaller so that I can fit the vehicle on the page because otherwise, if this vehicle is cut off, it looks kinda weird. So I'm going to draw this vehicle a bit smaller so that you can fit in the scene. Okay, so let's draw the circular pillar here. This line will be this direction. I may not be able to fit the doorway here. Let's see if I can. Oh, I actually can. So this part here, this part here will be the light delete area. We have our seems to be many people here in the shade. So that's continuing to draw. As you're drawing up. Make sure to align everything that you draw here to the main building. So in this case, I may just want to draw the top first. So I'm going to align this horizontal line to the clock phase. Make sure you align it to the bottom here as well. I hope that this has angled correctly. I'm actually not sitting directly in front of my sketchbook, so it's difficult for me to see where the line is. Notice this part here. I ran out of space here on the left side, which is, alright. Maybe it would be more convenient to run out of space for the building on the right side. If you run out of space here, you don't have to draw all this details. Okay, so now that I've drawn the top and I have the bottom as well, just joined top to the bottom. And if you have measured everything correctly, they should join. Well, otherwise, things are going to look a bit off. For the windows. I'm going to divide this into 123 and then divide into smallest spaces so that I can draw the windows at the correct location. So this window is here. There's another one here on the side. In perspective. I can draw a line, you can draw a line beneath from to help you align the windows. We have another window here. Just draw the big ships first before you fill in the lines. So in this case, half and half and half. Same thing here. And not a window at the top. Just make sure that Windows on the site are in perspective. And for the windows here on the left side, I'm just going to draw one. Minutes for this one, because there is a unique feature here, which is a triangle top. Oh, I may want to draw this as well because it's a circular one instead of a triangle. Okay? You may also choose not to draw the windows. You can draw them with white gel pen later. Maybe I can enhance this with white gel pen later. Maybe I shouldn't have drawn the windows. So again, if you have done some planning, if you have dropped out the scene, maybe you can leave this undrawn. Can draw that. Next. Let's draw the vehicles here and the buildings behind. We draw the vehicles first because they are in front of the building. Behind. There are many vehicles are behind. Okay. So the diagonal line here for this part here will start. Align to the window here. And we'll, and West a semicircle here. There is another semicircle here. So you start here and here. So let's just joined the lights. We can see a slight window here. And let's divide this again into different height, different sections. We have a line that goes down here. This seems to be the age of disputing. We can draw this line to this line here and this line here. So again, as you draw the diagonal lines, as you move down, the lines will become more horizontal. And let's see, just keep dividing the different sections into smaller and smaller sections. If you can see the details, just use R, in this case, vertical lines to represent the details. I'm taking the shortcut here because I'm starting to lose concentration. This is ready to scan, is going to take a long time to draw. But if you have to patients or to draw something like this, the end result is going to look pretty good. And I'm very sure you will be very satisfied with the end result with what you have accomplished. While there are a lot more details in the background. So for Windows here, I did not draw them. I will draw them with white gel pen later. Let's draw some windows on the ground level. So this gadget is almost complete. Just take a look around your sketch and see what are they. Things you may have left out accidentally. So for this part here, I really messed up here. So let's not over this area. So let's wait for the ink to dry completely before we paint. I'm going to place more dots here for texture in front, compared two dots in the background, which are going to be smaller. So I'm going to place smaller dots and fewer dots in depth background, but bigger dots and more dots in the foreground. That is also got to do with perspective. Things that are closer to us are gonna be in more detail, is going to look bigger and you can draw them with more clarity. Before we paint the sketch, I will want to take a photo or scan this sketch first just in case things go wrong later and they may, things may go wrong later. Let me just add this that I did not draw. 6. Adding Colours pt1: This cache took me 40 minutes to draw. If I were to draw this on a larger piece of paper, it's probably going to take me an hour to 1.5 hours. Most of the time is going to be drawing the building on the right side because there is just so much details and perspective, it's very challenging. So it's going to take time to get the perspective right hand to draw the proportions details, right? So before we paint, let me show you the tools that I have. Two cups of water. This water, mr. Too wet watercolor. I have a small size four brush and a bigger size eight round brush. The colors I'll be using would be Hansa yellow, medium french, ultramarine, blue for the really dark areas, and maybe a warm red, raw sienna. If I remember this correctly, stick with a limited color palette if you can, because it's going to make color mixing so much easier. Don't use all the colors even when you have all these colors. I'm going to start by painting the main building first. So I'm going to use these three colors, Hansa, Yellow, Medium, ultra marine. And this right here, I'm not sure what rate this is, either pyruvate or pyro scarlet. Just mix this neutral color. I also have some paper here to test out my mix just to make sure that I get that neutral color, right? It's a bit more yellow now, I, maybe I want it to be more neutral. This looks fine. Let's paint. Make sure you don't paint the green or the blue parts. Just paint over the building. There is some highlights on the left side, so I don't want to paint like everything on the left has this color. I can also add a bit more water just to dilute the mix, just to get some variation. So instead of mixing different colors, I mean, charging in different colors to get the variation I'm adding. I'm adding water to make certain areas lighter and darker to get the variation. So just make sure paint cover all the areas that you need to hover. And I've got to say that the watercolor paper, I think we're fine. Let me add some raw sienna to pin this building in front. Just to make the color slightly different. This brush is a bit too big, so I will want to switch over to a smaller brush. Now, we're going to pin this side first and applies to come watch over this area here, just to give this site which is not lit by light. More colors, I'm going to add more raw sienna and a warm red to make this slightly warmer. Just make sure you don't add too much. Okay, so this is where I can see the pay per fiber is coming off. So That's the problem with this paper. Let's to o paper, watercolor paper. It can be damaged by humidity. We keep them for too long. So it's better to keep them in a dry box or maybe a Ziploc bag. And now I'm going to use raw sienna to paint colored areas of this beauty on the side. I'll be using this to draw some details as well. This whole area here seems to be in raw sienna here as well. But here I will want to draw some details. Don't paint everything with color. So I have some highlights. Don't paint everything with the colors here as well. It's actually not easy to know which areas to paint with the color and not the ears to paint with two colors. So I'm just going to leave the brighter areas. For darker areas, you may want to add some ultramarine, maybe some red just to get the darker areas. But let's paint the colored areas first. The bottom of the balcony should be in color. This is what we have so far. So far, so good. I left out this area accidentally with the initial color. So let me see if I can pick up the initial colored pin. This area here. Okay, I think it still works, although the color is not the same as this color. So if possible, try to pin everything with the same color before we move on. Because if you go and pick up a color, that color is not going to look exactly the same. Alright, so next, let's pin this building on the left side. For that, I'm going to use a lot more red and a lot more raw sienna. Don't add too much red at more raw sienna. First. K. If you need more red, just add the red. Just a tiny bit of red because red is so strong. Here I'm charging the red into the wet wash. Make sure you get a ****, right. I just realized that I'm painting with the sketchbook flat on the paper, on the table. The water is not flowing down. K. It looks alright. It looks alright, so far, I can see some problem with the paper. The water actually just soaks into the paper straightaway. I can feel that and I can see that as well. So the problem with that is when water goes into the paper, the water is not going to move on the paper. So if you want to charge in colors, the color is not going to spread out nicely because this paper is damaged from afar. I can tell this color is not correct because everything is now in mid value. So the color here is supposed to be much darker. So I will need to definitely add more paint and more water. Just to make this darker. I may also need to add some ultramarine here to make this bottom here and darker. So it's lighter, slightly lighter at the top, darker at the bottom. So let me just paint another layer over this. Okay, this looks fine. So for the bottom part here, I'm going to add even more paint. Okay? It seems like there's even more red here, which is fine. And here at the bottom I will want to add more, a bit of ultramarine just to make it slightly darker. Oops, I accidentally painted over this site here. Let's see if I can rescue with that. Nope. Can't be done because the paper is damaged. So when I paint over the area to the water and the pigment actually just went in straight to the paper. If this paper is not damaged, I can actually just lift off paint because the paint is still on the paper and not inside the paper. So that's what happens when you keep your watercolor paper too long. I can use the same wash to pain. Roof here. Maybe add more paint to make this color stronger, obvious. And here I notice I left out this area again, you can see I did not paint that with the initial wash with the first wash. So I will have to go in and correct that mistake later. Let me make sure that this line is horizontal. Okay? Next let's paint road for the row and it's going to be Hansa yellow with a warm red and ultramarine just mix a color that is more bluish, cool on the cooler side. So if you want it to be on the cooler side, you will have to add more ultramarine. So this looks nice. This is the mix of the three colors, yellow, ultramarine, and maybe pyro scarlet or piracy rate. There is a zebra crossing there. So our paint that later, the white gel pen. You can also use this wash to paint over the car. Just make sure the highlighted areas are white and paint over it to highlight the areas. This requires while I kept seeing patients, but seriously, you really need patients to make art K. We have this guy here and the lady here. And I can use this to paint front of the shops which are in shadow. I will mix a darker color to paint the blacks later. Right now, I just wanted to paint this with a very light gray wash. The same marks that you see on the street. Okay. So here you notice it's a bit more yellow because there is more yellow. If you want to stitch the temperature, color, temperature just add more blue, more Ultramarine. Okay, let's see. We have the window here. Parts of the cars, we will have to be darker later. Let's go back to fix this area that I left out accidentally. Alright, not too bad. 7. Adding Colours Pt2: Let's paint the top. This is the little blue mixed with some yellow. But more blue. Oops, x tend to lead paint over the wrong part here. I think it's alright. Sometimes you have to go with domestic rather than fix the mistake. So I can see another problem. Notice how the color become more saturated. That's the problem with the paper. Oh, this part here is also green. Maybe I can use the paper to my advantage. So let me just paint over this area. So rho times just to make it darker, this happens to be the same color of the tissue and this lady is worrying. So everything seems to be in mid value right now. Nothing stands out except for the line art which is black against the colors. So now we need to mix something darker. The shadows, areas which are really dark. For that, I'm going to use blue mixed with the warm red. You find it too blue or too red. You can add some yellow just to neutralize the color. Just to get something that is black, close to black. But don't mix the colors completely. Because you can see the individual colors that were used to mix the color. It's more interesting. So be very careful when you're painting this. You may also want to leave some highlighted areas. The bottom of the vehicle will be almost completely black. Make sure to sign. The license plate is still white. Site windows look black. To me. This part here it looks black. Guy is wearing black pens with slight shadow. Shadow behind, beneath the feet. This part here is black. It's good to have a brush with sharp point. This will allow you to paint the details more easily. Some of the windows are white, some are black. So just continue to paint everything that is darker. Darker. Just create contrast, where contrast is needed. Once you paint the shadows, the physical form of the buildings will start to appear. And it's really satisfying to look at. We have two windows, black, black. This will dry lighter, so when it dries lighter, I will paint over the windows. Again. We found the darker color. We have another wash windows, black. This window is black as well. Hopes. Here, black windows here. This looks black. The cost here, the sites are black. So this is a bit more reddish, so let me add a bit more blue to it. Oops. Just make sure the shape of the cars are still recognizable. That is the most important thing. So you may want to just look away. I'll stand further away from your sketch just to look and see whether or not you are able to retain the shape of the cars. The shape is very important. So when painting the shapes are very important because the shapes will help you identify the subject. We will paint does influence later. So be careful. So this looks blue to me. Again, I need to mix it with a bit of red and yellow just to make sure that is this black. I'll close to black. Actually, I think it looks fine. That's just continue. I'm going to make sure that the head of this person is still recognizable. So let me just paint over the head. So the head at a guy is wearing is black. But I'm going to leave it white just so that. Hat is recognizable. For the shop France makes sure you paint. Leave some details. I'm just going to paint over the street lamp and maybe add some details later. We've done white gel pen to highlight the H. So for the shop friends, I'm going to leave the signs, the posters. Why? Or unpainted. Maybe I can add some white posters later with white gel pen or colored posters. Hair for this lady is black. Let's make the pens here darker. So now I can paint over the areas which are supposed to be darker. Just to create even more contrast. I can draw vertical lines here and grit textures. And here we get darker windows, darker. K two cars in the background needs to be darker as well because everything here is now in mid value. Next, we will have raw sienna and some way to enhance the darker areas, the shadow areas here. You don't need to add blue. Or in this case, if you add blue, you can get a darker shade. That here I'm just going to use raw sienna rate just to enhance the colors. Then I'll bit more to make, to create a darker shade of the color. Just to create the illusion of shadow. It looks like I'm Medina the colors, so maybe I can stop. I can actually use the same color for the skin tones. Are these are people on the street. How to use the Posca paint marker to add more videos. So I should have left this. I shouldn't have drawn the window frames were black. Instead, I should have drawn the window frames, my white gel pen. You can use the white marker to add details. That's at sine parts may be there are lights in the sharps. The truck, sorry, the zebra crossing. Here. He showed when you're drawing the zebra crossing, the perspective is correct. Let's draw the windows. So far this Windows, I should have painted a dark rectangle. And then draw the white frames on top of the darker rectangles. Now I'm doing, I'm adding details the other way round, which is drawing the frames and painting the little shapes. It's difficult. So the sequence of drawing and painting is important. It will be easier to draw the rectangular shapes first before you actually paint this. And I just realize while painting this, then this area here should be darker. Because right now it doesn't stand out against the beauty in the background. So to help the beauty and the background stand out a bit more, I'm going to make this roof give this, make this roof darker just by painting another layer over it. Notice the paper fiber. I'm not sure if you can see the texture of the paper fiber. You should not see the texture of the paper fiber if the paper is not damaged. But here it's damaged. This part here is also read a darker red. And there seems to be a statue here. I'm just going to live the sketch as it is. Maybe use the ink pen to add some more details on. Just to give this sketch some texture. We use the white gel pen here. I can see some highlights here. Or maybe more black here in the background. Maybe black for, known for blacks for the car style will use watercolor because the black ink is just black. If you use watercolor black that you mix yourself, it's going to look better. Let's take a closer look at the sketch. Now if you still want to add some details, make sure you draw the venous line. You possibly can by holding the pen more vertically. If you're using a fountain pen. Because once the paint is on paper, you apply ink on the paper again, the lines are going to be thicker. So here I'm actually just draw some thinner lines to add some details that I may have missed out. Actually, I should have drawn this before I paint. The sketch. Doesn't matter. You can do this afterwards as well, especially if you want to enhance certain details. This part here maybe I can add more details. K here, maybe darker details. I notice there is this extra line of detail here. So as you add more details to sketch, we'll slowly home to live. So for the roof here, I'm adding really thin lines. I'm drawing those lines very quickly so that the lines are thin. And all this part here is where I should have painted over her with this color, but I did not. So now I'm just going to pretend that the roof or these two are just black. Let me add some details here. 123123. So the watercolor that I used earlier doesn't Good. Okay. Or bottom of the vehicles are just black. Maybe use this sorry. Let me use this to draw the wheels to make the wheels darker. There is an awning here coming down this 45 degrees. The hair of this person is black. Maybe depends, will be darker. He's holding something. Maybe this darker to build a darker. Okay, maybe some texture here. This building looks quite dirty, so I can actually more details. Dots here on this side. This will also help create more contrast. So we have texture against non textured surface. So there are different ways to create contrast. You didn't create it with just value contrast black versus white. You can have color contrast, color versus non color. You can have texture contrast, texture versus non textured surfaces. The bottom here, or this line here seems to be darker. I'm going to pin this, sorry, I draw this line here, darker as well. Okay. Yeah, So this sketch, does this hit a bit of the board D? Yeah, I'm going to leave this as it is. But if you look close, the head is actually of the body to the right. So it should be in the center of the body. So that was that was me being colors there. Lady with handbag, looking at stone gain front of the store. Make sure to write the date of your sketch. And if you drew this on-location, makes sure to write the name of the place as well. And psi on him. 8. Fixing Mistakes: In this lesson, I want to talk about correcting mistakes. So once you have your sketch drawn and painted, I don't actually recommend correcting your mistakes on paper because chances are it's going to make things worse. If you made a mistake with your line art, you can try to draw over it. So here I have extended this line all the way here underneath the balcony, which I shouldn't have done so because I need to draw the balcony first before I draw the lines beneath, It's a mistake. And I tried to draw the balcony on top of the mistake. And in this case the mistake doesn't look that obvious, so it works here. But if you are not sure whether or not the result is going to turn out better or worse. I highly recommend you just leave that area alone and maybe work on some other areas verse and come back here to decide again, the atomistic with this sketch is the perspective of this building. So I found a vanishing point, which is somewhere around here. So you can see that diagonal line here. This is at the correct angle because it's going down in this direction to the BP. So as the building goes up, we can see this line here, this diagonal line here. It still looks, all right. But here you can see the angle of the line that I've drawn is actually like this instead of like this. So there is this very little difference, slight difference in angle. And that actually makes all the difference. Here. This point, you can see the angled lines like this. It should be like this, but it's like this. And at the top of the building, again, it's like this instead of like this. So the difference between the angles versus the actual angle will result in the perspective not looking accurate. So in this case, if you want to get the angles right, I highly recommend you use a pencil to draft out this area first and to mark out the diagonal lines at the correct angle before you start sketching with ink. And when you are drawing, your brain is going to tell you to draw, maybe fix the angles slightly, maybe change the angle slightly because it doesn't look right. Ignore what your brain tells. You. Just draw according to the pencil drafting lines that you have laid out. Because those lines that you have laid out at the start, before the start of the sketch. Those angles are going to be accurate. It's just that your brain is going to tell you otherwise, growing angled lines from observation, especially when the perspective is very compressed, is quite challenging. So it's very helpful to find a vanishing 0.1. Mistakes can happen with mental fatigue, especially if you have been drawing the sketch for more than an hour. Especially when you're trying to figure out how to draw the details, making sure all the details are where they should be. It can get exhausting mentally. So that's where, uh, when you may want to take some shortcuts and that's when mistakes can happen. And mistakes can happen even to experience artists as well. It's not about the techniques sometimes, sometimes it's really about concentration and how focused you are. And when you're sketching on location, there are other external factors that play a part to affect your concentration, such as the hot or cold weather, people looking behind the shoulders, the noise, the traffic, the smoke. So you may lose concentration even faster. So that's where your knowledge of perspective will really help you draw faster and more accurately so that you don't get tired before you finish your sketch. If you're drawing a one-point perspective and one of the buildings is affected by the one-point perspective. And you look at the diagonal lines and they look like they are parallel lines. That's a giveaway that the perspective is off. So all these diagonal lines, they should be at different angles. For these two diagonal lines, I can see the angles, they are kinda similar. So this is of, even if there is a slight difference of one degree, your brain will know that it's off. If you take a very close look at this area here, it may not seem like the perspective is off. If you look at our sketch from a far, you can tell in an instance that perspective is slightly off. If you don't know why the perspective is off, while you can create small draft sketches to test perspective, to see what's going on. If you really don't know what's going on with the perspective, I highly recommend you learn more about perspective because it's really useful. So now I want to correct. The perspective of this building on a separate piece of paper. So these are some really quick sketches that I have redrawn for this scene. Let's do a quick look here, right? So this is a very classic mistake. The lines look almost parallel. This line is at an angle which is different, visibly different competitive this but this three lines, they look similar. So straight away, I know the perspective is off. So this is a pencil sketch, and I've drawn this since rho times because each time I drew it something as just a bit off. So this is the building here. I've drawn the building as something that I can use to measure the height of this building. So the vanishing point is here. So I tried to draw the diagonal lines as carefully as I can. And again, I can see the diagonal lines, they are a bit off. Now if you're drawing on a big piece of paper or a big Canvas, make sure you get the drafting lines down accurately. If you are drawing on a smaller piece of paper or sketchbook, It's easier because when you draw those diagonal lines, you can just draw a short stroke. But when you're on a big piece of paper, you have to draw a much longer line. So you have to make sure that that long line has the correct angle throughout. If you're drawing that scene from observation, one technique you can use is this. Let me just draw that small building in front first. Okay? So this is the age of the building on the right side. This is actually much taller anyway. I'm just going to make the height like this. So let's say there are 123 floors, three flows. So we need to divide the three floors into C, 12 and three. So we can let the line fit up. People looking out, sketch, they were just imagine the details up there so you don't really have to draw everything. We have the vanishing point here, which we will not be using because we are drawing from observation. So for drawing, when you're drawing from observation, it's very important to make sure that this angle, angle at the boundary is accurate. So this is a bit off. So let's use this line instead of the line at the bottom. You have to make sure that this angle is very accurate. And this angle is very accurate. I'm actually using the VP. So this line again, it's off. It should be like this. This is the line that I want to use. This is not the line. Okay? So once you have this line, this line here, this line which represents the front of this building. You can draw without the help of the VP. Just find a midpoint which is somewhere here. And draw this angle between these two angles. So this will look like this. And with this line, you can again divide the pots here. This just suggests very faint light lines just to create the perspective grid on this side of the building. So now that you have created a perspective grid, you can draw the angled lines more easily, more accurately. This is roaring from observation. This line, yeah. So it's very important to get this line and this line accurate. Even if you make a slight mistake here at this mistake here is going to affect the perspective of all this lines. So every mistake you make at the start of your sketch, it's going to affect your drawing later on. Using this technique, you can actually draw tall buildings where you have no idea where the vanishing point is. So half, this is half, this is the halfway point of this point and this point. And the halfway point and this point and this point is up here. So we just joined them. Joy, joy, joy, joy, joy, joy. And all these angles will be relatively accurate. Alright, let's try and draw this building again and only disputing. So I'm going to draw the small few thing at the bottom here just to get some. Something that I can use to measure the main building, the vanishing point is a bar, one with away, which is a, which is here. While I'm sketching this, if you can spot my mistakes, That's great while you are sketching, and you can spot your own mistakes. That's great. If you can identify your mistakes, you can correct your mistakes. If you don't know there is a mistake while you can't correct the mistake. So the height of the building on the right side is actually three units. So let's try and draw one unit, two unit, three units. So it's here. This is the age of the building. And now we want to observe very closely the shape, the details of the building. On the right side, we can see the balcony actually coming out of the edge of the building. We need to this time divide the building into different floors. We have 12345. There are actually five floors. So this is the top of the building. So here I'm going to make sure this time I draw this angle accurately. You can see how steep this line really is. So once you measure the angle, makes sure you remember the angle and draw that angle. And don't let your brain tell you that, Oh, the angle is a bit off. Sometimes I may just use two pencils or a ruler just to get that angle right. In this case, this pencil is actually better competitors pencil because this is curve, so it may affect my judgment, which is why I changed to using this pencil with a straight it. So maybe I can use this street H pencil to draw this. See, when I drew this really quickly, the angle is off. So angles should be like this. Yeah, it looks better. It's a very steep line. This line will extend down. And we have this, you know what, let me just draw, extend this line from the VP or we hear. Again, I drew this angle slightly off. This is the correct angle. This is the wrong angle. So five floors, we need to divide this into five floors. We have the mid point will be here. So let's see. We have one here for number 12345. All right, looks good enough for me. And now we can just extend diagonal line with the **** out of vp. Let's draw the diagonal lines here, here, here, and here. This is the line. So now if you look at all these diagonal lines, they are all at different angles. At this stage, I can actually start inking. So let's draw the store front here. We have one owning coming out at this angle. We. So when you're drawing, just make sure that inclined follows the pencil lines, the drafting lines. Your brain is going to tell you, nope, that's not the angle, but follow the drafting lines. Okay. So let's draw the balcony. So the line will go up here. This line will go out of the h of building here. This, and this line will go to the VP because it's factored by the VP. And we have this support here beneath, which I'm going to draw with a very simple shape. We have some details. We have the other support here, this diagonal line that's affected by the VPS. Well, let's draw this. There is actually a lot more detail with this area that I'm drawing, but I'm just drawing the main shapes here. This time we will draw the balcony first. Make sure this part will align to this part here. Draw like this, and this part here extend all the way down. And again, I'm going to simplify the support beneath this part here. There is, the balcony is actually much taller here, and we have this thing that stands here. If you are drawing on a big piece of paper, you can draw more details which can work too often teach or work against you because you have a lot more things to draw now. Okay, so next, let's draw the other balcony on top. Again, I'm going to align this line all the way up here, push it to the left side. This is a circular or semicircle structure. Oops, oops, because this should go here. So again, I lost concentration. It is very easy to lose concentration, especially when you are drawing so much details. So let's draw this part. Sometimes it's difficult for me to see the details as well. We have a pillar that's actually standing here, and another pillar which is ending here. Let me just color this black so they can see it more clearly. There is a gap between these two pillars. The details here is lost because I don't have space to draw the digital, so I'm just going to draw it like this. But in reality it's supposed to look like this. Supposed to look like this. This is the semicircle being on top. Some details here. And I want to extend this to the right side. This will x, this part here, we're actually aligned here. So I did not draw it this way here. So it may be helpful to draw some of this with pencil first as well. The angles here at the top are extremely challenging. So it would be good to have some pencil lines as well. So as you are drawing, you will start to develop your own techniques and ways to solve challenging sketching challenges. This line that I'm about to draw, should the angle of this line should be between this line here and this line here. This. So let's draw. So there are different windows here. Six, if I counted correctly. So how do you draw the six windows? I've already told you that this is actually a tiny thing that I learned or discovered myself. Just draw like 123456, then draw the triangles on top. My triangles are a bit off, but that's the gist of this technique. Same for the both of them here. Yeah, so once you have divided into six, you can then just draw the six K. We have semicircle or design here. Once you've drawn this, make sure you draw the vertical lines down and make sure that Windows a line from top down all the way. So this is where I will tell you to just go try to redraw any mistakes that you have made and see if you can find any solutions to fix those mistakes. Drawing is fun this way, because drawing is like fixing a jigsaw puzzle, but it's actually more challenging and fun competitive fixing a jigsaw puzzle because you are actively trying to find techniques to help you draw more accurately. K. So at this stage, once you have drawn all the big shapes, you can draw the details within. Again, I need to emphasize that you need to make sure you get the ankles here at the boundary accurate. Because if you draw, for example, this angle, this angle, this angle, then angles of all the diagonal lines here within the shape. They will all be affected by this limit, this angle, then you have drawn drawn this wrong. Odd angles within the shape will be wrong. And no matter how detailed you are at drawing the details, no matter how accurate you are growing all the little details. It doesn't matter because the angles, the first angle is wrong. So all the other angles are wrong. The more practice you get, the better you will be at drawing. This is quite similar to playing a musical instrument where you will definitely play the wrong notes for very long time before you can play the song properly. So with practice, you will definitely get better. Don't worry too much about mistakes because every mistake is a learning opportunity. And sometimes you can learn and evolve through the mistakes that you make. 9. Improving Clarity: This lesson, I want to talk about clarity. Clarity is very important because you want whatever that strong to be immediately recognizable. In an instance, even though I've redrawn this balcony, it's not immediately clear how the balcony looks, because the lines and the shapes, they can look confusing. So let me draw this again with more clarity. Let's redraw the balcony and see if we can make it look clearer. I'm going to draw this with as few details as positive pole, because I'd want to spend so much time drawing the details. I just want to draw this as simply as possible while making this as clear as possible. So this is the support beneath. I'm using a lot of artistic license to simplify the details here. Maybe I can add some details at the top. Now if you are drawing on a big piece of paper, you can afford to add some details. But if you're drawing on a really small piece of paper, just a single line, we'll do. So this time around. I'm not going to add any details here because if I add too many details, the balcony is not going to look clear. If you take a look at this sketch here because I add too much details, too many, little horizontal strokes. The shape is no longer clear. This looks slightly better. I can, maybe I can even simplify this even further. Pretending, pretend, let's pretend I'm drawing this on a really small piece of paper. Now I've simplified the support beneath into a triangle. This is how it may look, how the balcony may look. Maybe we can draw the top as well. Deciding how much details to add can be quite tricky. So what I think about when it comes to adding details is if I have any hesitation to adding details, I will not add the details. I will continue my drawing somewhere else and maybe come back to this area to decide again and again if there is any hesitation, I will not want to draw the details because once you add the details with ink and you mess up anything, it's gonna be difficult to crack because it's ink. And now let's see if we can draw these two cyclists. More clearly. I have an issue with this guy here because the heat is not aligned to the center of the body. It looks like the head is on the right side. This is me losing concentration while drawing. So let's redraw that part. Again. We have the head here. We can see some of the hair. We can see the hat. This is the color. We have a little shoulder here. The shoulder on the left side. There is more shoulder on the left side. So as you draw this curve up the sleeve this way, because the arm is actually backwards. The guy is pressing on the bicycle seat. And R is the lady beside. We have the head here, the top of the hat aligned to the year of the guy. There seems to be pointed heel. We can draw that. We have some hair here, we can see some neck here. Again, if you're drawing this on a very small piece of paper, you won't be able to add so many details. So as you're drawing, really focus on where you should start your line, where you should annual lines. For the lady, the shoulder on the right side is a bid, has a bit more with competitors shoulder on the left side. We have the sleeve here, we have the body here. And shirt here will, and beneath this is the bicycle seat. If you cannot see the detail, Alice draw the big shapes. Yeah. So should we n here beneath the bicycle seat actually ends a bit further down. That's Rosen Chris on the shared key k. So this is pretty much it for this sketch here. When you're drawing, always think about overlapping elements. So here it's very clear that the lady overlaps the guy which is in front of her with my sketch. It's actually not that clear. Where's the overlap? So when you are drawing, even if the two cyclists appear to be side-by-side not overlapping each other, you may want to use your artistic license to make them overlap so that there is clarity and you can get this sense of depth. For example, if you have two curves like this, I'm just drawing the front view of the car. Headlights front, the bumper. They will. And we have another car, which is actually just beside. If you take a look at this sketch, you can tell or actually you can't tell which cars in front of which car is behind. A better way to draw this would be to put this car in front. And the other car of your sleep. This we can see some part of the car behind showing through. But this is actually still not very clear because we're looking at a front view of the car, so it's not very identifiable. This is the symbol of a car from the side view. So when we look at something like this, immediately we know it's a car. So let's try and make the silhouette of the car clearer. So let's just draw the three-quarter view of the car. We can see the front windscreen. We can see the side of the curve. We can see maybe the front of the car, the wheel of the car. So now we can see two wheels. So this is much clearer. And if we put another car behind here like this, it's going to appear much clearer. Okay. So we have the shadows beneath the car with the overlap, it's much clearer that risk in front and there's a car behind compared to this. And also in this case, we are looking at the three-quarter view instead of the front views. So again, there is more clarity. If you want to separate these two cars even more, you can use contrast. So you can probably draw this with thinner lines. Let me just redraw this again. This is drawn with thick lines. For the car behind. You can actually draw it, penalize just to separate. So this is one way to separate elements is to use a thinner, thicker lines to separate. So this is the contrast between line with. The other way to separate these two is if you have a redrawn them with equal line, with a wave lines that are equally thick. You can maybe just shade or color the car behind. Just to make it look, just to create that contrast. If you take a look at the shops that are beside the land pose, this is the front of the shop. That's a shop here. This is the awning. Here. There is another shop here. We have another opening. There is a lamb. Here. The street dime actually overlaps the shop on in which is good, the street lemon is actually here, overlapping the awning. So it's very clear that straight line is in front. However, if the photo is actually showing the street lamp here, like this. So this line has C of the street lamp. It's not very clear whether or not the street lamp is in front or behind and owning. So if you're faced with a situation like this, you should not draw the street lamp just beside the awning like this. Even if the scene actually shows you something like this, why you should do is use your artistic license and just have to strip them, overlap. Overlap the awning behind, which is exactly what the photo is showing. So this will make your sketch omega sin look clear. Alright. 10. Bye: Thanks for taking this course. I hope you found it useful and insightful and I hope you enjoyed the sketching process. There is a lot I can talk about when it comes to sketching and painting and urban sketching. But I can't cover them all in a single cost. So I highly recommend you check out my other art courses. Alright, thanks for watching. See you guys in the next course. Bye.