Impressionist Drawing Vol. 1: Fundamentals for All Levels

1. Impressionist Drawing Vol 1 Fundamentals: Have you ever dreamed about capturing the essence of sine in a vibrant and expressive way from graphite to color? I am Badillo Bey Vz and I'm honored to present to you the first volume of my impressionist drawing course and series. For 30 years, I have traveled through the best articles, and now I'm here to guide you on this exciting artistic journey. I have designed a series of impressions courses so that you can learn to draw by creating your drawings in graph fight and completely transforming them into color. Using a technique that allows you to capture anything, the sky, bridges, buildings, people, rivers, sunsets, everything in front of you in an artistic, expressive way with realistic expectations. In this first volume, you will learn all the basic fundamentals of impressionist drawing. Imagine drawing from the charming streets of Paris and the evil tower itself to immortalizing the majestic titanic on its made voyage. Here you will develop your skills to represent nearby objects and those in the distance without spending hours perfecting every detail, allowing you to create impactful works that wildly capture light and movement in an expressive and realistic way. That is what impressionism is all about. As a final project, you will render the magical moment. Titanic was about to depart, it will apply everything you have learned, the water, the sky, every part of the ship in the atmosphere at the moment, using the beautiful impressionist technique. Obviously we will explore the theory behind a practical work, discussing the color, the representation, developments in distance, the synthesis of real updates into simple strokes, color within light, and much more. Drawing inspiration from the best collection of works in the Museum or S in Paris, where impressionist paintings comes to life. We will work with high quality materials, rap fit, dry pastels, piquin and the luxury papers that will allow you to unleash your creativity. So D miss the chance to become that artist you have always dreamed of being, mastering the art of drawing. You won't be able to find a more complete and exciting course on this platform. Welcome to my Bay Atalie on Impressions Towing Volume one, fundamentals for all levels. I look forward to seeing you in the first lesson. 2. What is impressionism? Importance: Hello, everyone. Welcome to this first lesson of this course. Today, we are going to explore impressionism, an artistic movement that revolutionized how art is perceived and created. So to understand impressionism, we must first consider the context in which it emerged. The invention of the camera in the mith of the 19th century has a significant impact on art. Before photography, artists focused on detail and precise representation of reality. However, the camera offered a new way to capture what they saw, leading artists to rethink their purpose. Instead of trying to replicate photography, impressionists began exploring how they could express their personal and emotional vision of the world. Photography allowed for the capture of fleeting moments, which influenced impressionists who sought to represent the lighting atmosphere at a specific moment. This quest is reflected in these rapid brcon strokes and attention to changing light in their works. But now let's look at how drawing evolved from the trends leading up to impressionism. For this movement, Art was dominated by an academic approach where technique, precision, and detail were paramount. With the advent of impressionists, the technique of drawing underwent a radical transformation. Claude Monet, in his famous series of paintings of Rome Cathedral, not only uses vibrant colors to reflect the changes in light and atmosphere, but also employs strokes and dabs to capture the essence of elements in the distance. See how Monette synthesizes architectural details such as windows and reliefs of the cathedral with loose brush strokes allowing the viewer to complete the image in their mind. This technique not only provides a sense of depth, but also conveys the changing atmosphere and evolving light in the environment. Impressionism is marked by its spontaneity, making it an exceptional technique for sketching. Instead of spending hours seeking perfection, impressionists like Edgar de Gas in his depiction of dancers capture the movement and energy of their subjects with speed and freshness. His work on the dance class is a great example of how the dynamism of ASN can be conveyed without the need for precise details. The importance of this approach lies in its encouragement of active observation. By drawing in a freer and looser style, we train our ability to detect balance between what we see, the color around us, and how light affects everything. We learn to perceive how objects interwind in space and how shadows and highlights transform their shape. In this sense, impressionism teaches us to be more aware of our surroundings. It invites us to capture not just what is in front of us, but also the feeling and atmosphere surrounding us. By doing so, we become better artists as we train our ability to observe and represent reality more expressively and effective. In summary, impressionism not only changed how painting was done, but it also offers valuable lessons for drawing. Spontaneity, speed, and emotional connection to what we are drawing are essential in our practice. So as we progress through this course, we will remember the importance of actively observing and capturing the essence of what we see, using techniques inspired by the impressionist to enhance our artistic skills. I see you in the next lesson. 3. Beautiful Papers Impressionist Drawing Vol 1: Hello, people. Welcome to this lesson. Today, we will be talking about the different types of papers we will be using in this course. In fact, we will explore papers of all colors throughout our time together. But I highly recommend you experimenting with papers of various colors, this will help you bring out the best in your materials and achieve unique effects. We will be discussing the different types of papers in this lesson, and throughout the course, you will see how various coolors can change the mood and depth work. By choosing a color that contras with your drawing can enhance the vibrancy of your pastils and pencils. So don't worry about buying expensive papers. Even a simple color paper will give you a great start. If you already seen the drawing and sketching course, you may recognize some of this content in this lesson as we are discussing the same materials. But it's important to refresh this knowledge, as these are the same drawing materials we will use in both courses. So let's get started. Let's go with the first paper. Schooler shammer is high quality drawing paper with a pear white finish that stands out for its very fine grain texture. This type of paper is ideal for detail work as its smooth surface allows for sharp and precise lines without the pencil, catchin or dragon. Thanks to its delicate grain, it's perfect for graphite, colored pencils and ink techniques where cleanliness and clarity are essential. It also works well for saddle shading, allowing smooth transitions between tones. It's especially useful for portraits and technical drawings that require clear uniform lines. On this course, we will use this paper to create this beautiful drawing of the E fol Tower. This is a great drawing paper. Pay close attention to the grain. Let's move on to the next one. The honey Mill ingress is a high quality paper, specially designed for graphite and pastel techniques. Its unique texture and versatility make it ideal for capturing fine details and applying rich shading, which is why it will be the main paper used in this course. One of its most notable features is its rough green, which makes it more challenging to chip precise details right away. However, this is actually an advantage when learning to draw. We need to make better thought outlines of higher quality to achieve more effective results, especially in the distance. The rough grains resist precision a bit more, forcing us to be more conscious of every stroke, which is essential in the Earls stages of learning. Moreover, the final result is always more beautiful with a more dynamic and deeper finish, giving the drawing a richer, more complex feel. This particular Hamel ingress has a texture with tying fibers on the surface, giving it a unique, almosantque look. This texture not only gives it a vintage appearance, but also makes it especially beautiful and attractive. It's one of the most beautiful drawing papers available. Additionally, the hail ingress comes in various stones, such as socra and earthy shades. Each color has its own unique texture, allowing you to experiment with different effects and find the one that best suits your drawing style. The variety of colors offers a range of possibilities to enhance your work with interesting backgrounds and create more dynamic contrasts. The other hand, the paper has two different textures on each side. One side is smoother, ideal for details and soft transitions, while the other side is more textured, perfect for creating richer effects with pastel or techniques that require more pressure. This Hale ingress will be the main paper used in this course, allowing you to explore creativity with a texture foundation that helps develop the necessary skills for drawing with more precision and quality. But let's move on to the next one. The Canson My taints is an exceptional paper, especially designed for pastels and offers even richer textures than the Hale ingress. It's one of the primary papers used in my impressionist drawing course series, known for its strength and versatility. This paper is perfect for pastel techniques as its rich texture allows for excellent layering and blending. It holds the pigment beautifully, providing vibrant color and depth. Additionally, the canson Mittenss is more resistant than other papers, making it ideal for multiple layers without compromising the paper's integrity. It's also made with a slight percentage of cotton. Giving it a natural softness that enhances the texture and durability of paper. Like the ham mill ingress, this paper has two distinct textures on each side. One side is smoother for delicate details and blending. While the other side has a more pronounced texture, perfect for adding more texture and bold effects. The Kansan may tenses also comes in a wide range of colors, allowing for greater creative flexibility. The colors are incredibly rich, and the texture surface catches and holds pigment beautifully. This paper will help you create a dynamic, multiple layered pastel drawings that are rich, durable, and full of life. Now, let's talk about the papers from the Claire fontaine brand, especially those found in the block paintn. A high quality block that offers a variety of papers perfect for different artistic techniques. The block painton is an excellent choice for its versatility, as it contains various papers that adapt well to both wet and dry media. This block includes papers with rich textures, allowing you to experiment with different techniques from watercolor to pencil, ink and basil. Each sheet has a texture that adds a unique dimension to your work, making every piece more dynamic and expressive. One of the most notable features of this block is the wide range of colors available. The papers come in both natural and vibrant tones, giving the artists the freedom to choose the perfect background for their artwork, whether they seek something soft and warm or something more dramatic and colorful. It's important to mention that most of the sketches in both the drawing and sketching and impressionist drawing course series use papers from this blog. Its versatility, range of colors and textures make it an excellent choice for the lessons and exercises we'll be doing. This block is perfect for both beginners and experienced artists, as each variety of papers allows you to explore different styles and effects in one purchase, while the papers high quality ensures that your work will remain intact and vibrant over time. So feel free to choose the paper you like. After all, learning to draw doesn't depend on the paper, but on your creativity until the next lesson. 4. Pencils, pastels and other Materials Impressionist Drawing: Hello, people. In this lesson, we will dive into the pencils, pastels and other materials we will be using for our impressionist drawings. While we will explore different types of pencils and pasils, I want you to emphasize something important regarding pastels. I highly recommend you starting with Rembrandt vassals. And Brun seal designed pencils. There are other more expensive brands of pastels, like Senior and Smiki which are absolutely beautiful. And offer incredible results. However, for pastel work, whether you're learning or working professionally, I find that Rembrandt offers the best quality for the price. In this lesson, I will show you why I recommend this Brand. RembrandPass provide fantastic colors payoff, and are a great tool for developing your skills. So while we will look at a variety of materials, when it comes to Bass, Rembrand is my top recommendation. If you've already seen the drawing and sketching course, some of the content in this lesson will feel familiar as we are reviewing the same materials. It's a good idea to refresh this knowledge, since we will be using these drawing materials in both courses. So let's get started. Perfect. Let's start with this sample of the pencils and pastels. As you can see, we are going to work on the amalEgres collection papers. We are going to start with the graphite, then with the penis, then the pastels. The idea is to see also how each pencil and pigment behaves with these papers that will be present in all the courses. So let's start with this two H graphite pencil, which comes from the Benzel design set. Try to see the amount of graphite that remains stack to each of the papers. On the other hand, there is something very important to take into account. I'm going to apply the same amount of force on the paper, so you can see that by applying the same force, I obtain different tones. Let's continue with this to B T time I'm using an extender. It's a very useful tool to be able to use the pencils until the end. So by connecting this extender, you can use any pencil until it really wears out completely. Notice how in those sepia toned papers which are the hand mill papers, the graphite manages to adhere even more to the paper. I mean, it looks darker. This is particularly important for these papers. I'm going to try now with the seven B pencil. Pay attention to the fact that the darker tones of the graphite pencils are, the more subtle the differences between them are. The other hand, pay attention to how the graphite behaves on different textures of each paper. Now look at the pure graphite from this favor castle brand. It's even darker than the darkest of traditional graphite pencils. It's important to mention that you can also find the pure liquid graphite, but it's quite expensive, so I do not recommend it as much. The quality of graphite is generally not related to how the graphite looks, but to the durability of the pencil. How easily the graphite pencil breaks, most of all, when it comes to sharpening it, no matter who you may use the sharpener or the cutter. Here, you can notice the difference between them. It's quite clear. But now let's move on to the Pierre noir pencil. Pergnoi like a dry basil, but with a little oil. This is from the conte apari brand. This pencil allows us to achieve a much darker tone than with graphite. But we have to be careful with this because there is a noticeable difference. Piegnoi like pastos doesn't reflect light, whereas graphite is shining. So we must take this into account when we draw because when the light hits the drawing, the difference will be noticeable. Look at the difference between this HB shade of Pernoi and the pure graphite. Now I'm going to apply this darker shade of Piernoi Is a two B. It's important to mention that drawings and pencil tones should be tested in natural light. Not with artificial light hit in the paper. Even in museums, the lighting is always inspired by natural tones. But in any case, this Piegnoi is very useful for those very dark details in a drawing. Now let's start with the pastels. This example is very important because you will be able to see the difference between a soft pastel of good quality and one of not so good quality. I'm going to start with the Rembrandt soft pastel. I'm going to use this royal blue and try to see the intensity of the color and how it make thin and white lines, and I can also mix the color. This is a soft pastel of good quality. The thin is that this basil has a bit of binder and oil in it, which allows the pegament to be slightly pasty and stick to the paper. Now I'm going to try this other soft dry pastel. It's from the fiber castle brand. And although the price is not very different, it's not as good quality, and you will see why. Pay attention here, I'm applying the colors with the other basil. But notice what happens when I try to fill the paper enough with the pigment. All the pigment particles fall off the paper because it doesn't have enough bender. So when the paper has textures like this, it's automatically like sand in the pastel bar. When you are doing important work with lots of colors and tones, this can really mess up your work. Look what happens when I try to remove the pigment. It stains. You could erase it, but what would happen if these particles were on something we already drawn with many details? I think the only positive point of fiber castle pastels is their variety of colors. Now we are going to continue with the hard dry pastels. These are from the Rembrandt brand. We can also draw with this. I don't usually use them too much because they are really hard. They are for making sketches, a specific lines encounters that require strength. In fact, I have to press quite a bit towards the paper to mark the paper because of how hard they are. The good thing about these pastels is that since they are squared in shape, we will always have a sharp side with which to make fine lines, and they come in earthy colors that are very rich in tones. Now let's move on to the pastel pencils. This could be a middle ground between a hard and soft pastel. They are perfect, soft enough to blend and hard enough to be able to sharpen the pencils. Of course, you have to be very careful, but pay attention to how precise I can make the hatching with this pastel pencil. These are the Bun seal designed basil pencils. This brand has a wonderful set of 48 basil pencils that are really worth it. I'm going to try another color to show you how wonderful they are. For example, this light blue is quite beautiful. On the other hand, see how well the colors blend with the tones of the papers. Now I'm going to do a test with a white pastel, so you can see more or less the difference in tone that you can chip with a hard pastel and a soft one. I'm going to try the soft one up here first. I'm trying it out because we are going to use the color white a lot in both series of courses, both impressionist and drawing and sketching. Pay attention to the tone with a soft pastel. With a soft puzzle, we achieve an intense and strong white tone. Now I'm going to try the hard pastel bar, also from the same brand reembnd. I'm applying the same amount of force against the paper. And now, look, with the white pastel pencil, I'm going to try it too so you can see the difference. The tone of the hard pastel is less intense, so you should take this into account when using them. This is one of the most important things. Here, from a distance, you can see the difference in tones. It's important to get used to the materials in order to use them as a language while we draw. I will tell you something important regarding the prices of these materials. First of all, don't worry about graphite pencils. You don't need a complete set, and there is no difference in terms of quality compared to how they look on paper. It's simply a matter of the durability of the pencil itself. A tip brand will tend to break the pencil tip and even cause the graphite to completely come out of the wooden tube. But the appearance on paper is the same. But even though I highly recommend you to get a complete set of Bunsil design graphite pencils, Pick no apenzils are exclusive to Conte parE. They are a little bit expensive, but you don't need to buy the complete set because they are generally for some details. For pastels, I highly recommend you the Rembrandt brand. It's affordable and of great quality. There are more luxurious brands, but they are actually more expensive. Of course, they have more vivid colors, but I really tell you that from my point of view, the difference is not in line with the price. In other words, reembrands are quite good and affordable. On the other hand, I also recommend you the pastel pencil set from Brun seal design. So D miss the chance to experiment with these beautiful pastels. Welcome to this course. 5. Rendering from the distance Theoretical Approach: In this lesson, we're going to dive deeper into an important technique in impressionist art. How to suggest elements in the distance using loose strokes and dabs. This technique is not just about painting, it's about seeing the word in a different way, translating that perception into paper. To illustrate this, we will reference to impressionist works that depict urban scenes in Paris, the Rue Montre well in Paris by Claude Monet, and the Boulevard Mont Matre Spring by Camille Bizarro. Both of these paintings capture the lively atmosphere of Parisian streets, but they do so with unique approaches to light, movement, and depth. Let's start with the Monet's real Mntorwel. In this piece, we see how Monette uses quick bold strokes to convey the hustle and bustle of the lively street. The flags fluttering and the buildings receding into the distance create a sense of movement and energy. Notice how the details are transformed into depths of color, which suggests shapes rather than define them. This technique helps to create a vibrant atmosphere, drawing the viewer into the scene. Monette is a master at capturing the essence of a moment rather than the precise details. As we observe the painting, we realize that Monett's choice of colors and the way he applies them directly influence our perception of depth. The colors become lighter and softer as they move towards horizon. Creating an illusion of space and distance. This is quite similar to how rise percipiality. As subjective sit, they often appear less defined and more mute. By embracing this idea, we can achieve a similar effect in our drawings, letting go of the need for precision in favor of capturing the overall impression. Now let's move on to the Camille's Pizarro Boule Bartman matri spring. Pizaro represents a bustling street scene as well, but with a slightly different approach. Here, the shapes are still loose, but a bit more defined compared to Monette. The buildings and vehicles in the distance become less distinct. Their detailed simplified into color blocks and dabs. Each stroke has a clear intention, guiding the viewers eyes towards the vanishing point. Pizarro also uses light effectively in this painting. The plade of sunlight on the street with shadow failing in different direction, adds a dynam quality to the scene. You can feel the energy of this spring day, bustling with people and activity. Pizarro's approach demonstrates that even in a more figurative style, we can suggest distance and depth by strategically simplifying details. Both Monet and Pizarro demonstrate the power of light in their works. Light creates atmosphere and mood, and it's essential to understand how elements recede into the distance. As you work on your drawings, keep in mind the importance of camposition. Blazing your elements correctly is key to making depth feel natural. Think about it this way. When you observe a strip from a distance, what stands out? Is the intricate details of every window and door or it's the overall atmosphere created by the combination of light and form. So by focusing on this, you will find that your drawings can achieve a sense of realism without the need for perfect accuracy. In conclusion, remember that the key to depict ten elements in the distance lies not in mini details, but in capturing the essence of Acine. Monette and Pizarro both convey the feeling of their Parisian street through thoughtful arrangements of color and light. Monette didn't paint every window or flag in the room Montrell, but we feel their presence through his loose brush strokes. Similarly, Pizarro simplifies forms in Boulevard Mont Matre to maintain a lively and believable scene. As you work on your drawings, focus on placing the buildings accurrectly and allowing the light to guide your strokes. This will help you create a scene that feels coherent and engaging without having to fixate on every tiny detail. Next time you see a street receding into the distance, take a moment to notice how form simplified and try to reflect that in your own work. So embrace the impressionist spirit and let your unique vision shine. 6. Apples receding into the distance Sketch Exercise: Hello, people. In this lesson, we are going to take our first practical approach to understand how to render optics in the distance using an impressionist technique. We will do this by making a beautiful sketch of this group of apples. So the first step is try to create a surface in which these apples rest. So using this white pastel pencil and also this beautiful green paper, we are going to start creating the top of the table. Pay attention to these angle lines that will allow me to discover what are the real dimensions of this table. Once we get an initial approximation of the table, we can start creating the first apple. We must try to break down the apple's shape into a circle. But this circle is kind of flat on the top and also on the bottom. But the most important thing is that we are rendering the apple in the entire composition, representing the most illuminated areas on the reference image. That means that we are supposed to leave some spaces in blank because the paper color is going to represent some shadows on the composition. So putting in the way I'm using the hatching, I kind of cross hatching and curved lines to represent the volume of that apple. In this initial stage of this sketch, we had to focus only on shapes and, of course, the proportions between one apple and another. So we must try to outline the shadow of every single apple on the fabric on the top of the table. In order to represent these shadows properly, we must try to imagine one line that crosses from the foreground to the background, touching the edge of every single shadow. It may happen to you that once you get all the apples finished, you may discover that the table was not accurate enough, so we can leverage this to fix the table's dimensions. You may notice that although the light is hitting the fabric of the table, the color of the fabric is still dark. So we must represent that tone with a pastel gray that is a tone that is not white. And as I told you before, we must leave the space for every single shadow the apple shadows. From a distance, you can see that the most prominent color of the apples is red. But within that red, there are also shades of orange and yellow. So we are going to use those shades to make the combination, starting with orange and then red. The idea of this sketch is for you to see how the intricate details of the apples will fade away as the apples get farther away. You should try to feel the color from a distance. See where I put the deep red color in where I leave the orange color. And most of all, pay attention to the way I place the red tone in the rest of the apples. See how I leave free space to add the yellow tone that the apples have above. We must always try to give importance to the closest element that is repeated in the distance. That is, we give enough details to that first object, which in this case, is an apple. Then we will interpret the rest of the apples with the visual information that we capture from the first apple. So in that sense, I'm going to use two lighter shapes of orange to make the transition areas between the red color and the more yellow tone in the apples. Pay attention to the details of the first apple. I'm trying to represent all the textures and variations of the apple peel using color directly. Now I'm going to start repeating the same pattern on the other apples, but pay close attention to how I reduce the amount of detail by summarizing larger sections within one single stroke. Now I'm going to apply this dark brown to represent the darker shadows on the apples. The most interesting thing about using pastels is that the pigment mixes as if it were oil, meaning that even though I'm applying this dark tone, it will also mix with the red, which is completely suitable and favorable. Now I'm going to use a fairly dark graphite pencil, A five B to reinforce the shadows on the fabric and improve the contours of the apples as well as more intricate tails. You should pay attention to the contours of the apples that make contact with the dark background. These are the contours that we must reinforce. On the other hand, we must add some cross hatching to the fabric to represent its different shades. Here you can see that the color of the graphite is a kind of grade that is close to the military green of the paper. Oh. Now I'm going to use the white pastel to represent and enhance the more illuminated areas of the apples. I'm using a white pastel stick because the pigment sticks more easily to the paper. Pay attention to the details I give to the first apple, and then what I do with the rest. That difference is the most important thing in this lesson. Now I'm going to apply my favorite pencil Pierre noi. I'm going to use it because I need to get a tone even blacker than the graphite. Pier Koi always sticks easily to the paper. Therefore, I'm gonna apply it on the shadows of the apples projected on the fabric. And that's it. See how interesting this sketch is. Feel the difference between the details on each apple as you move away. This is a central concept of impressionism, creating this visual effect of an impression of light in the distance until the next lesson. 7. Color Exercise Apples on the table Sketch: Hello, people. In this lesson, we are going to put into practice the use of color again. We are going to use these three apples on this small round table. The purpose is simply to get you to experiment quickly with these fruits so that you can relax. Of course, each of these sketches is to make you feel comfortable before tackling the main exercises of this course. So let's start quickly by creating the surface on which the fruits rest, which in this case, is a round table. Obviously, from our point of view, the table looks oval, so it's an oval in two dimensional language. So we can create a cross in the center to measure the width angle and get closer to the reference image. Once we have the tabletop finished, we can concentrate on the edges, the contours of the fabric falling to the sides. Now we are going to start creating the apples. To know the approximate height of the apples, we can draw an angled line from the edge of the table to the top of the apples. As I always tell you in my courses, the human eye is very sensitive to angles, so angles will be our best friends while we draw. At this stage, we just need to focus on the outlines of the three apples in some important small details. For example, the small shadows projected on the fabric are quite important. Now I'm going to use the eraser pencil to clean up all the construction lines left inside the apples. Now I'm going to add a slanted hatching of parallel lines to represent some faults in the fabric that although they are not clearly visible in the reference image, they are there. Now, let's start applying the color in a very simple way and with a very simple resolution. We don't need it to look realistic for now. We are just going to place the color intuitively. We are going to use the red color for the darker areas of the apple, the redder and darker areas, and we will leave the yellow for the top part. We can use the orange to make the transition, but pay attention. Do not stress about making it realistic or perfect. This is just an exercise. Pay attention to the fact that the yellow color is not only lighter, but it reacts differently to light. Additionally, it's the yellow part that is most exposed to light. So these are two important factors when representing the apple. Now that we have more or less the basic colors of the apples, we can choose a light gray color to represent the color of the fabric. It's important to represent it in a creative way, pay attention to the combination of basic colors that I make on the fabric. In fact, this color is representing the parts of the fabric that are exposed to the light. Now I'm going to apply a darker gray for the shadows projected on the fabric. I'm going to use a dark green colour to try to enter the range of grays of the fabric from a creative point of view. I'm going to mix this base color with a darker tone later on so that it looks more interesting and shaded. Look, I'm just going to do hatching with this color. Now comes one of the most important parts. I'm going to use a dark graphite pencil to try to unite all the colors in a single language. I will create the gradients of the table, the fruits and also the contours to unite all the colors in an organic way. Look at the way the graphite mixes with the colors we added at the beginning. Now I'm going to use the white pastel to create the highlights on the apples. This same pastel chalk will allow me to improve the texture of the table fabric. Pay attention. I'm not just adding highlights, but I'm also trying to improve the rounded appearance of the apples. Look how good the white chalk looks on the table now. Try to pay attention to how it tells us about the way light is falling on objects. Now I'm going to add some finishing toaches with red. And that's it. We have finished this sketch. Pay attention that even though it doesn't look realistic, its colors look so interesting and impressionistic. I hope you really feel more comfortable now, and I think you are ready to tackle our first major project step by step until the next lesson. M 8. Parisian Street Artistic References Theoretical Approach: Hello, people. Before we begin the first exercise, let's imagine walking through the streets of Paris at the end of the 19th century when impressionist artists began to capture urban life in a completely new way. We can see how Gustave Kevo, in his painting Paris Street, Rainy Day, manages to represent the width of the Parisien Avenue, filling the space with movement, light, and atmosphere. What is interesting is how he uses perspective to give depth guiding our gaze towards the center of the street without needing to detail every couple of stones or building. The painting conveys the essence of the place, the scattered figures, the umbrellas blending with the gray sky, and the reflections on the wet street that seems to vibrate under the soft light of the rainy day. One remarkable aspect of this work is the way that Kelbot represents the windows of the buildings. It doesn't paint them with exact precision, but uses gentle brush strokes to suggest them, allowing some to fade into the light while others are slightly more defined as we wrap into the moisture of the Paris CNN. This technique allows the windows to become part of the building's structure without distracting the viewer. At in depth and realsen without overwhelming detail. Another example we can draw from is the Rue de Paris Stems de blue by Eduard Leon Cortes. In this place, Cortes also captures Parisian urban life, but through more gestural breaststroks, where the warm light from the lamps gently illuminates the sidewalks and buildings. The details of the windows and doors are simplified. Just a few lines and spots of color suggest their presence. This technique creates a sense of visual rhythm and lets the viewer's imagination complete the scene, giving rise to a more intimate and nostalgic atmosphere, characteristic of the impressionist style. Lastly, we can look at the boulevard de capuchins by Claude Monet. Here Monette plays with an aerial perspective, placing himself on a balcony and showing the street from above. This scene is full of movement. The quick, loose brush strokes capture the vibrant life of the city with carriages and figures that seem to move through the mist of light. The buildings in the background are barely defined, but the patches of color lets us see where the windows are, the roof lines, and the architectural details. Monette doesn't worry about precision. Instead, he seeks to convey the strict strategy and how light interacts with objects, leaving an impression that is almost ethereal. What we can learn from these paintings is how artists choose what to emphasize and what to live in the background. Perspective help us establish structure. But then the technique of softening details, simplifying forms strategically is what allows us to capture the essence of the scene. So when we work on our own Parisian street, we will be inspired by this freedom to express atmosphere and urban rhythm through loose strokes, soft shadows, and the color we will add later to accentuate the light, warmth or coolness of the scene, just as these impressionist masters would. Let's look closely at the reference image and try to represent its details with an artistic gaze. The first thing that stands out is the serenity of the empty street as if it's waiting to be traversed. The perspective gently guides towards the background, where the street narrows and fades into the distance. On both sides, the party sees buildings rise elegantly. Their facades bathed in sunlight that highlights the details of the moldings, brought iron railings and windows. Pay attention to how soft shadows fall across the sidewalk and buildings, creating delicate countries between light and shade. The lines of the sidewalk and road help structure the perspective, leading us towards the horizon. Additionally, let's observe the textures, the smooth stones of the sidewalk, and the uneven coupled stones at the edge, each offering a different pattern to enrich the drawing. The balconies and windows have fine details, but they can be simplified to suggest their presence without getting lost in excessive precision. Let this scene inspire us not just to draw Parisian street, but to capture the atmosphere of tranquility and light that invites us to imagine a story among these elegant facades. Or 9. General Structure Parisian Street: Hello, everyone. We are ready to start the rendering of this beautiful street in Paris. The first thing we are going to do is to break down the perspective of our composition. To do this, we must locate and place the vanishing point of this drawing. So let's draw the horizon. That horizontal line where the street, the sidewalks, the buildings, everything meet. From there, we must build the angles corresponding to those lines. If you can clearly see the reference image, all the elements become practically triangles to these lines, and the human eye is very sensitive to angles. So we are going to try to draw all those lines to have a general perspective scheme on our paper. The purpose of this drawing is that we can practice one of the most important elements of impressionist drawing, the synthesized representation of any element in the distance. And since these are the same buildings that get smothers they go towards the background, towards that vanishing point, we are going to have a different way of representing the same windows, the same street, the same texture of the walls, at different distance levels. It's important to know that these lines are not definitive. That is, they will not coincide with the real angle of the buildings in the first attempt, but these lines will be the reference point to construct the correct angle that the buildings have in their distance. On the other hand, seeking perfection is a very bad strategy when it comes to drawing. That perfection could leads us to frustration and not achieve any realism with the drawing. We will learn that as we advance in the course. Now, the next step is to start tracing the outline of the buildings on the right side. We are going to start from the background to the foreground. So let's start to trace this outline intuitively above the line corresponding to that site, just like I'm doing. Our reference point should be that angle line. And from there, we should roughly measure where each building begins and ends. And, of course, being aware that at least a third of that entire triangle is occupied by the building closest to the right. Now that we have a closer outline of the actual dimension of the buildings on the right, we can raise the first construction line. Now, we're going to draw an angled line corresponding to the first level of the buildings. It's not exactly the first level, because, in fact, the line crosses above the first floor, keeping in mind that the first floor is the first one going up the stairs. But if you look closely at the buildings on the right, they all respect this architectural element. Now I'm going to draw another small cross line to determine the angle that corresponds to the bottom of the first building on the right. Remember that it's always an approximation. So we can apply the same method to discover where the second building is positioned. It's important to mention that if, for example, after doing this bottom part, the buildings turn out to be very low, we can always correct them above to make them taller. So our strategy when drawing should always be based on that possible correction as we advance building in the general scheme of drawing. Now you can see the proportion of each building in the distance. We have made in by calculating the geometric shapes of each building and the separation between each building. This is the reason why angles are so important because each geometric shape has a crossed line with a specific angle that we can see in the reference image, or at least get quite close. Now that we have a clearer approximation to the position of the buildings, we can extend the vertical line of the buildings. Try to follow me focused and try to carefully look at the reference image and understand how everything becomes a reference point to build the entire urban landscape. Now notice how as we create these buildings, we realize that we only know the size of the first two floors and the third and fourth floors, taking into account that they are divided by Now, from the corner of this second building, we can start to draw the horizontal line of the pedestrian crossing. And obviously, this is across the street. Therefore, the building on the other side of the street must be on that same horizontal line. And so we must follow the marks. The corner of this first building will also tell me where the other building begins on the other side. The most interesting thing about this process is that as you continue to build it, relating the shapes, the lines, the spaces between the lines, then almost automatically, you will begin to see the size of the rest of the elements because the brain will begin to analyze the space automatically. Now we can start to draw an approximate line of the sidewalk of the buildings on the right. It doesn't matter if it's not the final one, because we can always correct it. For example, if it needs to be wider or narrower, just draw a parallel line inside or out. Now, we can try to build the volume of the building right on the corner. Note that the building has a polygonal area on the corner. This type of configuration is made so that a pedestrian can always see the cars coming from the other street in time. Important European cities such as Paris and Barcelona have this feature in their buildings. Since we already have the corner structure, we're going to try to create the outline of the building on the other side of the street. We are going to create an approximation to that outline. Look how I draw this horizontal line that reaches the other side of the street to know the height of this building on the left, which looks taller in the reference image. And that is how we should draw it. Now that we have a more or less height of that building, we can try to draw the outline of the other building that is closest to us. So we must continue to relate the elements that are closest. A drawing grows like a tree, and all its shapes must evolve at the same time. That is very important. In the reference image, we can see that the building has four well defined floors, so we can draw them at once by tracing the dividing lines. We can also add lines that try to define the most prominent structures of the closest building. Actually, everything we feel we can draw because we have enough reference points around us, we can do it. Notice how I added this section of the attic. The building was supposed to be taller, so the attic had to be above of the height with the termin at the beginning. Now that we have a more or less elaborate structure of some buildings, we can begin to develop the internal configuration of the facades by drawing the lines that define the old structures, such as these edges, for example. We can also draw the line that divide the first floor from the second. I'm going to draw this traffic sign here, but not as a final detail, but to define its position on the sidewalk and make it a good reference point. This element can help us later on to draw the bicycles and the pedestrian crossing. Now I'm going to start creating these important details of this building. I mean, those kind of windows. For sure from this point of view, we can only see the openings. It's important to draw the elements that are consecutive on several floors. In this case, there are three windows that are repeated on the first and second floors. I Now, I'm going to make these reference lines here, which are not definitive at all, but they will help me to build the openings and the windows in this part of the building. We must try to guide ourselves as always by everything that is already built. M. Now I'm going to create the lower part of this balcony. I know it's an element that I shouldn't do at this stage, but I'm going to draw it simply to position it. In fact, later on, I will change its shape to a more precise one. You can try to locate the balcony, as well. Don't worry about the precision of your shapes at this point. And now, as we did with the attic in the other building, we will try to complete the height of this building, as well. This another detail is very important. I'm going to draw some reference lines to locate the vertical where the windows of this building are. And as a final detail, I'm going to draw this structure on the street, which is assigned for parking bicycles and motorcycles. And that's it. We have the first step in our drawing of this beautiful street in Paris. We already have the general structure of the buildings, but this is just the beginning. I see you in the next lesson. 10. Foreground Buildings' Details Parisian Street: Mm. Hello, people. In this lesson, we're going to give the details to the closest buildings in our composition. We will start directly with the building on the left. But before we start, I'm going to show you how many of the things we do on the drawing in the initial stages are an approximation. If you pay close attention to that detail of the parking area on the street, I had made a mistake when positioning. I drew it too far away. So when I make the relationship between another nearby element that is on the same horizontal line, I realized that it was too far away. So I had to fix it. So this is the right position. So these elements must be on the same horizontal line as this small dark area that I'm remarking now. From here, I'm going to make all the buildings details grow up. You may remember in the last lesson that I simply made some horizontal lines in this section. And the idea of those lines was to represent the horizontal lines of the texture of the wall. If we draw an imaginary line that follows those little lines in the concrete all the way to the edge of the building, we can have a great reference point for building a lot of things. After all, these horizontal lines in the concrete of the building stay the same height all along the facade in this section of the building. So it makes for a great reference point. Now, we're going to try to draw the vertical lines of the openings in the building. When I say openings, I mean the windows that are seen from this point of view, because there is also an entrance. You can see that we can extend the vertical lines upwards without any problem. In almost all of these buildings, the windows remain on the same vertical line. Therefore, these lines will give us the position where the windows of the first and second floors will be. We're going to try to use as a reference point the dar mark that we used to know where the small structure in the parking area was. That small mark in the reference image will tell us where the entrance and the windows are. For example, just above the mark, there is a window. So it's very important to follow it. Since we already have these horizontal and vertical lines, we can try to build the windows based on the size of the balconies. You can see that the balconies are almost two rows high. Therefore, you can use these horizontal lines to find out their proportion in the window. Now we can give more details to the windows of the other building next to this one. Notice how the line above these windows almost coincides with the line above the windows of the other building. It's slightly higher up. And in this same way, we can advance to the third floor, knowing that from a two dimensional point of view, this third floor should coincide with the height of the building on the other side of the street. In reality, the other building is taller. It has four floors, but from our point of view, even though it's farther away, they are the same size. Now, I'm going to try to shade this lower part of the balcony just to have a visual reference of that dark area. After all, I didn't fail so badly by positioning that protruding balcony. Now, we're going to quickly move on to the building on the right. Let's start by drawing the imaginary line that divides the first floor from the second. Now we're going to try to draw the vertical strip where the windows are positioned. The most interesting thing is that if we manage to make the ones below, we automatically have the ones above. We have them built because they are on the same vertical line. To know where the windows are exactly, we must try to measure the parallel piped formed by the wall between the windows and the windows themselves. When you sum those two spaces, you get a larger geometric shape that has angles like any other geometric shape we have made so far. Look at the lines on the concrete. They are the same lines as the building we made on the right. You can experiment with these lines. I mean, you don't need to count how many lines there are. Nobody is going to do that. We should simply try to measure the proportion of the space between one line and the other one and try to draw the lines intuitively. Of course, you must take into account they must follow the perspective. That is both the base of the building and the line that divides the building into. Those lines are inclined lines that follow a perspective. Therefore, those lines on the concrete as well. All those details that I do now must be thought about for later stages of the drawing. For example, in this drawing, we are going to use the color of the paper as the color of the buildings itself. So these details are important because they will prevail throughout the development of the drawing. Mm. Mm. From this stage and on, we can start to give the value to the line. The shading of a drawing doesn't depend only on the gradients, but also on the depth we give to the lines in particular. Although we are not at that stage, in a certain way, we can darken the lines that are more important for the structure. For example, these lines of the sidewalk and the line that also divides the building in half, that line that separates the structure of the building from the attic, and you can see that they are important lines, and therefore they should be darker. Most of the problems when it comes to building the details and structure of a drawing are not related to the construction of the details themselves, but to correctly locating where they go in space. That is a problem even when making portraits. It's more important that the windows and elements of the building are in the right position than the shape of the windows itself. In fact, when we are making the details of the buildings that are farther away, I'm going to prove it to you because in reality, in the distance, the windows and doors will be nothing more than strokes and spots, but it's the position that these spots have in space that turns them into windows and doors. Look, as I mentioned, I have the vertical position of the windows below, and now what we do is build the ones above. In fact, you can notice that the section of the two floors above is higher. I suppose the ceiling of the apartments is higher. I should mention that they are very luxurious buildings. It's one of the richest areas of the city of Paris. And Horizontal lines are also important to know where the windows are on the same level of the building. In the same way, it gives us a reference point because simply by drawing and incline the line across it, we know the progression of size in terms of perspective in each of the windows. There is something important to take into account. When you draw using a photograph that you took yourself as a reference, you had to be very careful about one thing. It's something very subtle, but it can affect your drawing. In this case, we had built the urban landscape from lines and perspective, and everything is going quite well. But if you pay close attention to the reference image, due to the nature of the camera lens, the building seems to bend slightly towards the centers as they go up. It's something very subtle, but it's an effect of lens. All camera lenses, smartphone lenses, et cetera, distort the image, all of them. And if we don't pay close attention to that, our drawing will also have that distortion, which is not necessarily bad, but it reveals that we had used the image from a camera as a reference. In this part of the penthouse railing, we're going to try not to complicate things too much because we can develop that detail later on. We just need to have the most general aspect. The same goes for the details of the window panes. We will discuss them in more detail later because most of them have color, so those details will be modified. And that's it. We already have progress in the details of these nearby buildings. The most important thing is how the buildings have grown upwards to adapt to the real size, and everything has been in a progressive construction process. I see you in the next lesson. So 11. Background Buildings' Details Parisian Street: Hello, people. In this lesson, we are going to cover the details of the buildings in the background, and we are going to start with this building on the left. I told you in the last lesson that you had to start shading the drawing through the line, which we did lightly in the closest buildings. On this occasion, we are going to apply this technique with more intensity. But why? Because since these buildings are farther away, each line and detail we make is more important. For example, in these details that I'm doing now in this building, if you are going to draw a window frame, we won't be able to shade too much inside the frame. Therefore, it's the line itself that must contain the shading in some way. This is a fundamental principle of impressionism. The stain, the stroke, and the line are extremely important, especially in a small format, because if we were talking about a large format of several matters, then we would have space to do those details. But most of the greatest impressionist paintings are small or medium sized in order to achieve precisely that effect. Following this important insight, we must then try to look closely at the reference image to observe which are those lines and contours that stand out in the distance and whose gradient is crucial for the texture and appearance of the building. For example, these lines that separate one level from another, and it's also important to represent with less force the horizontal lines of the concrete, as well as the contours of the windows and the railings of the small balconies. Please note that from this point of view, although we cannot see the windows of the building on the side facing the main street, we can see how the balconies protrude, and in fact, we can see the lower parts of the balconies on the first and second floors. So these details are very important for this building. M We must take great care with this building because even though it's not in the foreground, from our point of view, it's closer to us than the other building on the other side of the street. So the progression of the tails on the buildings must coincide with the progression in the distance between the buildings and the viewer. Now, we're going to continue with this building on the right. I'm going to start by drawing this first window together with the lines that make up the texture of the wall. I'm going to do it because it's a great reference point. You can see that it's dark and light stripes are present on both sides of the building, as well as it helps me to build the windows on the upper floors. So you're supposed to be smart by selecting the most important elements on the buildings to make the drawing grows properly. Now, I'm going to proceed to build the windows on the street side. We must apply the same strategy as in the nearest building, using the vertical lines to position the windows both below and above. Oh. Pay attention to the line value here. The window frame is made with lighter lines, but the top frame is a darker line because we need to represent that prominent shadow of the windows at the top. Actually, these windows will give us the height of the rest of the windows, even on the side that is facing us. This is the most interesting part of growing and drawing step by step. Pay attention to how I synthesize the entire window with a few simple strokes. I simply make a vertical line that represents the window opening and a darker mark at the top of the line that represents the upper frame of the window. That is enough to represent those windows in the distance. The balconies also stand out in the distance, so we must also highlight them with great care. Look at all the details of these columns on the facade. We must pay attention to the quality of the gray on the wall. Remember that if you need to zoom in on the image to see it carefully, you can do so. You have it available in the course. Look at these details of the attic. These details are also lined with the vertical lines of the windows. So we must be guided to build them. Actually, this is a proof of what I mentioned at the beginning. Even though these details are some small rooms at the top of the attic, as they get farther away in the distance, these rooms become a simple graphite mark. At this distance, almost everything is marks. So lighters and others darker. There's no way to see details. We must make an interpretation of what we see using the lines to represent that building in the distance, pay close attention to what I do on the paper. Pay attention to the fact that as the buildings get farther away, this representation seems to be more abstract, but in fact, it's not. It's simply the distant impression of the building. Look now at what I'm doing at the farthest point of the composition. I'm not even representing what I see, but rather interpreting with the spot what it's supposed to be there. Some buildings are supposed to be there, but the truth is that we don't even understand in the reference image what is really there, but we must understand the language we have applied until now to represent with lines and strokes a possible background on that very small binian point. And that's it. We already have the main details of almost all the buildings, or drawing begins to represent the reality, but there is still a lot of work ahead. I see you in the next lesson. 12. Sidewalk & Street Details Parisian Street: Hello, people. Let's start with the sidewalk details. I'm going to start directly with these bicycles. In fact, in order to represent this urban landscape in an impressionistic way, we don't really need to render them as they are. It would be enough to suggest that there are some bicycles there. So let's focus on creating them to represent and that these elements are there. You can see that in order to determine where the bikes are, I have drawn a line from the wall of the building to the possible place where the bike should be. This is a good strategy. Here I'm going to draw the first one, which is actually a kind of scooter. In reality, for this exercise, it doesn't matter, but it's important that it is in the right place. You must be careful when representing these bicycles because they are overlapped. So we must respect the perspective and draw the visible part of those behind. There is a good reference to resort when it comes to representing objects in the distance, Camille Pizarro. Au had a remarkable ability to depict distant objects with an incredible balance of clarity and suggestion. Is landscapes where small figures, trees, or even cards in the far distance are painted with just enough detail to be recognizable, but without overdfining them. So he understood that as subjects move farther away from the viewer, they lose sharpness and blend more into the atmosphere. So when we apply these to our own work, we want to consider the same principles. The further something is from us, and the more we rely on suggestion rather than precision. So I think it this technique is essential in creating a believable sense of distance in atmospheric perspective. We must take into account the metal structures to tie the cycles and motorcycles. There are also good reference points. It's important to mention that this way to approach small objects is a very good strategy when it comes to representing small objects in the distance. And it is above all, a great learning experience to approach in a more appropriate way the more complex drawings that we will see later on on this course. Now, let's move on directly with the sidewalk. Let's start with the curve of the sidewalk. Pay attention to these dividing lines. We must respect the perspective and the distance between each line. I think this is fundamental that distance is more important than anything else. I highly recommend you to use as a reference point how many lines there are in the space that corresponds to the buy cycles, and from there count how many there are farther ahead towards where we are. Each of these lines will help us represent these horizontal lines that I'm making now, whose function is to guide the perspective of the regular cobbled stones of the sidewalk. You didn't have to go overboard with the perfection of these horizontal lines because you know that the size of the stone is irregular. So even though they should get smaller in distance, it doesn't have to be perfect like a drawing grid. The next step is to make the pedestrian crossing at once. We will simply be guided by the position of the traffic signs of the sidewalk. From there, we can draw its strip of the pedestrian crossing following the perspective line of the sidewalks. These details of the street should be done with a light pencil. And above all, you should take into account that if you are going to make black stripes, that will be the color of the street. So try to create them keeping that in mind. I'm going to apply the light hatching to the rest of the street so that it acquires the correct ranges of the composition. Of course, this entire street will be completely dark, but we will do that later. Now we are going to start making the coval stones on the sidewalk. From the height where the structure of the bicycle parking is, we're going to start making irregularly shaped stones, but trying to follow the size of the stripes formed by the lines we've made previously. It's important to observe the coble stones in the reference image very carefully, especially the divisions between 1 stone and another. You can see that due to the projection of light and the nature of the material, some divisions look dark. We can do those with propte, but there are other ones that are much lighter. In those cases, we can simply leave the color of the paper. So we must play with that to create the randomness of the stones. On the other hand, it's important to take into account that all these cobbled stones will be improved with a white dried pastle. So we didn't have to focus on giving all the details because when we were at that stage, we will also be able to add more details. M Now we're going to move forward to the farthest cable stones. Pay attention to what happens in the area closest to the building. If you see the two buildings generate a shadow on the ground that is clearly visible on the sidewalk. We must try to represent this with a texture. In that part of the sidewalk closest to the building, we can notice this notable shadow that we must make with graphite. Of course, modifying the tone stone by stone. Pay attention to the fact that as the sidewalk recedes into the distance, the cobble stones practically become lines. This is part of the impressionist technique, which allows us to represent even through the line that there are stones in the distance on the sidewalk. Mm Now we are going to try to represent these cobbled stones hidden under the asphalt. This is a bit strange. I supposed it was necessary to put asphalt on the street, but surely 100 years ago, there were stones, and with the passage of time, the asphalt has worn away. Notice how the cobbled stones also appear on this edge of the street. I suppose the parked cars also contribute to the wear and tear of the asphalt. And that's it. We have the most important details of the street and the sidewalk. This drawing is already starting to look pretty good. Look at the perspective in the distance, but we are only halfway there. I see you in the next lesson. 13. Sky & Street Color Parisian Street: Hello, people. In this lesson, we're going to start applying the color in the drawing, starting directly from the sky. So the first thing I'm going to do is break it down the sky into five main colors to create a gradient rich enough to create this sky. I think that compared to what we have done so far, it's quite easy. On the other hand, there are many academics who choose three colors or eight colors, and that doesn't matter because in reality, there could be 100 colors. The secret is that the material we are using is rich enough to make very good gradients, even using few colors, and that would be exactly the same with oil or acrylic. So we are going to apply these five colors using strong hatching. It's not necessarily completely filled space because we will blur it later on. So for now, we will try to spread it out quite a bit along the entire sky. Now, we are going to move on to the street. We are going to start by adding a layer of this dark blue to the street because if you can see in the reference image, the color of the asphalt contains the color of the skies as well. Then we are going to add the lighter layers of color with two types of blue, and then we will add a little black bustle to darken the entire space. Now we are going to proceed to blur all this pastel. Since the tone that remains is a kind of gray, we're going to use the graphite to fill all the visible edges. It's not exactly gray. Try to see a kind of blue veil on the asphalt. And that is quite interesting because we are getting closer to the reference image. Remember that impressionism is all about color. Pay attention that in this area, we are covering all the details of the cobble stones, but that doesn't matter. We are going to cover it anyway. The guide marks that we will use later on will still remain because we are going to make them appear using the eraser pencil. Now let's blend the color in the sky. We are going to spread everything out. Remember that the best material to blend is toilet paper or tissue. Now, you're going to use this intense blue to reinforce the color of the sky. It's important to mention that I'm using this shade of blue, but the reference image shows a lighter color. But this is my personal touch because I really love this shade of blue. But you can choose the one that you like the most. That is the idea. Once you apply the darker shade, you're going to blend from top to bottom to give consistency to the gradient. A personal tos that I give to places where I have supplied a lot of color, like in disguise, is to use hatching in one direction. I mean, even though we blue ridge later, there will always be some lines of hatching that look very interesting. But this is a personal tos. You could use hatching in several directions in the sky, and it would look perfect. Now we are going to clean up the edges. Using a pastel pencil with a range close to that of the sky. We are going to highlight the edges so that they fit perfectly in the silhouette of the buildings. It's important to mention that we can also improve the consistency of the color by using pastel pencil within the sky. Obviously, since they have a smaller tip, we can feel smaller spaces and grooves. On the other hand, we can add irregularity to the range of the sky, and that is quite interesting and more artistic. Pay attention that as I go down towards the horizon, I'm tracing the silhouette of the buildings with a different shade of blue. I say that adapts more to the tone of the sky in that part. Even though in the reference image, the skies is completely clear and a perfect gradient can be seen. It's important to get used to create irregularities in tones. At least in the impressionist style, it's much more interesting. And above of all, because when we had to represent the skies with clouds, as we will do in other exercises later on, believe me, we are going to need to master the irregularities of tones in the clouds. Now, as a final detail, we are going to highlight the bicycles since we darkened the street. Now the bicycles should be darker. But we can correct this as we advance into tromin. And that's it. Our first colored element is present. And the most interesting thing is that now the color of the paper starts to look like the color of the buildings, and this is magnificent because it has completely changed its meaning within the artistic language of the drawing. I see you in the next lesson. 14. Sidewalk Color Parisian Street: Goo. Hello, people. You're here again. Now we're going to start adding the color of the sidewalk. We're going to start adding this light blue. I'm going to lightly cover the most illuminated areas of the cobblestones. Notice how once I applied it, it automatically turns gray. This happens for two main reasons. The first is that in reality, the color we see on the sidewalk is not completely gray, but has a great reflection of the sky. So it's the usual proof that the color we see are more complex than they appear to the naked eye. Now with a graphite pencil, we are going to start giving texture to each of the stones. We must try to follow the reference image, pay attention to which are the darkest stones and above of all take into account the shadows projected on the sidewalk. In my series of drawing and sketching courses, we cover the construction of the cobblestones in an entire castle. The effect is very beautiful. In that course, I'm not applying the color like here, but it's quite interesting to see how different approaches to cobblestone in the structure of a castle are, and those kind of castles were made with these kind of architectural elements. Now we are going to add a few more touches of blue to improve the regular appearance of the stones. We must do this carefully and above of all, taking care of the edges with the street, the carb sidewalk. Now, with a white pastel pencil, we are going to draw the light, the most prominent reflections of light on the stones, and the reference image is quite clear where they are, for example, on this side closest to the street. It's important to mention that you must be very careful when using white bastil pencil because if you look closely, the divisions between the stones are also white. So you can experiment with this color in those areas. Pay attention to how I apply the white pastel. Sometimes they are horizontal lines. Sometimes they are short strokes on some stones. All of that is part of the regular nature of this visual effect. Now, we are going to start with a more intricate level of detail in the cobbled stones. With the graphite pencil, we are going to add the internal textures of the stones. Notice that there is an internal gradient. This is completely irregular because the stones are of different tones, regardless of the light or shadow projecting on them. Once you add more details with the graphite, you will realize how well the divisions look with the color of the paper itself. If you look at the reference image, those divisions are practically the same color as the buildings. So it's a good choice to leave them like that. Now we're going to move on to the sidewalks on the right side. We are going to fill them first with a white puzzle and then progressively add the graphite. Look how in the distance all this cobblestone work is summarized in a simple white line in the distance. Now we are going to make the white lines of the street. Since they are worn out, let's try not to press the white pencil to match against the paper. On the other hand, see how I use the eraser pencil to add spots and lines of another color on the street. After all, beneath the asphalt is the old paving. Here on the screen, you are not able to see it, but even though we covered all the pedestrian crossing with the pastel, there are still traces of the pedestrian crossing we made previously. So I'm using those traces as a guide to remove the graphite and then highlight the pedestrian crossing with white pastel. Now, I'm going to do the same thing, but more towards the back. Try to be very careful with this pedestrian crossing in the distance because its lines must respect the perspective and surface of the street. I'm also going to clean up the edges here a bit with graphite. Notice how good everything is starting to look now. O. Now I'm going to add some white details to the scooter here and the bikes. The next step, I'm going to remove a bit of the graphite and the pastel in this area to highlight the cobble stones we had made in this area. First, we remove the graphite, and then we add white pastel to add irregular tones. As a final detail, I'm going to add some traces of intense blue to the street to represent the reflection of the sky. And that's it. Our drawing is coming to life. Look how beautiful the paving stones on the sidewalk look, and especially the perspective of the street in the distance with all the details of the color. But there is still much more to do. I see you in the next lesson. 15. Right Buildings' Intricate Details Parisian Street: Hello, people. Now we're going to tackle the intricate details of all the buildings on the right. We are going to start by rendering the sunlight projected on the top of the buildings. I'm going to use this yellow as a base color. So I'm going to fill in step by step the specific areas where the sunlight hits. At this stage, we're going to try not to damage the lines we already made because in this case, remember that the color of the paper is the color of the concrete on the buildings. Now, we are going to start applying the white puzzle with the puzzle pencil. We must observe the reference image from a distance and try to detect which are the most relevant tones that stand out the most for their clarity in the distance. Those are the tones that we are going to represent with the white puzzle. For example, observe the door frames, the horizontal lines of the walls of the buildings, observe the lower edge of the buildings also. The idea is to generate a gradient between the color of the paper and the white color that becomes the nature itself of that material on the buildings. We are going to do this process little by little, first applying the white color. Now we're going to do the same process on the buildings in the background. Even though in this lesson, we are focusing on the buildings on the right, we are going to field these buildings on the left with white pastel so that the drawing evolves as a whole. It's necessary to do this in this way so as not to lose the continuity of the ranges and tones. Pay close attention here to how I am completely guided by the reference image to add the white pastel to the edges in the windows frames and in the most illuminated areas. M Once we have applied the first layer of white pastel, we will begin to give the final value and texture to the lines that make up the details. We will do this with graphite. We will use a dark pencil. I highly recommend not using the darkest one, but any tone above three B is possible in the same way as we did at the beginning, we will reinforce as much as possible the darkest lines of these buildings on the right. Do not sum in on the reference image. Try to see the lines in the distance so that you can have a general perspective of all the shapes and lines. On the other hand, it's necessary to represent the gradients through the lines and above all, start to fill with graphite those parts of the windows panes that look darker. Pay attention here to the dark and lighter lines of the lower parts of the building. This is a very noticeable characteristic feature in the distance, and we need to render it very well. Pay attention to these window frames in the distance. I love this visual effect. They are just black dots, and only their position makes them look like windows. Pay attention that despite the details, we can add a very subtle light hatching, especially to shade the entire areas of the buildings. If we are going to do that, we must try to do it very carefully and with a much lighter pencil tone. Notice this detail that seems imperceptible. I'm adding a subtle stripe of blue on this edge of the building in the same way that the blue of the sky hits the asphalt. It also hits all the buildings. Try to behold the importance of the details on this side of the building. The building has been completely transformed. It has much more volume. The window frames, those dark and white stripes look wonderful from a distance. And above of all, the fact that the lower part of the building is more shaded than the upper part. Since the blue color of the sky invec the buildings, we can use the pastel gray color to make some textures around the lines. This will save us work and give more depth to the walls. Now let's complete the volcanisRlins. You can notice that some railings have ornaments, almost all of them. So the only thing we need to do is their visual effect in the distance. Let's not try to render their exact details. That doesn't make sense. Just the visual effect in the distance just like I do here. O. Now, look at these important details in these closer windows. We are going to render the color of the sky on them. Obviously, we are exaggerating a bit, but the truth is that the color of the sky is projected on the window panes. Additionally, it's plausible, so it's a very interesting detail. In the same way, we must add the details on those windows whose frames must be made of wood, so they are painted white, and that detail must also be visible. Now, we're going to proceed to give details to the farthest point of the composition. Pay attention that I'm focusing on the outlines, the darkest spots on the windows, and I'm going to create also the outline of some cars. There's even a tree over there, but in the end, they are just shadows and spots that are representing that in the distance. So let's try to concentrate on the visual effect in the distance always. Now, let's complete some details up here. Notice the importance of the dark part under the balcony. But there is even a window that projects the color of the sky, too, and we can see it even through the bars of the balcony. And that's it. Look how beautiful this street is looking now. I really love this drawing, especially that detail of the sky reflected in the windows. But there is still more to come. I see you in the next lesson. 16. Left Buildings' Intricate Details Parisian Street: Hello, everybody. Let's start directly with the intricate details of this building on the left. We're going to start by using two predominant colors in this building. They are going to be dark gray pastel and also the dark graphite pencil. We are going to apply the dark gray for all the intermediate tones. Look carefully at the reference image. There are dark lines, which are all construction lines that we are going to reinforce later on even more. There are the parts with the white basil that represent the lights in the lighter areas on the concrete, but pay attention to those inner parts of the openings and the windows. There is a dark gray tone there, and we must represent those details. Now I'm going to render the color of the sky in the windows of the building in the background in the same way as in the other buildings. We must exaggerate it because this will add depth in dynamic range to the composition. Once we have completed this, we must begin to reinforce the dark details, starting with the part closest to us. We are going to simply highlight all the lines again. We don't have to invent anything, highlight them one by one to get to a darker tone than the one before. In fact, it should be one of the darkest tones in the composition because that is how it looks in the reference image. For example, the bottom part of the balcony in the building. I would say this is the darkest area in the whole picture. When you go to complete that part under the balcony, do not fill everything uniformly with graphite. Even in the dark part, there are gradients and textures that seem from a distance create that realistic visual effect. As we advance, we can add white pastel again where we think it's necessary. Et's go for the railings, pay attention to the visual effect in the distance. That is the most important thing. As you can see, this building has quite a few details because it's the closest point to the viewer in the composition. I think it's as important as the cobbled stones on the sidewalk. So from the aesthetic reading of this building, we are going to interpret the rest of the composition and especially the elements in the distance. Pay attention to this combination of light and dark. The most illuminated parts under the balcony are the ornaments, but they are actually dark gray. This is very important to recognize. It makes no sense to have painted them white, for example, or to have left them the color of the paper. So the dark gray is close to the real value in the reference image. Note the value of the line in these balconies that are practically invisible. It's almost a lateral suggestion of the balcony, which is very necessary on the facade. Now I'm going to try to complete the tone of the windows of that building in the background, obviously with graphite. While we add this layer of graphite, it will still retain the blue tone in some way. In impressionist drawings and paintings, we must always choose certain parts where we must do everything possible to create a realistic effect. Even when these elements are in the distance, this specific building is very important because the direction of the viewer's gaze goes towards it as well. We are going to work now on defining the elements on the street, starting with the bicycles. We are very clear about the fact that the asphalt is quite dark. We must achieve an even dark tone. So for that, we are going to use the Pierre noi pencil. This will allow us to reinforce the dark elements even on the asphalt, because we will be able to reach a stronger tone. Now we are going to use the Pierni and dark api tone to reinforce all those lines on the dark street. For example, here in the sidewalk carb, Now, let's work on this part of the sky in the distance. The idea is to render those clouds that are seen almost at the vanishing point. We are going to use the white pastel pencil to achieve this. We must be saddled with this since the grating that we applied already helps us a lot in that section of the sky. Now, you're going to add a layer of pink to the light that was projected on the top of the buildings. We must achieve a tone kind of close to pink in that light. We must touch up this. We will reinforce the tones of the sky to add richness to the gradient with strokes. You must take into account that in those areas where you applied a lot of basil, you must always touch up until the moment in which you apply the fixative. Remember that depending on the quality of the dry basil, it will tend to fall off the paper. Now I'm going to add these little pink touches. If you look closely at the reference image, the roofs have details of that color. It's more like a clay color tone. And that's it. Look at how beautiful the drawing is. The effect of the buildings in the distance is beautiful. I hope you have learned a lot with this first drawing of this course. Remember that being aware of the details in the distance and perspective is the most powerful insight in this exercise. I see you in the next lesson. 17. The Eiffel Tower Theoretical Approach Artistic References: Hello, people. Before we begin our exercise on representing the E fel Tower, it's essential that we discuss some artistic references that can enhance our understanding of how to approach this iconic structure in the urban landscape of Paris. A prominent artist in this context is Claude Monet, whose works provide valuable lessons on light perception, atmosphere, and architecture. In Waterloo Bridge, Monette captures the interaction between instructors and their surroundings in a way that invites reflection. Well, our focus will be on the EFL tower, Monet's treatment of details in atmosphere teaches us to consider how light and perspective affects the representation of buildings in the distance. In this work, we can see how Monette uses loose brushstrokes to create a vibrant atmosphere surrounding the bridge, almost dissolving the outlines and allowing the colors to blend subtly. This not only brings a sense of movement, but also lets the viewer feel the light reflecting of the water and how it affects the perception of the architectural structure. Monette is especially skillful in representing water, suggesting its visual effect without going into much detail. This is important because similar to our representation of the evil tower, we can capture the essence of water in the distance through simplification of shapes and colors. This technique allows water, although not detail to act as an enriching element in the composition, providing a context that emphasize the majesty of the main object. Mil Pizarro is another fundamental reference in the representation of urban landscapes. His paintings of the seine show the city of Paris alongside the Louvre and other buildings, teaching us to observe the interaction between architecture and nature. Pizarro manages to capture the essence of the Parisian landscape, where trees in the river become visual elements that contextualize the surrounding architecture. Pizarro is known for his ability to balance the detail of the main elements with a background that complements without overhelming. In this sense, we can learn from his approach for our composition of the IL tower. Just like in his works, the tower's environment should be an essential part of the composition, but without overshadowing the structure itself, the way Pizaro depicts light filtering through three leaps or how the river reflects the sky reminds us of the importance of atmosphere in artistic representation. As we approach our exercise, it's crucial that we consider how the EFL tower fits into the landscape around. Paying attention to the surrounding greenery. The background should have less detail than the tower itself, allowing the ladder to be central focus of our composition. By observing how light interacts with the structure and the role of the trees and other background elements, we can create a sense of depth and context that enriches our work. With this inspiring reference in mind, let's begin our exercise of representing the Evil tower and its natural surroundings. As we work on our composition, let's remember these insights from Monette and Pizaro about light, atmosphere, and the relationship between architecture and natural landscape. Let's use these influences to bring artistic interpretation of this emblematic monument to life. 18. General Structure Eiffel Tower: Hello, people. We are here again. But this time, you're going to render this beautiful view, the EFL Tower. We are going to start tracing this line over here, and that line is going to be the backbone of the tower. The next step is to break down the tower into that geometric shape that composes it, and it's basically a pyramid. The most important thing about this exercise is that as many of you are starting to draw, creating triangular shapes is the best way when it comes to learning how to draw. So this is quite suitable. So let's try to see the angles of this pyramid well and compare them with the shape of the tower in the reference image. Now we are going to move on to another important line for the construction of this composition, the line that will represent the edge of the Sina. This line would be an approximation to build the entire park in the walkaways around the tower. From here, we can start to build the elements that are to the right of the tower. We can start with the visible part of the tree on the right, which from a two dimensional point of view, is very close to the tower. From there, we can start to relate the shape of the branches with the whole part to the right of the tower, that part of the groove and the bridge. But pay attention. Let's not complicate ourselves too much. It's a kind of initial sketch in which we only have to draw lines that guide us to continue developing the drawing. Look how I'm going to draw this incline line, more or less where the cloud is, which will allow me to know where that tree that is back lit is positioned two dimensionally. The Now, I'm going to draw these few lines to locate where the branches below are. Now we are ready to move on to more refined details. We are going to proceed to build the tower structure. Let's try to represent the three sections of the tower. We can clearly see that near its base, there are two main levels. These floors, which are actually viewing platforms will serve as a reference point for us to trace the arch outline of the tower. Actually, you can see that the tower is not a perfect pyramid, but its sides are slightly arched. To do this, we simply have to try to see the arch between the edge of the pyramid and the structure of the tower. Once the bottom structure is ready, it's easier to confirm if the top part has the correct dimensions. Since in the reference image, we can clearly see that the top part is longer than the first two levels. Therefore, we can finish tracing the outline of the tower, following the same principle of the arch sides. Now, let's draw the outline of these trees at the base of the tower. These outlines are very important because they give us reference points to create those areas where the sky is visible and above All to create the back part of the tower that can be partially seen. Now, let's complete some general details of this second level, just to have more solid general structure. Actually, we can even draw this third viewing point up here, simply making its position along the tower. The next step is to draw these trees in the park better. We can even add a slight hatching to indicate in a general way the darkest space in that area of the composition. Now I'm going to highlight the general details of the tower that we think are important. But let's not complicate things too much at this stage with details. We are simply making lines that indicate where we should go later on in the following stages of construction. From my point of view, what we should take into account from the very beginning is to start giving value to the line in some way. Although we are in the initial stages, we can darken lines and points that we feel are strategic for the volume of the elements in the space, like the outline of the park and the walkways along the Senna. And above all, look at the details of the bridge there in the background. Is arches are very well defined with dark lines. Now, let's continue tracing the outline of the nearby tree on the right. We must pay close attention to the space of the sky between the tree and the rest of the composition. It's an important irregular shape that if we try to understand it and detect it on its own, it will help us to better locate the tree with respect to the rest of the elements in the drawing. Now, we are going to finish creating the rest of the structure of this walkaway with the groove, which is going to be very important in the later stages of the drawing. Let's pay close attention to the progression of this inclined line at the edge of the Zena. It's our guideline to build the walkaway. Mm. Now, we are gonna create the general structure of this nearby tree. That will be very important in our composition. So we just need to place a trunk in its most prominent branches. Now it's time to go back to the tower and give a little more detail to the base. First, we're going to try to represent the thickness of the structure of the viewing platform, as well as the more general metal stripes of the base. You On the other hand, we must try to see the details on that side of the base that is not facing us. We can partially see the lower arches of the tower in the background. The idea is to visually represent the three dimensionality of the tower, even at this early stage of its construction. Okay. Now we are simply going to touch up the general hatching that we added to all the areas around the tower. And that's it. We already have the general structure of our throne, and we can almost feel that we are in the presence of the most important monument in Paris, the EFL Tower. I see you in the next lesson. 19. Tower Details Eiffel Tower: Hello, people. On this lesson, we are going to create the details of the tower. We are going to clean up a bit the construction lines that we have made so far well explained. This lesson is very important because the tower is in the distance. And one of the purposes of this course is to learn how to make small details in the distance, which is typical of impressionism. We are going to start building the details of the structure of the tower from its metal beams. And what we are going to do is build the most general structures and then divide those structures between the small beams that support each part of the tower. For example, if you pay close attention, the tower has about four main columns in each corner. These arch columns support the tower, and you can notice that they are very well defined. So we must start building those columns and then start drawing the horizontal beams that join those columns. When we have built these horizontal beams on one side of the tower, we simply have to draw the other beams on the other side, following the respective height of each beam. Try to follow the pattern. When you have already drawn those lines, kind of cubes will automatically be created in each corner of the tower. Pay attention that there are four cubes in each corner, one on top of the other. Now, we simply draw an X on the outer sides of those cubes. Once we have these details, we can proceed to look at the elements of the tower that are seen in the background. I mean, try to draw the beams that are on the other side of the tower. We must start with the most important ones. We have enough reference points to know where those lines go and draw them. Now, by using the graphite pencil, we are going to fill the internal base of the second viewing platform. This will automatically create a three dimensional appearance of this part of the tower. Now we're going to move on to the upper structure. We are going to draw two arched lines on both sides of the spine of the tower. These lines must follow the contour of the tower up to the top. Additionally, we must fill with graphite the base of this third viewing platform. This small detail is crucial to a three dimensionality. Once we have done this, we are going to start drawing the horizontal beams of the structure of this upper part. We must follow the perspective and proportion of the reference image. I personally don't recommend counting these beams. We are just going to understand the pattern and the approximate distance between one beam and the other to draw as many as we think necessary. We are going to do this up to the top of the tower. Remember to respect the respective progression of the tower. I mean, the distance between Beam and Bam gets smarter as we get closer to the top. And that is not only due to the perspective, but to the design of the tower itself. Now, we are going to start drawing Xs in the visible squares on each side of the tower. Try to see very well what I'm doing. These are two stripes with squares on each side of the tower. If you pay close attention, the same stripes seems to be continuation of the main columns that come from the base of the tower. However, as we get closer to the top of the tower, these squares become one. So there will come a point where we won't have to draw two Xs on each side, but only one on each side. Mm. Now let's complete the same procedure on the lower legs of the tower. We are going to do the excess of the squares. No We must pay close attention here. You can see the bag of the base structure is made up of a kind of metal grating. In reality, they are large beams, only that from our point of view, it looks like a grating. So we must try to make a kind of very detailed mesh that represents the structure of that grating in the distance, just like I'm doing here. Note the small details of the arches in the tower. In this part, we must pay close attention to the background. Amongst the beams, we can see quite a few dark areas because the internal and rear beams of the tower block the light from the sky. Therefore, we must represent all that shadow between the beams to create three dimensionality. Additionally, we must highlight those parts of the tower that are in the background. I mean, on the faces that are not in our side. Now we are going to reinforce the darker parts of the tower with a fairly dark graphite pencil. All the internal areas of the tower must be quite dark because the light reaches much less, and effect in the distance is very good as well. I'm going to add more graphite and shadow to the base of the second viewing point of the tower. Look at the three dimensionality the tower will have just by doing this. But The next step is to create the details of the windows of the first viewing point. Let's try to represent only the windows that are darker. The rest will be well represented for the moment with the color of the paper. Now we are going to highlight in a very dark way the spine of the tower along the entire tower to the top. We must also reinforce the internal parts of the viewing point at the top of the tower. As I mentioned, these internal parts are essential to add to three dimensionality throughout the entire structure. And that's it. Look how well the tower looks in the distance. We are in the initial stages of this drawing, and you can already see the magnificent tower standing proudly near the river Sena. I see you in the next lesson. 20. First Shading Approach Eiffel Tower: Hello, people. In this lesson, we're going to focus on adding a further level of shading to all the elements of the landscape. We are not going to add anything else to the tower for the moment. We are just going to touch the landscape in a particular way. So I'm going to reinforce the shading of the elements through the line in some isolated details. The idea is to break down the more general details of the landscape into shadows and shapes constructed with hatching. So I'm going to start by creating some small details on the bridge and the walkaways. The purpose of doing these details is not to build them completely, but to establish the position that they will have in space. From there, I can evaluate in a more objective way the value of the shadows and lines that will be in that place. Example, if you pay attention to the reference image, there are two factors that can help us understand the value of the line in the composition. First, the point of view of the landscape. The viewer is in a place partially under the shade. So both the nearest trees and branches below concentrate the darkest value of shadows. This means that nothing in the background can be darker. And second, due to the distance between the point of view of the image and the place where the tower is, that park will never reach the levels of darkness that the nearby blaze has for the simple reason, that is completely exposed to sunlight. Obviously, if we were close to the tower, these conditions would change. On the other hand, the details I'm doing now along the walkaway, which are not too many are also created for the simple reason that is in those details where the value of the Kiaroscuro in the park are projected. So it's impossible to represent the volume, light and shadow of the entire park without doing those details. However, you can see that as I move towards larger areas, such as the one with trees, all of that is summarized in a white hatching that allows me to create a structure of the trees in a general way through the shadow. So let's try to represent every single section of this groove with a different tone of hatching. On the other hand, you must pay close attention to the reference image and try to trace some lines when necessary, like this one, that is supposed to represent those walls on the park. Note that although it's not explicitly visible in the reference image, there is that wall behind those small trees. So in impressionist terms, that wall must be there. Now, we are going to reinforce the contours of the inner parts of the bridge. These are just a few strokes, but they are important enough to represent those shadows in the water. So we must make sure they are in the same direction as the bridge. In the same way, we are going to trace the contour of those boats that are at the edge of the river. We must give them volume, and only this line will create a floating effect on the water. Now, I'm going to add some close details to this boat. We must follow the perspective lines, and from there, we are going to build the more general details of the windows. Try to pay attention that we are making an interpretation of what we are seeing. Always remember that. It's an impressionist approximation. Now, we are going to complete these branches below. You didn't have to make the branches exactly as they look in the reference image. Let's say that we are going to represent them with 80% accuracy. That is more than enough for the landscape to look attractive enough. So let's try to use two tone values. The tone of the leaves that are against the light that is the inner part of the leaves that hang down in the upper tone, that part of the leaves that is partially exposed to the light. The idea is to add an initial tone that can be modified later on with color. Now I'm going to try to do the same on this side. Pay attention that it's only the upper branches that is part of the point of view we are going to capture from this drawing. In all the elements that are back lit, we must give more importance to the contour than to the internal part because generally they will not have a great internal gradient. So the contour will make the whole shape. The next step is to draw the most general shadows on the river. I'm going to start by limiting the part of this boat at this visible down here. This is a boat quite similar to those on the other side of the river. But I think that this one below is one of those boats used to take tourists on a ride up to the river so they can see the city along the sein. Perfect. Let's try to indicate with the light hatching the areas of the river that are darker. For example, the slight shadow of the tower that can be seen over there, as well as some shadows generated by the waves in the distance. Now, let's do the same with this trunk on the right. Even though it's very backlit, its details can hardly be seen. We must represent them, so we have to create the textures, contours and groups that are in the bark of the tree. Don't use the pencil to heart on the paper, since we are going to add a color later in a vowel wall, try to understand the regular shapes in it. The next step is to do a general hatching on the sky. To do this, we are going to use a light hatching to mark the most important shadows on the clouds. Pay close attention to the fact that as we go up, the sky gets brighter and the shadows less pronounced. Now, let's begin to make some details of the nearby tree on the right. Note how I'm making some leaps in the contours, but I'm only going to make them in the contour of the foliage for the moment. We must give importance to this element. We are going to sketch the branches on the tree. Although they are not clearly visible in the reference image, we must try to imagine why these branches expand within the volage that we will make later. In the same way, we must feel the inner parts of the branches and the trunk with a strong hatching, since it's one of the elements that is mod back lit in the entire composition. And Try to compare what I'm doing with what you are seeing in the reference image. So you can see how I make an interpretation of the branch from inside. I'm not seeing the branch, but I'm imagining how it could extend through the leaps. We can use a light hatching to fill the spaces where the leaves are supposed to be later on. Now, using a light hatching, we will also make the outline of the lower branches. Pay attention that in this part, I will not make details of the leaves in the outline because this tree is farther in the background. Therefore, within the impressionist visual composition, it should have less detail than the other tree that is in the foreground. And that's it. We have a very good sketch of our composition. This stage has left a very good mapping of light and shadows of our drawing. I see you in the next lesson. And 21. Grove in the Distance with Color Eiffel Tower: Hello, people. In this lesson, we are going to make our first approach to color, and I'm going to start applying this beautiful blue color on the sky. So taking into account those shaded areas we have made in the sky, I'm going to use a light hatching to add this blue color but later on we will softly blue to fill the space with the pigment. But while I do this, I will explain what we are going to do in this lesson. This time, we are going to focus on that growth in the background. In order to build its trees, we are going to make the close up details on the growth. And we're going to add this beautiful green color as a base to achieve it. However, since the drawing must evolve as a whole, we are going to add a base color of all the elements in the composition. We can experiment a little bit with this. In fact, I'm going to do it. For example, to the tree on the left, I'm going to apply this dark green, which later on, I will mix with black. I'm gonna use the same dark green on the tree on the right. Let's apply it for now on the trunk and the main branches. So as for the river, I'm going to add this light gray. The reason is that our rainy landscape is quite cloudy, and we need to represent that in our final finish. So the gray reflection in the water is crucial to achieve it. Additionally, I'm going to add a bit of blue, the same blue as the sky. But on the windows of these boats on the shore, this detail is important for later. Now let's go back to the sky. I'm going to add a bit of white pastel in the illuminated areas of the clouds so that when I blend later, both the blue and the white will blend. I'm going to add a bit of black to these branches down here. There are just a few touches. And finally, we need to add this light brown as a base to generate the color of the foliage on the trees. Now it's time to blend all the added pigment. We must blend until we almost completely eliminate hatching. Remember that this is the base color. So there will be several layers of other tones, including graphite, so we are going to blend everything. On the other hand, although it seems obvious, use different tissues to blend. Do not stem the colors with the same blender. Now, let's tackle the details of the grove. Using a graphite pencil at least two B, we are going to start to represent the darkest shadows on the trees. Notice the details that the most prominent shadows are in the lower parts of the grove. We must try to see the saddle gradients between the most exposed parts of the foliage and the inner part towards the roots. Now, we are going to try to clean the each of those outlines on the trees. But not only we'll do that, but we are going to remove the green bustle to make those spots where we can see the light amongst the trees. This visual effect is very important. So pay close attention to how I do it. We must use the razor pencil, not only to do this effect, but also to clean all the areas that are not sufficiently clean up for a fight on the walkaway. Remember that everything gets stained with your hands. I'm going to give some details to this area of the walkway. Look at this. I'm going to reinforce the contours of the tree tops, as well as the details of the wall. Pay attention that I'm not representing all the elements there, only the most representative of that area of the landscape. This detail is very important. I'm going to highlight in dark the contact area between the trees and the wall. That place is very important to give volume. Now, I'm going to proceed to add the real color of the trees. Let's apply this green in the middle areas of the trees that is in the area between the crown of the trees and the roots. Pay attention to the fact that the three dimensional effect is practically instantaneous as soon as I apply it. This is a typical impressionist effect on a grove. In the same way, I'm going to add some light gray touches, which will represent the reflection of the sky on the crown of the trees. Pay close attention to these idle touches. Now, with a very dark graphite pencil, we are going to make the trunks and branches. But pay attention. I'm not going to look at the reference image. We are simply going to intuitively create roots that go from the bottom to the foliage in some trees, especially those where there is supposed to be more light. No, I'm gonna shade the walk away down here a little bit with graphite. And now I'm going to define the details on this side of the road in the distance. I'm going to do the details of the wall as well as the fence that separates the walkaway from the interior park where the trees are. Now, let's leverage the moment, and let's make the divisions on the windows, the windows of this ship. Look how good the growth looks. Defect in the distance is beautiful. These kind of things are what I like most about impressionism until the next lesson. 22. Nearby Trees in Color Eiffel Tower: Hello, people. In this lesson, we are going to cover the details of the trees. As I mentioned, in a previous lesson, we are going to leave the smaller details for the ages. So while I do these details here, I will explain why. The reason is that from a visual point of view, if you see the reference image, in reality, if it were not for the ages, you would not be able to understand that what you are seeing are leaves. For example, look very carefully at the inside of the foliage. The only way to see details of the leaves is at the edges or those inner places where the light is speaking through the leaves, thereby revealing the outline. But let's start by applying the main layer of color that this foliage will have this green. The function of this green is to represent that part of the foliage that is not in contact with the edges, but also not with the darker areas. So as the darker part can be completed later on with another color, we are simply going to apply it to all the foliage without staining the edges where the details of the leaves are. And let's apply this green in both on the main tree above and on the tree that is lower down that we know is more towards the background. Now, let's apply this lighter and more vivid green tone to represent the areas of the foliage where the leaves look more illuminated. I suppose that the sun reaches them more directly, but we can apply it in both trees if it's necessary. Now, let's continue to give some details to these branches above. And also, let's darken a little the areas inside the foliage where we see there are darker shadows, but we are going to do it for now with a dark graphite pencil. Additionally, let's try to highlight some important branches as well. Mm Now I'm going to apply this dark green to the rest of the dark areas along the foliage. But pay attention. You must leave the first green we applied at the beginning visible. Do not cover it at all. On the other hand, you must not blur it. Note that the hatching applied is not blurred. It has a function which is to create textures and contours. So try to be very careful by doing this. You are going to do this process on this tree and as well as the one below. Now with a dark graphite pencil, we are going to complete those edges and corners that we could not reach since we apply the green with a pastel stick. We can combine this part with dark brown or dark green pastel pencil. Now I'm going to add some touches of the more classic and bright green. Pay close attention to what I'm doing now. I'm going to use the eraser pencil to create gaps between the foliage to represent those areas where the light filters through the leaves. You are able to experiment with this. I mean, you didn't have to do it exactly like in the reference image. Just know that this exist and try to represent it properly. I'm going to enhance these edges a little bit with graphite to improve the details of the leaves. The next step is to add white bustle in the gaps we just made. This is crucial because the sky is quite clear, and you should feel like those white details are really the light from the sky filtering through. H Now I'm going to do leaf details in this part below, also. We must try to respect perspective. I mean, those leaves right here are supposed to be larger since they are closer to us. Now, let's do these leaf details in this part below. Let's use graphite pencil, or you are able to use also a brown pastel pencil. Now I'm going to use the Pierre noi to create the farthest layer of this tree below. Look at how I make this outline to differentiate these two groups of leaves. The darkest one is towards the bottom, and the lightest one is the closest to us. Now I'm going to apply this blue color to represent the light on the leaves. This blue color is important because it represents the light from the sky projected on the leaves. It's exactly the same shade of blue with the only difference that since it's applied on a green shade, it takes on another color as a result of the mixture. Now we're going to move on to these small branches down here. The only thing we're going to do is add this dark magenta color on the most prominent leaves. Now, let's move on to the details of this tree against the light, the left one. My idea is to give it more details than those that are visible in the reference image. We are going to try to follow the most prominent grooves on the bark, and we are going to represent their pattern with this deep brown color. This is the first layer of details. So let's introduce the groups little by little, following the reference image where they can barely be seen. Now, with this same color, we are going to shade the darker parts. We can apply a hatching in the areas that look darker. For example, the whole area on the left. We can also combine this brown with Pierni or black pastel, for example, especially in the darker areas. Mm On the other hand, we can add a lighter shade of green in some points to represent some lights in the lighter areas of the bark. Now we must darken the left area of this trunk. Let's do it with more Pierre noi. We can use a long hatching downwards, even a curved one to represent the rounded volume of the trunk. And there you are. Look how beautiful the right tree is on the distance. Notice the different layers of foliage in that tree below. That is my favorite part. Likewise, the trunk on the left is very interesting. So let's continue moving forward in this drawing. I see you in the next lesson. Oh. 23. Senna Details with Color Eiffel Tower: Hello, people. In this lesson, we're going to give an approximation to the color of the river. So let's start by applying this blue green color to the river to represent the most important shadows, such as those of the tower and some generated by the boats and the bridge. So we will do this while I explain something to you. The purpose of this specific lesson is to give you an initial approximation to the subject of water. Obviously, when we are approaching the drawing of the Titanic, we will do it in much more depth. But if you want to go deeper into how to represent the water with this language of impressionism, I highly recommend you volume two of this series of impressionist courses. Now we are going to proceed to apply this slightly darker grade. This color is a shade close to the one we have already applied. So we are going to try to create a transition between the shadow in the lighter parts. So we're going to create small marks and strokes around the shadows to create that transition. Now, progressively, we are going to fill the lighter parts with a gray that can represent the cloudy tone of the sky. We are not going to use white. It has to be a light gray, so this color is going to be the final tone of the transition. Try to see how I do it. It's important that the river evolves all at the same time. So since we have already applied the three colors, you must then combine the strokes. In the reference image, you can see that even though there are some main shadows in the river that are not that strong at all, you must create those random shadows that represent the soft waves on the river. So you must represent them using three colors, the darkest green tone for the waves shadows and the other two colors to create the reflection of the sky in the water as well. See how there are random marks all over the river. M You can also use this white pastel pencil as I do now to create more illuminated points, but you cannot stop combining it with the rest of three colors. You have to see the three colors as a single range. From an impressionist point of view, when it comes to representing these type of tones in water that are quite light, it's advisable to exaggerate the ranges. So you can see how I'm exaggerating the colors so that the shadows and volume of the water are more noticeable within the color language of the drawing. Now I'm going to add some blue touches with the same shade of blue that is present in the sky. Two I think the river looks pretty good. Now we're going to create the details of this boat here below. Let's finish building the railings of the upper platform. To know if the lines of the railings are correct, we must try to imagine an imaginary line that goes to the side of the bridge as if we were drawing the sidewalk of a big street. I mean, let's imagine that the river is a street, and this boat is part of a sidewalk, just like we did in the drawing of the street in Paris. Now, look at this interesting detail. I'm going to draw the bridge of the ship. If you can see in the reference image, the windows of that cabin are kind of blue. So when they mix with the color of the river in the background, they look even bluer, we should try to represent that interesting visual effect. Look closely at these details, observe the value of the stains and strokes. Observe each line of the railing. None of these lines are precise or perfect, but they are well placed enough so that when viewed from a distance, they perfectly represent the landscape. Additionally, it's important to know that it's not necessary to make the exact number of bars on the railing, nor will anyone count them. It's a detail that must be felt in the distance. Additionally, it's important to know that this is not the main elements of the drawing. The protagonist is the E field tower. In this case, we respect the original shape and structure much more because it's the central theme of the drawing. Mm. Now, let's add some shadows to these internal parts of the boat. These details are simply to create an internal structure that feels like a place where the light is hidden. I mean, because it's an internal compartment of the boat. That is the only objective of these specific details. Now, you're gonna add this special touch the red color of the life ring. Obviously, this will be seen in the distance. And that's it. I think it's a good approach to the water of the river. Of course, the water in the titanic drawing will be much more advanced and realistic. But it's necessary to start from the most basic. But this river looks beautiful, I think. I see you in the next lesson. 24. Sky Details in Color Eiffel Tower: Hello, people. Let's tackle the sky then. We will start by applying the same shade of grade, a grade quite similar to the one we used in the river. Only this one is a little darker, but only a little. The idea is to fill all the darker areas of the clouds with a pigment. We will do it little by little. Even though we are going to blow it afterwards, let's try to do it in the same direction because even if you don't believe it, there are always some marked strokes left, not only from the shock, but also on the paper. So it's advisable to do the hatching in the same direction unless it's strictly necessary to change direction to create a specific shape. H. Remember that the sky is all over the drawing. The sky is also behind the trees, and we must respect the continuity of the clouds. We must put great pastel there, too. Now, we are going to blend in the big man softly trying to create the gradient of the clouds. Remember to do it with a tissue or a blend in a stump if you can't afford it. Now we're going to add this beautiful blue color in the darkest areas. But at the same time, we're going to put graphite on top. We're going to blend with the finger when necessary and mark the contours of those clouds with the pencil as well. The trick is to find the appropriate tone gradients with this technique little by little. You can see in the reference image that the clouds are not blue at all, but it's the mixture with the grade and the graphite what is going to provide the final touch to that blue. Pay attention to the way I hold the pencil so that the application of graphite is as subtle as possible. This is a very good quality paper. So any pigment adheres quite strongly. In fact, you don't need a very strong shade of graphite pencil to stain the paper. On the other hand, try to note the contours. Try to understand that during the day, the upper parts of the cloud is always illuminated. This is so for most of the day, it only changes at dusk. For now, try to fill the gradients in each cloud cluster. Look how important these little doches of white are here. I'm creating the outlines of some clouds. Notice the visual effect after adding these textured lines. No, I'm going to add some gray to all these areas where the clouds contrast with others. Pay attention to this because there are quite a few contours that you must define little by little. But Try to remember that it's always very important to step away from the drawing from time to time to observe it and contemplate it. We must move away from it to see the defect in the distance and not to saturate our vision and judgment on what we are doing. F With this same gray pastel, we are going to field with pigment the contact areas between the tower and the sky. This is also quite interesting. Now, with this blue pastel pencil, we are going to add color to the areas inside the tower, where the light from the sky is supposed to filter through. This blue color should be seen between the beams. We can play with a white pastel there, too. Now, let's continue in details with the grab fight on the top. Remember that it should be very sidle on the top. The shadows soften as we go up. Those blue details are quite beautiful in the sky because gray is very close to blue. Now, let's add more blue color to all the shadows so that the clouds look more intense. Pay attention. In the more illuminated parts of the clouds, we can directly apply the white pastel bar to generate better spots of light. We are going to continue giving more blue details on the top of the tower so that the sky can really be seen through the beams. Oh And that's it. I think you can now see the connection between the sky and the river. How beautiful. That effect on the sky is completely impressionistic. So much reality and beauty is hidden behind each tone. I see you in the next lesson. 25. Final Finishing Eiffel Tower: Hello, people. We are in the last lesson of this drawing. Let's give more details to the background and also over here, and we will work on the final color of the tower. But let's begin with the background behind the bridge. Pay attention to how I'm going to make the structure of this building. I'm going to break it down into three levels near the top. We must do this very carefully because that area of the bridge is very important in our composition. That position of the bridge is practically the perspective spot of the river. And the spectator, when looking at the work cannot help but look at it, especially because the bridge can be seen in the background. On the other hand, we must treat these details very carefully because they give professionalism to the drawing, so pay attention to those beautiful nuances on the lines. Additionally, in the same way as we did with the grove, we must work well on these elements in the distance so that it can make a beautiful representation of this landscape. Now look at these details of the bridge. See how the shadow of the ceiling under the bridge is improved noticeably. This shadow must be good enough to give volume to the bridge and feel that there are really openings in that space. Those shadows on the river are also important. Now pay close attention to this detail. Guided by the lines of the levels we made, we are going to make these windows one by one. It's not about counting the windows in the reference image, simply understanding that there are many of them, and that we must represent them. Actually, I have no idea how many there are. I'm only doing what is seen in the distance. Now we're going to work on this boat. We are going to highlight the most notable lines of the boat, all the edges that give it shape. At the same time, we are going to add the same blue we have used in the sky. We have to paint the windows with that blue, especially the upper ones. A great example of an impressionist artist who painted the IfelTower is George Zarat known for his pointism technique. Eat captured the iconic structure in his artwork, the EfulTower. Actually, his use of a small, distinct dots of color created a luminous and viernt effect, offering a unique interpretation of the tower. Even though we are not using his technique, Seat's work is an excellent source of inspiration for rendering the EfelTower in an impressionist style, focusing on light and atmosphere to bring the structure to life. Now you can see how I apply the blue. Pay attention to this detail that looks very good from a distance. I'm going to add this pink tone to the bridge in the parts most exposed to the sun. Actually, I will also add it to the walkaways and we can also add this color to the buildings in the background. Now, we're going to continue giving details to these walkaways and even to these boats here. Pay attention to how these lines are allowing me to separate the boat from the road. Um Try to notice that everything we are doing here is a creative representation of what we are seeing. Look at this detail of the boat. I don't really know what I'm doing. It's supposed to be some structure on top of one of those boats where people eat along the river Senna. In the reference image, it seems to be something like that, but it's not exactly like that. What I'm drawing is a representation of what is supposed to be there, but it is coherent. Now let's move on to the tower. We are going to try to better highlight some beams at the base of the tower to really improve its structure. Now, what we are going to do is add this sokre color to the most illuminated areas of the tower. We must do this very carefully so as not to spoil the details of the bins. I mean, we cannot press the pastel pencil to hard against the paper. It's a light layer of Acer pastel. While adding the ochre color, we must reinforce the most important bins because the p el will spill over the graphite. The Ethel tower appears somewhat brown when seen up close due to the protective paint used on its metal structure. The tower is painted in a specific shade called IflTwer Brown, which is a mix of earthy tones. This color is chosen to blend with the parison skyline and to provide a structure with natural warm look, especially when viewed from nearby. The brownish hue also helps to protect the iron from rust and withering as the tower undergoes a fresh coat of paint every seven years to maintain its appearance and prevent the corrosion. Now I'm going to add some more touches of white basil to the sky. On this right side, we are going to improve the appearance of the sky by adding more blue and graphite to create volume in the clouds here. Oh. This part of the tree is not originally in the reference image, but we can add blue so that the sky has continuity there as well. Now, with the Pierre noi pencil, we are going to give the darkest details of the foliage of the tree. This detail is very important. Look what I'm doing with this pencil. I'm drawing some crossed branches, even giving volume to the branches that connect with the crown of the tree. These details must be more thought out and well located. And there it is a beautiful representation of one of the most famous towers in the world. Look at that beautiful sky, the depth generated by the details of the building behind the bridge, the shadow of the tower on the water, the details of the grove. But I think that the way that the tree on the right looks is still my favorite. It really looks like an impressionist style. It has been a pleasure to have you here, and I hope to see you in the next lesson. H. 26. The Titanic Artistic References Theoretical Approach: Hello, people. Before diving into the task of capturing the iconic moment of the Titanic setting sail, it's important to observe how other great artists have portrayed ships and their surroundings on the water. Two key references for our exercise are Alfred Sisley and Joaquin Soya. Their techniques will guide us in balancing the majesty of the Titanic with the atmosphere and details of the port around it. Alfred Sis shows a great ability to represent and the sky, a key element that complements the scene of the barges and the water. Through soft gradations of tone and careful selection of values, Sicily creates a sky that seems to stretch infinitely, filled with subtlety and movement. The clouds appear to dissolve, creating an atmosphere that conveys both calm and depth. For our drawing of the titanic, we will adopt this approach to capturing the sky in a way that helps establish the overall atmosphere of the scene. Our focus will be similar. Without over detailing, we will aim to create a background that complements the figure of the titanic. The sky will be essential in conveying the sense that the ship is in motion, and we will use the smooth gradations to achieve this visual effect, taking advantage of the dark paper color to hide light the lighter tones we will add. Now turning to Joaquin Zaroya, we will reference this work a Degada dela Sarcas. In this painting, Zaroya manages to capture the energy and movements of the sea, as well as the interaction between human figures and the boat. While the boat in this piece are smaller than the titanic, there are elements we can adapt to our exercise. Yes is known for his ability to integrate shadows and reflections in the water, giving his scenes a realistic and dynamic touch. In this painting, ajegada de Las Barcas, the way the water reflects the shadows of the boat and human figures is remarkable. Dark tones blend with lighter strokes, creating a sense of movement. When drawing the titanic, we aim to replicate the same sense of life on the water, using the dark color of the paper to make the reflections appear deep and vibrant. On the other hand, we will also note how the human figures are strategically placed to add context and scale. Similarly, in our exercise figures on the right dog will help highlight the enormity of the titanic, while their silhouettes will be simple yet effective, ensuring they don't distract from the main subject. Additionally, Saroya uses a range of tones from deep dogs to bright lights, representing the movements of the waves. In our case, drawing on dark green paper, we will play with the contrast to bring the dog and sea to life, following the Saroyas idea of using shadows and light to create a vivid and dynamic atmosphere. So with these examples in mind, it's time to begin. A key aspect of this exercise is to see the titanic not just as a ship, but as a massive floating building. This means that all the techniques and learnings we have applied in previous exercise, especially in the representation of buildings, columns, and structures will be essential here. We need to capture its solidity, its immense volume, and its imposing presence in the port. We will start by sketching the structure of the titanic using a white pastel pencil. This choice is deliberate. The dark paper will allow us to play with contrast from the very beginning, highlighting the main forms of the sheep as if we were building the structure of a large building. We will first draw the urinal lines to ensure the proportions and perspective are accurate, conveying the size and shape of the titanic precisely. Next, we will focus on shadows and reflections, letting the dark color of the paper play a crucial role in creating the atmosphere of the water around the sheep. We will observe how the ship's shadows project onto the water and add small human figures and dock elements, applying the techniques we have seen in orot's work to ensure everything looks integrated and realistic. The presence of human figures must give the real and human parts of the moment that is happening. So the position that each of them will have must be crucial in the drawing. So this exercise is not just a technical challenge, but an opportunity to learn to capture the interaction of light, shadow and structure, as these masters did in the run representation of boats and ports. So let's get started. 27. General Structure Drawing Layout TITANIC: Et's start by representing the horizon on the canvas. As you can see in the reference pecture, the half part above is larger than the other one below, but do not mind too much about this because you are likely not to match the horizon in the first attempt. What I'm trying to say is that you may feel free to trace as many horizons as you want. The final task is figure out what is the more suitable for the composition. On the screen, you can see that the more suitable is the second one below. You can leave the other line on the paper if you want, because we can use that line as a reference point to create a steamer in the middle of the composition. The second step is to trace a vertical line that matches the first chimney, and then we are going to trace another line, letting it grow from some point above to the exact point where the sheep touches the horizon. Since we are more sensitive to angles than other kind of shapes, this strategy allows us to match the exact measurements of the bow. Every single shape in our surroundings is made up of angles. So this special steamer won't be an exception. We already have this guideline of the steamer bow. It's a great reference point to make the drawing grow from that point. Pay attention to this and other transverse of line that it's supposed to extend from the tip of the bow to the Capts bridge. Now, let's start creating the capt deck right here. And now we can figure out what is the relationship between the top Jimmy and the mast, especially when the crow's nest is positioned. Right at this point, you can find meaning in what we are doing. We must pay close attention to this part. We are going to build the ship's bow. As a first step, we can actually break it down into a simple straight line that grows from the tip bow to the side viewpoint of the ship in the right side. But the problem is that the ship's bow is not exactly a triangle. So when doing this line, we must try to feel this curved nature of the ship's bow. Now we can start creating the different decks on the ship. You must pay close attention that my lines are not completely precise. They are basically sketching lines that later on are going to give me enough information to create the final touch. On the other hand, these sketching lines allows you to make mistakes. Don't be afraid to make them. Every single line you trace on paper is a reference point later on. Once we have these frontal decks, we can figure out the complete ship's measurements. Pay attention to m tracing lines, inclined lines with angles to create every single part of the ship. Do not assertinate your imagination when applying this process. This is an impressionist drawing, so you can modify the ship's structure as many times as you want. To figure out the length of the boat, we try to measure the frontal deck in a bi dimensional way and try to compare that measure with the length of the ship in the perspective. M Try to always remember that it's more important that your drawing looks attractive, compelling, and beautiful than to match perfection. When approaching little details, try to pay close attention to those ones noticeable from the distance. That is the secret of impressionism. Now, it's time to clean a little bit our drawing. We're going to clear those construction lines that are not longer necessary. At the same time, we're going to sharp other lines that are suitable for the drawing. Let's continue completely in the chimes and giving details to the ship's structure. Time to time, we must try to stop drawing, the touch from the drawing to be halted. It's important to contemplate what we are doing. This observation process is critical to excel at drawing. Now that we already have the general structure of Titanic, we can move on to one of the dogs, the left one. Since we already have the Titanic's structure, we can relate her proportions to create this dog on the left side. Pay attention that when drawing this, I'm not very worried about deep details. More important than accuracy when creating these details, is try to place them in the right position because when matching the right position, you are going to create the right perspective effect. Additionally, you must remember that even contemplating this picture in real life, you are not able to notice those little details on the distance. But despite that, you are completely aware that there are real objects over there. As long as you advance on the drawing, it will be easier for you to finish it because you will have more reference point to create one single detail. At this stage, the most important thing of this dog is try to indicate the lights and shadows on the drawing, as well as the cranes that make contact with the sky. We already have the left dock and the titanic. But up to this point, something has happened. If we pay close attention to this angle here, we can notice that the perspective effect is not accurate enough. I mean, this part of the ship is larger than the reference image. This is likely to happen to you when creating a drawing of this nature. So I'm going to proceed to stress the perspective effect shortening the back of the ship. That is the reason why I remark this. Don't be afraid to make mistakes because you are able to fix them whenever you want. So we can recheck the angles and proportions to create this part of the ship accurately. And By following this process, you can notice that we are getting closer and closer to the final proportions of the ship. The most interesting thing is that we don't need to create a complete three dimensional structure of titanic to excel at this drawing. Now, let's move on to the right dock. And let's start by creating the edge of the pair over here. You can notice that is a kind of sidewalk, and you can break it down into Icels triangle. We can create this wooden structure also floating on the water. And now let's move on to these cranes on the background. Pay attention that I'm going to use the Titanic's height to figure out the cran's height also. Now I'm going to trace these tables on the pier. Those tables are going to give me information about the position of the people on the docks. Now we can move on to the buildings around. The Titanic's height is an important reference point to create these buildings. Pay attention to this detail. You have no idea how important it is that building on the background. It's important to be precise by portraying that building. As we did in the left dock, we're going to indicate the brighter part of the picture. Lighting is the most important thing when it comes to impressionism. You can notice that there is a kind of rail. I imagine that there was a kind of freight train that carried cargo to the ships. Now we can trace those lights on the sky, the brightest part of the sky touching the Titanic and docks. We have completed the first lesson of this raining, the Titanic living on amazing voyage of no return until the next lesson. 28. Steamer General Details in Color TITANIC: On this lesson, we're going to focus on the general steamer details, but we are going to focus on this section over here. In general terms, when it comes to impressionist paintings or drawings, we must choose a specific section on the drawing that are going to convey realism to the viewer, the main deck on the titanic, and also the docks are very important. But we must pay close attention to that building on the background because this is actually the farthest element in the composition. And despite the fact we are going to portray people in the right dock, it's not necessary to portray them to perfection to convey realism. What I mean is that we don't need to convey realism in the whole picture to create a spectacular visual effect. Let's start by the main deck. Let's start by darkening the shade parts on the main deck. I'm using the Pierre noi and graphite pencil to make it. The reason why I'm using the Pirenoi is that since we are using a dark green paper, the graphite pencil is not dark enough to be noticeable easily on the drawing. So in general terms, I'm using the graphite pencil to do those dark sections that are not completely black. On the other hand, it's very important to sharpen the tip of the pencils when creating these details. Remember that the pencil sharpener is only useful to gravit pencils. To the Pierre noi, white chalk, the cutter is more suitable. If we want to fill a larger space, we can use a pastel bark in this way. Try to be sensitive to the brighter sounds on the titanic. As long as we advance on the drawing, you will be able to notice that those white parts on the deck are not actually white. All the colors we are able to see around are the byproduct of light projected on surfaces. Don't worry if you ill trace some lines on the paper. You can use the raise pencil to remove the bastil shak, the Pernoi and also the graphite. Actually, from my point of view, you must use the raise pencil as a pencil itself. On the other hand, you must remember that this is not the final finish. These are the general details on the titanic, and you will be able to notice this later on. Pay attention over here. I'm using the green colored paper as if it were the shadow itself. Now it's time to create this railing over here. Try to follow the bows shape. I do. Let's have a look at this example with a raised pencil. I'm removing the bustle shock with the as pencil to create these precise lines. Even the people leaning out on the deck is created with the ray pencil. Now pay attention to the distance between every single bar on the ilm. The difference between those distances are going to provide information about perspective. I'm creating these other people over here with the s pencil. And now I'm gonna use the graphite pencil to create the horizontal bars on the railing. As you may notice in the reference image, the sky is behind the titanic, so we can add some pastle shock to the background to create those details in contact with the sky. You can see now the graphite is more noticeable since we added that pastel shock to the background. Oh. Now, I'm going to use the Pierre noir to stress the people body. Now I'm going to add another white pastel layer to create those details in contact with the sky. Now we're ready to apply the first color. I'm going to use the orange pastel to approach the chimes color, but pay attention. I'm going to use another orange color, a darker one, a kind of clay color to complete the darker sounds on the chimneys. Let's continue with the pastel shock to create this another device over here on the capt stack. I think it's an air duct. In order to be accurate enough when creating the mask, we must complete the background on white shock. Now, we are able to use the graphite pencil to create a mask shape. Once we draw, the mask, it's time to apply color, and we can use this dark brown plaster. In this case, I'm going to use two different brown tones. Now let's move on to the ship windows. We must pay close attention to this. The distance between one window and the next one is supposed to follow perspective, but it turns out that they have a kind of irregular disposition at the bol. This is due to the fact that there are irregular compartments below. So we don't need to follow a kind of perspective sequence when creating those distances between every single window. Now we can use the Perni to remark people over there. Pay attention that I'm using a dark brown color to represent this wooden top on the cap times deck. Actually, I think the technical term is cap times breech. I insist with this, even though we are creating small details, these are general details, and you're going to figure out that later on. Now we are going to fill the entire ship structure with this black color. I'm going to use a black pastel bar. I'm going to start dividing the ship structure to create a hole. If you need to engage the lines, you can use the Pierre noi to make it. Now, you can use paper or your fingers themselves to spread the pastel across the structure. Remember that depending on the quality pastel, some brands tend to remain stick on paper than others. You will be able to remove pastel every time, but the best brands have resistance to the environment. Now, I'm going to smooth all the pastel chalk over here. Now I'm going to apply this red colour to portray the queue. You can notice that since I'm applying this red colour over a black color, the byproduct is a dark red tone. From my point of view, the best blenders for pastels are the fingers themselves. Fingerprints help a lot to spread the pastel across the paper. So far, so good. Let's move on to the next lesson to address the docks in their first details. 29. Creating Docks TITANIC: Before addressing the doc's details, we must color the background with the pastel shock, the white chalk. Pay attention to the direction and hatching. I'm trying to do it in the same direction. It's very important to do it properly because in this case, we are using a special paper. Actually, you can see how the grooves begin to appear in the paper. They need to be filled completely. Since this is a large space, we need to be patient. We must take care of the edges, for example, here on the chimneys. We must take care also of this part close to the mast. Now we can use a paper or a cotton to spread all the pastel across the paper. We need to blamed all the pigment on the paper. You must be aware that as long as you spread the pastel, a significant percentage of the pigment will fall off the paper, so you may need to apply another extra white shalk layer. Now we are ready to start with ducks. Let's start with the left one. I'm going to use this green pasto. It's a kind of base to create that tone on the distance. The farthest buildings on the composition. Pay attention that even though there is a kind of gray color or blue color in that part of the composition, I'm applying this green color instead. And the reason is that this is not the final finish. This is a base color to create the final touch on the drum. Now I'm going to use this clay color to create the wall. Even though this color is closer to that of the reference point, it's a base color too. We can use this clay color also to create those Timis. Now I'm going to use this brown color to create that deck on the took boat. Every single color I'm choosing right now is a base color for the drawing. This is the right way to apply color, not only in a drone, but also in oil painting. Now it's time to use this beautiful blue color. We need to complete the entire hall with this color first. On this blue layer, I'm going to apply a darker layer using this black ast. We can touch another sections on the docks. Those when we think the black is suitable. Now I'm going to apply this darker green. We need to apply this color to create that plain surface upon the duck. Pay attention that I'm using the same color to create some details, but they are not deep details at all. I'm just indicating when they are positionated. This exercise is very important when it comes to drawing because we must become sensitive to those differences in terms of color. I mean, if this drawing wasn't in color, for example, only in graphite pencil, you are supposed to portray those colors as well with different tones created with only graphite. Look how interesting this part of the drawing is starting to look. Let's move on to the left doc. I'm going to do the same process. I'm going to use this clay tone to portray those brighter zones of the reference image. If you pay attention to the reference picture, the color of this building is actually a kind of light pink. But it doesn't matter. I'm going to use this clayton to portray that part. And the reason why I'm using this is because we are creating a kind of unique language for this artwork. So experimentation is very important to take your drawing to the next level. So I'm modifying the color of that building, but I'm not modifying the amount of light on it. Now, I'm going to do a kind of mixture with this beautiful yellow and another layer of light pink. This exercise is a proof that you don't need an entire set with 100 pastel bars with different colors to portray this spectacular titanic. What I mean by this is that even if it were an oil painting, you don't need 100 different pigments. Look how interesting this mixture is. I'm adding an extra layer of another pastel. It's a kind of beige pastel. Pay attention that the lines themselves are a medium to portray lighting. Even though we are not addressing the sea, I'm going to add this green layer on the water, and I'm doing this to use that color as a reference point. This green color on the water works to indicate the amount of light on water. It's very important lighting when it comes to drawing. We need to constantly measure the amount of light throughout the drawing. I'm going to use this darker green to create the rest of the dark. Basically, I'm using this to create the darker ones. I'm going to engage this character here, this old man contemplating the Titanic. I suppose that gentleman had no idea the titanic would sink on its first voyage. I'm going to create a kind of silhouette of these people over here. Pay attention that I'm using the same color. And now, I'm going to use this dark brown to complete this wooden device on the sea. Try to notice I'm leaving room to other colors. I'm not filling the entire device with brown. And I'm going to use this black to portray the shadows on the device. Using the same black, I'm going to add some details to the gentleman's clothing. We are able to retouch with the same color the other people on the docks. And Now, I'm going to add an extra detail to those buildings on the background. You may notice that there are buildings behind the main crane, so those buildings are supposed to be brighter than the crane itself. So far, so good. Let's move on to the next lesson where we are going to do the first sky approach. 30. Sky First Approach TITANIC: Hello again. It's time to address the sky. Pay attention to the way I'm engaging the bustle bar at this time. I'm trying to render the brightest parts of the sky. In general terms, when rendering clouds like this, sunlight is always hitting from above because there is a huge amount of light and energy across the atmosphere. But there is one exception when it comes to rendering skies. If we were talking about sunset, this condition changes dramatically. The direction of sunlight is the other way around from bottom to top. But even in this case, there remains a portion of light reflected in the upper porch of the clouds produced by the atmosphere. Obviously, in this case, the Titanic maiden voyage was not at sunset. Right now I'm using a light gray tone bass tone to render those middle tones on the clouds. Pay attention to the way I'm applying the pastel shock. I'm doing it in the same direction. Additionally, I'm applying a personal hatching to it. The fact that I am rendering the clouds in this way doesn't mean that I'm not experimenting. Later on, you will be able to see that I will use another color to portray this interesting sky. There is an interesting anecdote about clouds. In the movie girl with a pearl earring, the painter asks the girl what color she sees the clouds in the sky. At first, she answers white. But after thinking deeply, she begins to name all the colors she sees in them. This is a powerful insight when it comes to drawing and painting. Pay attention to this painting by Bonet. Look at the amount of colors in those clouds. In the final lesson about the sky, you will understand why I show you this. Now I'm going to use fingerprints to spread the pastel shock across the paper. Of course, I'm going to diffuse the hatching. Even though the hatching won't be easily noticeable anymore. The grooves created by the contact between the pastel bar and the paper will remain in the same direction. When rendering, if you need to apply more pastel, you can do it as well. You need to be patient when it comes to rendering skies because this implies to use a great deal of past. If this were an oil painting, we could use painting knives, and it would be faster. But I think every single technique has its own advantages. Anyway, oil painting takes much longer. Mm. Now I'm going to apply a special touch to this sky. I'm going to apply yellow and pink pastel to render the light upon the horizon. This is not in the reference picture, but that clouds over there hint me such colors. Now I will make the smoke from the chimney with a black color the black pastel shack. Please note that I'm now using dark brown to make this other smoke. It's obvious that this comes from another chin, perhaps from another chip. If we need to create effect of light peaking through the smoke, we can apply shot over the smoke to create three dimensionality. Pay great attention to the edges of objects. The outline of distant objects is very important to create a suitable impressionistic effect. Remember that I used poor white on this occasion because in our reference image, the greatest amount of light is in the clouds. A The clouds can be irregular, but most of them are cattle like, so we can use our fingers in a circular motion to plant the pastel. Observe these pink dots that I apply under the clouds to represent the sunlight, which although it mostly comes from above, there are also flashes of light that come from below. Although this is not in the reference image, we can experiment with this and imagine it. I recommend seeing many images of sunset or simply sitting outdoors one afternoon to contemplate them and learn directly from nature. Pay close attention to these yellow touches. Now it's time to apply blue, my all time favorite color. Look now at the volume the clouds acquire with this other color. I will use this specific color blue to represent gaps between the clouds that allows us to see the atmosphere itself. Pay attention to how beautiful the sky is starting to look. This effect is almost like oil on an impressiveness painting. And the most interesting thing is that we are not copying the reference image, just being inspired by it. Now I'm gonna apply a darker shade of gray to represent these clouds are full of water. It's partially cloudy. This first approach to the sky is finished. We're going to move forward now with another beautiful part of the story. See you in the next lesson. 31. Right Dock First details TITANIC: Now we're going to tackle the first details of the dog on the right. They won't be the deep details, but they will allow us to find wonderful things in this room. I'm going to start by improving and creating the main wooden elements in the composition, the wood in the water, as well as the wooden slats on the dock. Pay attention to how important Pierre Renoir has been for this work. H. If we pay close attention to the nature of the elements shown in the reference image, as well as their arrangement in the image, we will be able to experiment and change things for aesthetic purposes. That is the most valuable part of this exercise. I don't want you to learn how to make boring copy of a photo. Pay attention to this giant wooden beam, and not even depicting its correct proportions, and it's still going to look great in the drawing. The secret is that although it doesn't have the exact proportion or perspective, it's located appropriately. Please note that my representation is as if it were beholding the same image but from above. I insist Pierre noi is beautiful, because it has a little oil in it, although it can be easily remote if we make a mistake. The most important thing to portray this character is the outline. Let's pay attention to the areas where the clothes are folded. This is the most important element. Even if the bad under the slot is confusing, let's not be afraid to represent it. Let's simply continue placing the Pierre noi where the reference image indicates. Even if we don't understand what we are watching, it's very similar to the Big ten cloud. Always remember that the pencil tip needs to be sharpened to create these small elements. On the other hand, notice how I respect perspective by creating these tables. We don't need any drawing grid. We already did the perspective with the ISA CLS triangle. Additionally, we have enough information in the drawing to not need a drawing grid. I think at this stage of drawing is when you really start to love the process. When everything you have been creating so far, little by little begins to come to life, each line, each shadow, each stain that transform into something with meaning. Look how easy it is to draw these lines because we have already done the initial work. Now, what we do is increase the resolution of this landscape. You have to pay close attention to the screen. It's an element that draws a lot of attention in the composition. It's interesting, so that the viewer will focus his gaze on that element. I'm adding a little bit of blue for those little windows to represent the reflection of the sky and light the glass. The details of this anger are important, but not too much because even though it's close, it's not a striking element in the composition, the viewer doesn't focus his gaze on it. M now I'm gonna approximate the color of the gentleman's clothes. Note, I'm applying lighter tones than the one used in the contour lines. Please pay attention. I'm just going to make a pink stain to represent his face. I don't need to create his face at all, and the final result will still be quite realistic. I'm going to do the same with the person in the distance, a pink dot to represent his face, because in the end, in real life, from that distance, we only see a pink dot. Mm. I'm gonna apply this color to create volume and texture on the wooden beam, but I'm also going to blend the pastel on the edge of the duck for a better finish. Look how these horizontal lines help create the effect of perspective. Now I'm going to apply this layer of this light grad to create volume and texture. Pay attention to how I create the points of light from the wood that is on the water. This is really wonderful. And with this same pastel, I'm going to draw a line that will leave a wonderful result on the edge of the dock. Now, look how I add little blue touches to imply that the light in the place is partially blue. In fact, in the reference image, it is. These blue touches will be wonderful in the entire drawing. Now, pay attention to what I do with this deep blue, adding more resolution to the characters. I think that our drawing is starting to come to life. I'll wait for you in the next lesson where we will address the wonderful color of water. 32. Creating Water Real Effect TITANIC: Et's start creating the visual effect of water. Of all parts of this drawing, this will be the most creative. In this part, we will see the very heart of impressionism. Look how starting from this deep bloom, we will craft an effect of moving water that is much more attractive than the one shown in the reference image. We must learn a lot from Zaroya, the Spanish painter. This great artist is a great reference when it comes to portraying water and moving moments. On this occasion, I was inspired by his technique to recreate the water of the port from which the Titanic sets sail. Pay attention to how I covered the deep blue with this dark gray. This whole mixture in turns, mixes with the green color of the paper itself. The shadow doesn't necessarily have to respect the shape of the object that produces the shadow. The water is in motion, so there will be points of light that mix with the shadow. And of course, we are not talking about a mirror. It's moving water that reflects an object. On the other hand, it's important to take into account that what is reflected in water must be a mixture of the color of the object with the color of the water itself. The water imports is green and dark because of the amount of seaweed and also because of pollution. But how do you know where to draw? If you pay attention to the reference image, there are certain shadows in the water that are more striking distance than others, but such detailed precision has a somewhat subjective component. Much more when we know water is in motion. The reason why there are blue tones mixing with dark color is because there are obviously blue colors in our sky. So even if this water is going towards the dark green tones, there should still be blue details in it. Pay attention to this color over here. This time, this gray color matches the sky itself. Pay attention how I'm representing waves and currents with certain curve sequenced lines in the water. I would dare to say that this gray color is one of the most important parts of the whole drawing. Just in this section, the water seems to be calmer than the other areas enough to better reflect the sky, almost like a mirror representing the rainy clouds above. Note that even though the water is calm in the reference image, I have made some small hills in some areas near the wood below. These hills create the effect of moving water, but it's not just hill. There are dark traces and light colors to make it look like water, and even the paper colour helps it look like water. Notice how there is a serpentine movement in the arrangement of the grade to represent areas of moving water, mini currents. Pay close attention to the process of how I'm creating these mini waves here. Pay attention to the wave sequence, as well as their arrangement in perspective. They are also min hills. If we were doing a boring, completely realistic drawing, we wouldn't be learning how to do this. Impressionism is one of the most wonderful currents of painting. It's so extraordinary and human that it is actually very difficult to imitate it with artificial intelligence. Even in the movie Titanic, there is talk about impressionism directly and indirectly. The director's cinematic approach in terms of lighting is a homage to presenism especially in the scenes where the afternoon is depicted inside and outside in the ship decks. Look how I'm representing the water foam with these great toaches. Now look how with this blue, I make the most illuminated areas of the water. I mean, those points where the lightest blue of the sky is reflected. This torch is simply fantastic. And there you are. We already have the water practically ready because the paper color helps us a lot to achieve it. Look how beautiful it looks like. See you in the next lesson. 33. Left Dock Deep Details TITANIC: Now, I'm going to go into the deeper details of this area. In the Cam position, Titanic is traveling to the left. The ship bow is going to the left. So this section of the Cam position is very important to give details to. The first thing you're going to do is to get the final color of the took bot fuselage. I'm going to use this gray for the lighter part. Pay attention to the blue touches that this area also has. Since details are important, I will use Pierre noi to highlight the most important dark details that are clearly noticeable from afar. Remember the importance of having a sharp pencil teeth and having a lot of patience. Pay attention to my hand movement. I barely move my fingers. It's the whole wrist. Developing the ability to spot details is what will help you become a better artist in any field. This exercise is much deeper than it seems to. By the time of the titanic, it was too big. In fact, there was not enough motor technology for the ship to be truly maneuverable, and that is the reason why several tugboats were needed to get it out of the part. Pay attention to the way I use two brown shades to represent the ship deck. Although I'm not doing all the details, the fact that the two colors exist gives depth and texture to the ship. As we move forward in details, the touches of color that we add must be more delicate and precise. It's no longer the time to fill large spaces. We must concentrate on the smallest points. Et's move on to the dock section. We are going to do exactly the same. Let's try to use the language applied to the tug boat, but take into account that the background is farther away. And in our reference image, there seems to be a mist that lightens up the whole landscape a bit. To portray this, we must avoid representing the darkest parts of that area with black color and simply use a gray tone. In the same way, we can continue using Pierre noi, but this time applying less force. Remember to try to follow the lines and shapes, you see. Even if you don't understand exactly what you're seeing, remember that we are at a distance. Even in real life, we couldn't know exactly what is there. We know there are cranes and artifacts, but they are blurred in the distance. These light tones that I'm adding are going to create volume in the space. Even though they are not in the reference image, they create three dimensionality. Another important aspect is that since we should not get very dark lines in this section of the background, we can use the graphite pencil to make details, since in this language, graphite is like a dark gray color. Pay attention to these slight hints of yellow to suggest that there is that kind of light near the horizon. Each line, each shadow is a human decision behind an artistic work. That is why this artistic movement is so valuable. Each one of you will see different details that can be represented with this technique. What an incredible journey of life. I guess the people who were working on those tugboats were thinking about how lucky those who were traveling on the Titanic were. The lucky ones were actually those on the tugboat. When it comes to depicting smoke or clouds, the edges are important because these clouds have a shape that must be noticeable from a distance, and bustle shock alone doesn't achieve those lines when applied directly. Those lines must be drawn. Observe the great resolution that this whole area has acquired after all these details. It looks magnificent. The smoke coming out of the tugboat is very important. It should not resemble the rest of the smoke in the composition. It should be special to keep a unique touch to this element. It Note and retouching the color of the sky itself to make the smoke stand out. I'm going to tow chop the water here. It's important that as we move forward in the drawing, we feel the need to tow chop other parts. That is why even though we can follow an order, there is a kind of chaos in the process that we must be open to taking advantage of and enjoying. We already have the duck on the left, practically ready. And we can almost hear the horn of the titanic which is about to leave. Let's continue with this beautiful work in the next lesson. 34. Rght Dock Intricate Details TITANIC: I Perfect. We are already quite advanced in our drawing, but there are still quite a few details missing. So let's concentrate on the dock on the left in that building in the background. Let's start with that building. This element in the distance is important so that we can feel the perspective in the drawing. If we are able to understand that this is a building with small windows, then we will really feel the ship is very long. First, we create this base color to represent the soft light of the sun is being projected directly on the building. Now, pay attention to how I use the pencil to give details without getting a very dark tone. We cannot reach a very dark tone because that building is very far away. And there is some **** in the environment. Look how I don't need to make the windows exact. Just by suggesting these strokes, I'maldy telling the viewer that there are some windows there. This is impressing as at its best. Another of the wonderful things about impressionism is the speed at which work can be completed. Even oil painting doesn't take that long. It's a technique that should be able to be completed in hours. A Baroque realist painting can take months to complete. The speed of impressionism gives you the chance to feel much more while you draw or paint, and this experience is simply wonderful. Absurd the way I add these little blue and gray touches to represent shadows and lights on that building. Remember that from time to time, you should step away from your work to contemplate what you are doing. You can spend several minutes contemplating and then continue. Now, I'm gonna continue with the edge of the pip. I'm going to do the smallest details with the graphite pencil. You had to be careful and detailed to highlight the most important details. Oh Look how I'm using this dark blue color to represent this shadow on the dk. It's not easy at all to see that there is blue in that shadow. But in fact, there is a lot of it. And it's important because up to that point, the light from the sky can also reach and modify the color. I'm going to use this dark brown to create the beams and all the elements nearby. Even if we don't understand well what is that, we must continue to represent the shapes and shadows. Oh. I guess you notice I added a personal touch to this section. The character is not on the wooden bins, but in front of them. This was also to give it a personal touch. Oh Now, with the Pierre noi, we'll highlight the darker spots, and I will highlight the outline on the objects, especially the recognizable pieces in this section. Looking at all these pieces and thinking about the time, I mean, the beginning of the 20th century, I guess it must have been a great sadness for everyone when this ship sunk, not only because of the number of people who died, but because it was a sheet practically handmade by thousands of people. There were not many machines or computers to facilitate the work, only leverage tools to complete it. I keep thinking about the value of human labor. There are so many ships that had been made until now, much larger and more luxurious. The titanic continues to be a masterpiece. Pay attention to how useful graphite and Pierre noi are at this stage of drawing. All the textures and deeper details are made with these two elements. Areas like this one, where we don't understand exactly what he said because of the shadows are a great opportunity to enrich with colors with abstraction, an abstraction that gives value to the drawing, and that tells us that there are elements that are part of the landscape. Now, with Pierre noir, I'm gonna make some cracks in the widen beam. Now I'm gonna clean up these edges and draw all those little details in the distance that are in direct contact with the sky. In the case of the upper part of the crane, it's necessary to create a sensation that it's really behind the smoke of the titanic. So the visible parts behind the smoke must be diffuse and not very dark. These blue touches are important to make it feel like the sky itself is behind all these elements. Now we'll do the last light blue touches on the dock. Mm hm. So far so good. Let's move on to completing the sky in the next lesson. 35. Sky General Details TITANIC: Now we are going to work more on the sky. What we are going to do mainly is to highlight the clouds outline and improve the color to add depth and realism to the sky. Even though it's an impressionist drawing, it's necessary for it to have realism. Pay close attention to how I will very delicately use blue and white pastel pencils to highlight the contours of the clouds so that their shape can be understood in distance. If the colors that should be in the clouds are white and blue, those are the tones that we should use for the lines. Remember that the rendering of the sky is also an opportunity to experiment. The reason is that clouds and light in the sky are generally irregular. So modifying them doesn't take away the sense of the landscape we are depicting. Remember that in the case of this landscape, the light comes mostly from above, but also from the left side. So there must be those pink rays under the clouds. There is an important detail to keep in mind when using pastel like this. You can actually use pastels of different qualities. In reality, the difference doesn't lie in the color quality, but in the resistance you may have after finishing the drawing. Both the sky and the water are difficult things to portray. It takes a lot of work, and it's a shame that after working for a long time on the sky or the water, you then apply the fixative, and the fixative ruins the work. Therefore, I suggest investing in good pasts. Dry pastels are not that expensive, unlike oil painting, they are much cheaper. Therefore, it's worth investing in them. But I will tell you secret. If there is a color where the quality of the pastels is noticeable, it's in blue. But I think it's because I'm very sensitive to that specific color. Pay attention that this time, I'm using the graphite pencil, but it's because this cloud is darker and grey, so it's necessary to sharp that contour. Sometimes you can try to add the or randomly, and the result of this can be surprising. The colors produced in the sky are always a great inspiration for painters because they are wonderfully random. Although in this course and in the other volumes of this series of impressionist drawing, I tell you that there are certain patterns in the behavior of light in the sky. The truth is that its colors and shapes can be surprisingly regular and unexpected. The most important thing is that it looks true. This section over here is very important because it's exactly in this area where the clouds filled with water are represented. So the gray that is here must be similar to the gray reflected in some areas of the water. Another important aspect that makes the skies look great is the interaction between the objects in contact with the sky and light. In this case, the main mast crosses the sky, but it's something that we will work on until the end of the toy. These clouds here are the most illuminated in the drone. So we must work on some of their areas with pure white basal to achieve the maximum level of light. You had to be very patient with the sky, but I assure you the patience will be well worth it. It's important to define an outline titanic smoke so that the viewer clearly understands that it's smoke from the ship and not part of the sky, and above of all, so that the viewer understands the smoke is alongside the ship. Another accommodation I can give you is to buy a complete dry bustle set. I mean, not just 10 bars. The more colors you may have, the better because you will find original and special shades for every detail like this beautiful blue. Even though I'm using a 30 bar set, a 60 bar set would be even better. I can assume that there were artists on the Titanic. Some of the richest people in the world died there, but I suppose there were wonderful stories behind each of those songs. Even romantic stories fel developed in second class and steering. There were many more people there, many more possibilities for incredible stories. On the other hand, most of artists of that time, even well known ones, could not afford to travel in first class. Now we are going to work on this smoke. We need to darken it enough so that there is no doubt that it's smoke. We can understand that it's smoke from the Titanic, but actually feeling that it's smoke is something quite different. We must supply the same process with this smoke coming from the tu boots. Perfect. Now this sky has more depth and looks better. Let's continue working on it in the next lesson. 36. Sky Deep Details TITANIC: What are we going to do on this stage of crafting the sky? The main idea of this drawing is to represent a partially cloud environment in which the clouds seems to give partial signals that it may rain. The reflection in the water indicates that the clouds are like that, so we have to add more rain clouds to the sky. That is exactly what we are going to do. On the other hand, we need to create more lines in certain parts of the clouds so that the clouds don't look all the same. In other words, they don't look like cotton wool. As a first step, I will further define the clouds shapes with this color that is close to white. Pay attention to how the gray I'm adding now starts to match with the color of the water. That is so important. It's even more important than the shape of the clouds themselves. Oh Although experimentation can be important in a drawing or painting of this nature, that experimentation must have a certain logic, a certain sense and structure that it can become your wrong language. If your experiment doesn't work as a language, it's not working well. Even in an abstract painting, there is a language of an artson which can lie in the colors, quality, in the balance, in the combination of forms, and all of that is a language. Pay attention to how the clouds have much more volume because I'm making deeper details. Another recommendation is to try not to despair. You can always correct things. It's never too late. There is always a way to solve everything in drawing, much more when it comes to grafte and pastel. Pay close attention to what I'm doing now. Look how I'm making curve strokes to make the shape of the clouds stand out even more, making it look more real. These stronger lines will help us to separate different cloud layers in perspective, defining which ones are farther ahead and which ones are farther back in the distance. But you always have to be careful. I'm not trying to say that you have to define the entire outline of the clouds. Simply outline in some parts is more than enough to give it volume. Look how I'm cleaning and improving the contact areas with the main mast. And on the other hand, this cloud cluster looks rainier, just like the reflection in the water. Although to feel a large area with a color, I recommend doing it in one direction and with an attractive hatching. For the final doches that represent the clouds, you can change the direction so that it shapes the clouds you want to represent. Observe how beautiful that accommodation of clouds looks. It almost looks like oil. Pay attention to how close the colors gray and blue are. Remember that when selecting the paper, you should always focus on what you want to portray best. In this case, it was water. That is why the paper is dark green. That is the reason why portraying the sky has been more difficult because the color of the sky is much more farther away from the initial color of the paper. This is a powerful insight for oil painting. Nova's painters usually paint directly on the white surface of the canvas. The more experienced add one or two base colors to the canvas from which the entire composition will be worn. I remark this in all the volumes of the impressionist drawing. Now I'm adding a light layer of blue to the clouds very sadly. You have to understand that as you advance in a drawing, regardless of that technique, the process becomes slower. These little touches of blue on top of that gray will make the clouds retain an overall blue lighting. Another important detail about the clouds is that as you can see, it's a long cloud that extends behind the titanic. So you have to know how to follow that sequence. The viewers should feel that it's really just one cloud that is behind the titanic or that there are several clouds that extend across the sky. Pay attention to how I'm going to draw thicker and curved lines directly with the bars to highlight the edges of clouds. It doesn't matter if the hatchins goes in one direction. You can do these contours anyway to give a movement to the clouds. Look here how the lines are much more noticeable, giving movement to those clouds. That white cloud cluster looks like it's moving as dust smoke. An important detail regarding atmosphere color is that the farther away we move from the sunlight in the cam position, that blue color and the atmosphere should be more intense. I think the reasons are obvious, the sun radically changes the color of the sky. And there you are. The sky is almost ready. When the rest of the Titanic details are also finished, the sky itself will look much better. See you in the next lesson. 37. Steamer Details TITANIC: It's time to move on to the titanic details, but those corresponding to the decks and the ll of the ship, we are not going to touch on the cables in this lesson. That is the last detail we will do. We are going to focus on how to represent all those details of the ship in the distance. Pay attention how I start with this important detail. This yellow stripe on the bow. As we drew in black on the bow, it's necessary to remove the pigment with the eraser pencil so that yellow pastel pencil, which is actually a kind of ochrey or dark yellow can adhere to the paper. This detail is very important and it's not easy to notice it. These areas of the sheep are supposed to be white, but in reality, we cannot use white to represent that part because it's shaded. So it's not longer white. The only part close to white would be the part closest to the tip of the sheep, but the rest of that strip that is actually white on the shep should be represented with gray or light blue. And why is it gray or light blue? Can you find out? Exactly, because the sky has that nature in terms of color. This gray color should also be used on the rest of the ship's decks throughout its entire length. This should be the base color on which we will build details. Now pay attention to the color of the illuminated part of the ship's hull. This is very striking. Can you ever imagine that there is magenta in that color combination? I'm going to apply a base of gray and dark brown, but look what I do next. Pay attention to this magenta color is like a light purple. Why is that color there? Because the smoke above is brown and contains red. When you add that color to the blue of the environment and the lighting, as well as the dark brown colors of the ship's hull, we get that magenta. On the other hand, that magenta is a color close to the blue that we are using. So it wears as if it were the result of the projection of that same blue but on another material. Betting now adding brown to the ship's hull to create texture. Let's move on to the chimneys. Here, the most important thing is the edges, the canter and those points of light on them. Look at this blue here. Even in the reference image, you can see that blue. As for the time structure, at this time, we only concentrate on the dexter. It's necessary to achieve the right effect in the distance. Pay attention to how important are outlines over here. Now look at how I'm adding the light blue to create the light from the sky projected on the decks. Obviously, now I'm using bastel pencils because they are thinner lines, smaller details. But we can continue combining the bars to achieve a realistic effect. This color that you see on the screen is not white. It's a color close to white, a more beige tone. Now, pay attention how I make the lower edges of the windows very carefully. The Pierre noi pencil tip must be quite sharp. You can notice that on screen, I move closer and farther away from the drawing because the visual effect in the distance is much more important when it comes to impressionism. You should pay attention to the curvature of this line along the deck. Titanic was very long and heavy, so it benced in the middle slightly causing this curvature. Pay attention. I'm adding this white in the lines right in the most illuminated bars of that section of the ship. Look at the little windows on the ship. They are just dots. What makes them windows is everything around them. The same thing happens with these longer windows. It's as if they were simple small stripes. Again, the contours issue stands out. The outline is very important because it's in contact with the sky. Additionally, there are important deck elements in that section. Now we're going to improve the main mast. The crow's nest is white, so the blue light must also be projected on it. In fact, in the reference image, it looks like that. Again, the same issue about windows, but this time directly on the ship's hull, windows can hardly be seen, but they are very important. Now, let's move on to the name of the ship. Look how I'm going to make a mistake writing the name, and I'm not going to fix it, because even if we make a mistake, it still looks good. Why does it happen? Because you are not supposed to really see the name of the ship clearly at that distance. All of you know that it's called Titanic, and the name is dead, but you cannot really detect the letters at that distance. But it looks real because they are in the right place. They have the right color, and the rest of the elements on the drawing around it are well created. The same thing happens with the anchor. In fact, I had to increase exposure in the reference image so that the anchor could be seen. Now, we'll use this white to create these windows in the all of the ship. Look how beautiful the titanic looks now in the distance, and Net still lacks the details of the cables. But we will do that in the next lesson. 38. Steamer Cables & Final Details TITANIC: Well, we have reached the last step of this drawing. But this time, you're going to focus on this section over here. All those cables around the main mast. Those cables over there and right here also. You didn't have an idea about how important are those tails, and you will be able to notice how amazing the titanic will look like once they get finished. So grab your pencils and bastils and let's start. Let's start by highlighting these devices over here. They are kind of beams where these cables are connected. By the time Titanic was built, metallurgy was not as developed as it is today, and that is the reason why all those masts and even the chimneys are secured with those cables so that they don't fall down when they hit the wind. This is something inconceivable today, but it was quite typical at that time. These ships were practically sailing ships without sails. As we already know the value in terms of color and light of the darkest points of our drone, we can understand that to draw these distant and small details, we cannot use black. That is why I now use the graphite pencil, which will never reach the maximum shade of black that we have used so far with the Pierno. We must be very careful with this. Right at this stage, I don't recommend leaning on the paper. We will ruin everything. We must keep the arm in the air while we draw. Actually, we can help ourselves by using a stick a ten toe. It's a kind of wooden stick which we support in some area to rest our hand on it, while we draw a line or make some details. You can also use it as a ruler since it's difficult to get straight lines at this stage. This is the reason why in all drawing courses, all of them, I insist that drawing straight lines without a roller is a very important skill when it comes to drawing, because if you are making a drawing or painting in which you cannot support a roller due to the nature of the material, then you have to do it using your hand. Please note that this cable here is not actually a cable. It's a typical ship's ladder. In fact, from my point of view, it's just an armament. I doubt anyone would ever ride on it, but they were often used on sailboats. Other important aspect when drawing these cables is that you don't make a line whose intensity is constant all the time. It's important that it's lighter in some parts and darker in other ones so that it feels like there is a kind of mist, light affecting its nature. Pay attention here. I'm going to use the tint as if it were a ruler. On the other hand, in some parts, I'm going to use the Pierre noir slightly to get a darker tone on this specific cable. Look here how I created the cables that hold the times. They are quite a few. Those times were very heavy. Pay attention to the team in details. There is also a metal staircase there, and we have to make it. It's incredible how many risky things there were on that ship with that technology, I mean, that staircase, for example, those cables, the material of the ship was not really resistant. That curvature that you see on the ship on the hull of the ship, today, it's almost imperceptible. It's imperceptible, even on ships larger than the titan. Here you can see I'm drawing cables with the Pierre noi, and it's evident that this section is darker. So in order for the cables to be truly noticeable, it's clearly necessary to use a darker tone. Look at these dark details. I didn't have the slightest idea what is that. But you have to do those details because that is how they look from a distance. And that is the secret of impressionism, doing what you see from a distance. Look at this flag. It's just a little red and white spot. There is something that happens with drawings and paintings. The part of the brain that imagines is the same part that remembers. So in a certain way when we remember something that we like and it's actually something memorable, we are creating a part of that memory from our point of view. Each memory is an act of creation in itself. Each drawing or painting is an imagined memory, a point of view, and that is what makes it extraordinary. Memory can only be contemplated, not experienced. So in art, there is always an implicit contemplation, and that is wonderful. Look at this table here. Here I apply what I mentioned. I'm going to darken some part to make it look more real. Pay attention to this last cable, which I will make in a lighter brown color than the black of the Titanic's Hull. I will use the brown color up to this point and then the Pierre none. And this is the last detail, this little stream of water coming out of the Titanic. From my point of view, it's a wonderful detail. It gives so much realism and seriousness to the work. And there you are. This drawing is finished. It's a wonderful rendering of the titanic about to set out on its only voyage. Behold that reflection in the water, almost as if it were an oil painting. Look at the foam that comes out of the contact of the ship's hub with the water. Look at all that blue atmosphere that is in the whole drawing. Those clouds details above the crane, the whole sky, in that beautiful pink light that hits the last building on the background. I hope you enjoyed creating this drawing. Do not let technology make you lose the magic of creating things with your own hands. How many stories can be behind the line a color, a shape. And above all, behind all the creativity that you had left in your own work of art.