Impressionist Drawing Vol. 2: Water and Light in Paris

1. Impressionist Drawing Vol 2 Water in Paris: Have you ever dreamed about capturing the serenity and movement of a river's water surrounded by the world's most iconic architecture? I am Balvi Ve Perez, and I'm thrilled to introduce you to volume two of my series of impressionist drawing courses, where you will learn to draw anything starting with graphite and evolving your work into full color drawings. With over 30 years of experience in the world's top art schools, my mission is to guide you in taking your skills to the next level. In this volume, you will learn to draw the water of the iconic St. River in Paris, exploring how natural light and movement transform its surface. For this course, you will master the representation of water on the different lighting and movement conditions, learning how to capture its beauty from various perspectives. I have designed this course for you to create unforgettable views of the St. River, accompanied by its beautiful bridges and pods and architecture. You will not only learn how to depict water, but also how to handle perspective as you represent the structure surrounding the river. Together, we will explore how sunlight reflects on the water surface from different angles in times of the day. Additionally, we will delve into the theorical aspects needed to support the practical lessons, covering specific techniques for representing water, concrete and perspective in your compositions. We will draw inspiration from the impressionist masters like Monet and Zoroya whose works have masterfully captured the essence of water and light. We will work with top quality materials like graphite, Pieroi, re pastels in both bars and pencils, along with the luxurious papers that will allow you to bring your creations to life in a unique and expressive way. This course is designed for help you progress on your artistic journey. No matter your experience level, you won't be able to find a more comprehensive and exciting course on displacement. Welcome to my Bay Atiler in Impressions drawing volume two. Water and light in Paris. I see you in the first lesson. 2. Importance of Rendering Water Theoretical Approach: Hello, everyone. I hope you are all doing well. Today we are diving into an exciting topic, the depiction of water in drawing, particularly from an impressionist perspective. The portrayal of water has been a central theme in art, especially within the impressionist movement, which sought to capture the transient effect of light, color, and movement. So understanding how to represent water is essential for any artist. As involves various techniques and concepts that are crucial for achieving realism and dynamism in our drones. Throughout this course, one artist in particular will serve as our primary source of inspiration. Fritz Follow, known for his stunning and serene depictions of river, streams, and channels, F had an extraordinary ability to capture the reflective flowing qualities of water. His works are an excellent example of how an artist can merge technical precision with poetic, almost magical atmosphere. Tolo's water scenes are remarkable for their subtle shapes in color and the way he meticulously portrayed reflections and ripples, giving each painting a sense of fluidity and depth. In Tolo's paintings, we see how water transformed the landscape, guiding the viewers eyes along its currents and reflections. His use of light and color was subtle but incredibly effective, and that is what made his work stand out. Unlike many of his impressionist contemporaries, T often focused on quieter more turn kilocenes capturing the gentle flow of water as it meandered through towns or the countryside. These works remind us of the beauty of simplicity and the importance of careful observation. A skill that we will strive to develop in this course. Although we will explore various techniques inspired by other artists, it's essential to keep Talo's approach in mind as our guiding light throughout the lessons. From a technical perspective, depicting water involves illustrating both movement and stillness, as well as the intricate play of light and shadow. Fritz followed excel at this. His paintings often feature short, delicate strokes to depict smooth surface of water interspersed with small texture marks that suggest ripples and subtle waves. This approach allowed him to convey motion and stillness simultaneously, creating a realistic yet impressionistic effect. As we work with graft and pastils, we can use varying line weights and color intensities to mimic the reflections and ripples that characterize water. Just as T did. When portraying water, it's crucial to pay attention to the way light plays across the surface. Thol's work teaches how to capture this by observing the subtle countries and ships in tone that give water its depth in dynamism. By emulating his approach, we can learn to appreciate the nuances of water, enhancing our ability to depict it with accuracy and emotion. However, we will stop with Tallow. As we progress, we will also draw inspiration from other masters such as Claude Monet. We approach water with a more vibrant expressive style. Monet's paintings of water lilies and his depictions of the scene offer a sense of movement and fluidity, achieved through bold, colorful strokes, we will explore how his approach can help us understand the effects of light on water surfaces, teaching us to see a mer reflections and capture the dens of color on water. Another essential figure in our studies will be JMW Turner, who depicted water as a dynamic, sometimes tempestuous force of nature. His paintings are full of energy, movement, and dramatic lighting, showing us how to express the power and motion of water. By studying his techniques, we will learn how to depict water and motion, whether it be the crashing of waves or the serene flow of a river. Finally, we will also touch on Joaquin Saroa whose bright sunlit depiction of Mediterranean beaches highlighted the play of light on shallow waters. Saroya's use of color and light provide lessons in creating atmosphere and mood, demonstrating how to book the feeling in warm and reflection that water often conveys. On the other hand, studying water in art opens doors to broader concepts such as light theory, color blending, and atmospheric perspective. Impressionists including Tolo Monet, Turner and Saroya we're pioneers in breaking away from traditional methods, focusing and capturing the essence of a moment. Water with its ability to reflect and refract light is pivotal in this exploration. By learning to depict water, we can deepen our understanding of these principles, applying them to various subjects. This journey also allows us to learn about perspective and architectural elements, especially when depicting the interaction between water and its surroundings, like the inner part of a bridge or the edge of a channel. The interplay of light and shadow on both the water and nearby structures enhances the overall composition, making the artwork feel more integrated and lifelike. We can see this throughout Talo's paintings, where he masterfully used reflections of buildings and foliage to create harmony between different elements of his compositions. In conclusion, mastering the portrayal of water in drawing, particularly from an impressionist viewpoint, is a fundamental skill for artists. It enriches our technical skills and enhances our creative expression. Our aim on this course is to represent water quickly and impressionistically using graphite and pastels. This approach enable us to express ourselves freely while ensuring that our presentations are practical and useful in our artistic endeavors. Well, we will explore techniques inspired by Monette Turner and Seroja. It's Fred's fellow who will serve as our touchstone. His meticulous attention to detail, coupled with his ability to convey the calm, flowing beauty of water, makes him an essential reference for our studies. By learning from his works, we can unlock new dimensions in our artwork. Making the representation of water a rewarding and essential pursuit. And it's important to mention that exploring water through the lens of impressionism and De tholos incredible works invites us to appreciate its beauty, complexity, and the transformative power of light elements that are critical on our artistic journey. We will draw inspiration from these techniques and attempt to understand his delicate yet dynamic touch. Thank you for joining me today, and I look forward to exploring this beautiful subject together. 3. Water First Approach Sketch: Hello, everyone. In this lesson, we are going to make a first sketch to approach the representation of water. This strategy is essential when it comes to drawing elements with reflection such as water. Sketches are very important because they allow us to understand which are the most relevant visual elements that our mind is able to detect. Let's start by creating the umetc shape that represents the river moving into the distance. We don't need it to be precise, but believe me, these are angled lines that we can get pretty close to. In a way, it's like a triangle. Now we are going to try to freely represent the most prominent shadows that we see in the water. Note that in the water, there are both shadows and strong lights. Let's concentrate for the moment on the prominent shadows. Let's try to feel their shapes and the position they occupy in the space as a whole. We can use all kinds of lines as long as we take into account that in a certain way, the darkest part is on the left, because the building in the background cast shadow and also the reflection of the sun is on the right. If you are using a white paper, it's the same. Just skip tracing the prominent shadows, understanding that the whole water is becoming more illuminated towards the right. Pay attention that I not only use strong lines, but also a tin to represent some waves in the water. Pay attention to this part on the right. I'm leaving the space where the sun's reflection goes to create it later. If you feel like you are a loss doing this exercise, don't worry because it's just to help you relax and losen up. Just try to follow what I'm doing. In the rest of the exercises, we are going to draw this in and it surrounds step by step, creating everything, especially the architectural elements that surround the river. Notice how I tried to suggest the saddle waves in the water, creating the crest with curved lines, as well as the saddle hills that form on the surface. It's important to mention that I'm using a three B pencil this time. Depending on the paper you are using, you may want to use a darker one for your sketches. But I generally recommend a two B pencil if you are just starting out because if you want to raise something, you will just remove the gravite without marking the paper too much. On the other hand, try to observe the way I hold the pencil. My whole arm moves at the same time. I'm not saying that the wrist doesn't move, but it's the whole arm that does most of the work. It's important to see these details as we create. A specific lesson to analyze hand movement doesn't make sense because there are so many possible movements, and even your own arm has a comfortable way of moving, and you have to find that way yourself. That is the movement that allows you to have the most precision. The same goes for the way you hold a pencil. As for that building in the background, just try to represent it in a very general way. In this sketch, that building is not important. Now the fun part begins. We are going to find a light yellow pastel that is as close as the sunlight as possible, and we are going to start to represent the sunlight reflections in that space we left. Pay close attention to the way I do it. We must understand that the color of the water is always an implicit representation of the color of the sky, meaning that there is a very strong connection between the two. If we manage to represent the water well, it's because we are representing the sky well. Now, pay attention to how I add this more intense shade of yellow. It's slightly darker because as I move away from the strongest light reflection, this color changes. So we must represent that transition as well, taking into account that there are also orange or pink tones when we move farther away. And this is where interesting things start to happen. You can see that the atmosphere in the sky looks blue. But there are parts filtered by the clouds that change that blue tone. But when we see the reflection in the water, that color also mixes with the green of the seaweed, and it actually turns into a gray tone. Look how the gray looks on the water right at this part. Notice how I'm using this gray basil to fill in the empty spaces where the exposed color of the paper is. The truth is that the green color of the paper is mixing with the gray, too. Now, look how interesting this tail is. I'm going to add some white pastel strokes to the sun's reflections on the water. Once the yellow is added, this white color will blend with the base and look great as if it were real glitter. Since we used gray for this darker area, we can choose another darker gray for the more shaded areas. We can also combine this with a completely black puzzle to draw some completely dark lines, especially on that building in the background and the contours also. Now, following more or less the same pattern of colors that we added to the water, we are going to complete the sky with the only difference that we should not make random strokes like in the water, the sky is continuous. It has no waves. I was mentioned to you that the color of the shaded part of the river was a mixture of the blue of the sky and the green of the river. Well, now we are going to add a light blue or a light gray tone that represents the color of the sky. Now look how good it looks. In fact, we are also going to add this color to the water in some of the contours of the waves. Mm. We can even suggest the light projected on the walkway with these yellow lines. Look how interesting it is. Now, since this landscape is practically back lit, we must darken the building and all its elements even more to truly create that visual effect in the composition. We are going to use different types of hatching to fill the building with graphite, and especially the trees that are in that area of the building, pay attention to how I do it. Now, as a final touch, we are going to make some sun rays, the glare of the sun to unite the sky with the water in a creative way. In fact, we can see the glare in the reference image. And that's it. I must tell you that this sketch surprised me quite a bit. The reflection of the sun looks pretty good. And I think it's a great source of inspiration for everything that comes from now on, because this is just the beginning. I see you in the next lesson. 4. Calm Water and Distance Artistic References Theoretical Approach: Hello, everyone. Before we dive into the exercise of the victim calms waters, it's essential to explore some invaluable references with a solid foundation. One of the most iconic works we will study is the pond Argentle by Claude de Monet a treasure housed in the Muse Dorsa This masterpiece captures the serenity of water and the play of light in Acne where the bridge stands as a symbol of connection between natural world and human intervention. Monette with his characteristic lose and vibrant brush strokes, evokes the calmness of the river in a palate that dances between blues, greens, and golden reflections. The water appears to come alive, showcasing its ever changing character, while being affected by the sunlight that plays upon its gentle waves. The atmosphere of peace and tranquility that emanates from this peace invites us to observe closely how the shadow of the bridge reflects upon the water, creating an almost ethereal effect that captures the essence of the moment. Another fundamental reference is sunset on the St. At Lava Court, also by Monet, where the golden light of the sun at dusk, delicately glides over the surface of the water. In this painting, Monette not only captures a specific moment of the day, but also conveys a deep emotion through light and color. The interplay of sunlight in the gentle waves of the scene creates a visual spectacle where every glimmer and reflection tells a story. This work offers invaluable lessons on how to represent light and atmosphere in our own creations, reminding us that the water is not merely an element of the landscape, but a mirror that reflects our surroundings and our emotions. On the other hand, we will consider the grand canon. Where the Monet showcases its mastery in using color and light to represent water. In this painting, the interplay of light and shadow on the water surface teaches us to observe how architectural elements in nature interwind within the composition. Monte provides us with a view of how light transforms the landscape and how water acts as a receptor of that light, capturing its beauty in gstant flocks. This work invites us to contemplate the relationship between water and the surrounding environment and how this relationship can influence our perception of the landscape. While our focus will primarily be on Monet, it's interesting to explore other approaches that can complement our understanding. Works such as the bridge over the sein at Asners by Vincent Van Gogh, which showcases a more expressionistic approach, teaches to see water from a different perspective with bolder strokes and vibrant pallet. On the other hand, view of the sine in the pavilion by Johan Bar hold captures the essence of the scene, offering another vision of the interaction between light, water, and the architecture that surrounds it. In our exercise, we will use as a reference a view of the pont de La Concot view from an inner arch, where we observe the calm waters of the sein. In this scene, the water takes on a green hue as the bridge casts its shadow over the surface. In the background, the use des another welding loom, with a yellow sound gently reflecting of the water, creating a fascinating contrast between the architectural structure and the natural environment. We will begin our drawing using graphite to establish the composition and basic forms, ensuring that we capture the essence of the scene. Then to breathe life and color into our artwork, we will apply basil emphasizing their interplay of light and shadow that we have learned to observe. It's important to highlight that we will be using paper of a tone that will serve as a color of the concrete elements within the architectural composition. Allowing us to create an attractive and dynamic contrast in our final artwork. So let us draw inspiration from the references we have explored and reflect on how these masters capture light and water in their works. Remember that the essence of impressionist paintings lies in the experience and experimentation. Don't hesitate to play with colors and techniques. Let your creativity flow and allow the process to lead you to unexpected discoveries. Every stroke and shadow you apply will be an integral part of your artistic expression. And in the end, the most important things will be that you enjoy the creative journey until the next lesson. 5. Drawing Layout Calm River and Walkway: Hello, people. We are ready to render this beautiful landscape in Paris. First of all, we have to break down the most prominent shape on the picture, and that is the bi dimensional shape created by the river in perspective. That is the very center of the composition. As I mentioned in my other drawing courses, human sight is very sensitive to angles. So striving to find the exact proportions of that river is senseless. Conversely, try to find the exact angle produced by those lines. It's a far more appropriate strategy. As you can see, this inclined line represents the edge of the road, and this vertical line, the shadow projected on the river. Now I'm going to trace the horizon. In my hand movement, you can notice I rehorse the line before engaging the pencil on the paper. I suppose you have seen so many painters doing this. We don't want to mislead the pencil on paper. Now we have an scaling triangle, and that triangle is the dimensional representation of the river. What do you think about that landscape? What is your take on? Would you take your lover to a place like that? I would. What we are going to do now is that internal part of the bridge. And you can notice also that there is an inclined line, too. And now I'm going to do another inclined line. But this time is an imaging one. I'm going to do a line that grows right from this point to the middle of the walkway. And what is the purpose of this line? Well, behold what we are doing now. I'm going to trace a line that grows from the walkway to the very ceiling. Now I have an approximation of the tunnel angle with a line that grows right from this point to the top of the vertical line. I Wala, we had the tunnel outline created. Now that we already have the tunnel outline and even the horizon, we can start creating that building on the background. And I should stress that that building is, in fact, not a building. It's the most beautiful museum in Paris, the Orsa Museum. From my point of view, it's the place in the world where the most beautiful paintings known in the history of art are found from all over around the world, from different periods, but precisely from that period when there was a transition between figurative painting and abstraction. For now, let's concentrate on Cantor's that building outline. We are supposed to use everything as a reference point. The tunnel outline, the walkway, and the river itself. Et's complete some general details on that building. For example, this walk away over here is very important. We are supposed to follow perspective across the entire building and pay close attention that there is a downward path. Young people used to go down through there to hang out. They used to get together in those places to chill with their friends and lovers. Let's pay attention now to that roof. I'm just going to shade that section for now. Now that we already have the build counter, we can trace that cable on the ceiling. Try to trace that cable intuitively because due to the fact that we have already created the surroundings, that cable is properly located. So its position is more important than the shape itself. Additionally, we didn't have any idea about the purpose of that cable. I mean, we are not drawing a phase. It's a random cable on the ceiling. Try not to get stuck with this car. For now, it's just an approximation. I mean, if we need to fix it later on, we can do it. Now I'm going to do this kind of hatching right here to represent this shadow. Pay attention to these lines over here. Their function is to represent perspective. So the separation between them, the gap between them is supposed to be narrow by the edge. Now I'm going to do this arc over here to follow the perspective in a tunnel on this section. You can notice it's not that complicated. I'm just following the first arc. I'm going to do also a second line over here. And now I'm going to trace some general shadows over here. This one is very, very important. You must pay attention that the lines themselves are supposed to contain shading in themselves. Now I'm going to map the shadow projected on the river. This first sketch is the drawing spine. Its function is provide enough information to develop the drawing. I highly recommend you not doing the first stage of a drawing with a very light graphite pencil. I mean, don't use it while working with expensive paper because you will have to push the pencil against the paper, thereby creating unnecessary groups. Try to use an HB pencil. Now, I'm going to indicate which are those sums that are shaded. For example, this building over here and also right here. Now I'm going to do the sound outline. And there you are. This is the first stage of our drawing. As I mentioned, is a kind of map to develop to drawing. Let's move on to the next lesson where we are going to address the general details. 6. First Details Calm River and Walkway: On this lesson, we're going to address the walkaway and those building details. It's very important to get used to it because they are the farthest elements on the composition. And even though this is a drawing focus on water and light, this is an impressionist drawing course, and water is not always isolated. You are likely to portray ports, rivers, seas, et cetera, and there are always buildings and ships around. If you have already taken the titanic course, you may notice that this building is quite similar to that from the Titanic picture. That building on the background. So we must apply the same strategy to make it. We are going to focus on the most notable details from distance. For example, that clock over there, that clock stands out among the building features. You are given the reference pictures to follow the drone, but I highly recommend you not to watch the picture from close. Try to pay attention to the most notable elements from the distance. Do not waste your time rendering senseless details. If you watch the picture right at close, you can notice there are many elements that are necessary. I would dare to say that the most important elements are those that depict the building in the most fundamental nature. As you can see, I'm creating the general structure. I have drawn the clock because it is an important feature. Here, there is an important issue. You may think that those arcs are supposed to follow perspective because some of them are closer than others. I mean close to our point of view. But the truth is that from that distance, the perspective effect is not that significant. So the fact that some of them are larger than others is not going to change the viewers perception dramatically. And I remark this. The most important thing is that they are placed properly. But hey, do not misunderstand me. There should be a difference in terms of perspective. I mean, the first one is larger than the last one. This and other part is very important. You can barely notice those ornaments over there. I mean, from that distance, it's impossible to understand their complexity. So we must try to understand the general structure of every single ornament and try to do an irregular shape that matches it. For example, those pointed structures are important. What about the music? You want me to change the music. You are listening to this spectacular Jan air soundtrack. Pay attention to how I'm determining the width of the ornament, by the width of the arches. I highly recommend you start with the outer structure and then move on to the inner structure. Another smart strategy is to break down shades. I mean, for example, here, this tree. You can break it down into one single shadow. The reason why I am creating all these details with graphite pencil is because that building is not the darkest element in the drawing. Even though it is back lit, the building is not under the bridge. If you feel you have advanced enough on that building, you can complete other details with a darker tone of graphite pencil. For example, this section over here is a kind of dark stripe. You must remember the further the elements are, the more misty they can be in the composition. In reality, this technique is not exclusive to impressionism. Even in the Baroque age, it was also done, but not in such a deliberate way. On the other hand, in impressionism, this fleeting, moving aesthetic with few details did have a direct purpose that affected all the elements of the work. We have almost finished that building at least in a first stage. We must try not to complete one single element on the composition at first because once you advance on the drawing, you are likely to find out new approaches to this very element. So I'm going to move on to this wall over here. I'm going to do these bricks on the wall. I'm going to try to render different brick tones to add depth to the wall texture. Now, pay close attention what I'm going to do. I'm going to create a kind of drawing grid to complete all these walkaway. Pay attention. I'm creating a parallel line alongside the car. I'm going to draw a cross line that comes from that square that was formed by the first construction lines that we made in the last lesson. And I'm going to do this other cross line. Now I'm going to do another parallel line right in the middle. That line is supposed to cross the center. Now, pay attention, creating another cross line from above. And that line hints me the position in which the next parallel line should be. Now I'm going to follow all this process over and over again. And that is drawing grid. I don't think you need a specific course focused on drawing grid. I think it's something you are supposed to learn over time. Additionally, drawing grid is not always useful. For example, in irregular surfaces, it's not useful at all. I have another drawing course focus on it. Because, for example, if the surface you are drawing is of an old town, it's likely that the street will have sunken or slightly raised parts in a chaotic manner. The drawing grid loses all meaning depth. The coursing which I explained this was developed in the Gate quarter of Barra Slona and is also available on this platform. Now that I have finished this drawing grid, I'm going to create the cobblestones of the street. And this is easier than you think. Because if you pay close attention to the reference image, the rocks are irregular. They are not of the same size. So literally, you are able to create your round cobblestones pattern. You just try to follow that drawing grid. I think the only detail you have to follow is that the stones have to become smaller as we move away, but they don't have to be the same size among themselves. Just try to follow me and be patient because there are so many stones on the walkway. I'm trying to go through the whole process with you so that you can see and understand that you can do it yourself step by step. It's useless to skip steps and make you feel that I did it easily. I think that nowadays there is a bad habit with social networks and social media. Everyone says that everything is easy, that everything is possible quickly. But I think you have to practice a lot. Sometimes not even about practicing, but being aware that everything takes time. Grating these stones, each one of them takes some time as you can see. I personally find the process of creating cobblestone streets relaxing. It's like a mandala. The most interesting thing is the wonderful result afterwards. All this we are doing for persons mentally to tackle water and light in the next lessons. I love the effect of the walkway. What do you think? It's great, isn't it? I'm going to sharp all this shaded zone over here. I'm going to highlight all these sections over here. I need to map all that sky over there. There are clouds with yellow light. It's necessary that this sketch is useful later on. Perfect. We have reached the end of this lesson. We already have the map out of this drawing. Prepare your dry pastel for the next lesson where we are going to dress the water. 7. Water & Sky Color Calm River and Walkway: Perfect. We are here again. Let's start by filling this entire river with white pastel. But let's focus on the illuminated area on it. The strategy is to create a kind of base color that serves as a foundation of this composition. Once we get this finished, you will be able to realize that the paper color is going to represent the walk away color. We must also fill the entire sky with this white pastel. Pay attention that I'm going to leave some pastd shreds over here to represent that shreds of light. And also some pastel over here to represent this light over the core. Now I'm going to use the white pastel pencil to feel the edges, all the building outline. We're going to add some pastel over here with this very pencil to clean the edges. Now, with some paper, I'm going to diffuse all the material. The idea is to spread it out across the paper. Now, with this green colored pastel, I'm going to create all the shadow projected on the river. This is not gonna be the final color. This is a base color, too. Now I'm going to add this special green tone. Try to see this color on water. Pay close attention to the reference image. You are not able to see it at first sight. They are actually gray shreds of light projected on the water. Now I'm going to apply this dark green tone to create the darkest zones on the water. I must try to fill the entire space with color. Let's start touching the sky at once with this yellow. The reason why you are supposed to start with the sky at the same time is because that light is also projected on the river. Now I'm going to fill the entire ceiling with this dark green. The final finishing on the river is the byproduct of all those textures projected on the water. So we are supposed to have enough information in our surroundings to render the reflection properly. Pay attention to this blue color on the sky. Now, pay attention what I do now. I start adding this very color to the river. Now, very carefully, you must blend all these material. We must do it also in the sky. Now, with this white pastel, I'm going to create the sunlight reflection. And right at this point, we're going to start creating small details. The main idea is to create a colmer representation of this water. Using this dark gray, I'm going to create all those forms that you can see on the reference image. I highly recommend you do not get too close to the reference image, as this will confuse you even more. Try to draw what you see from a distance. In the same way you were patient with the cobbled stones, you should be patient with water. Since graphite is also gray, we are going to use it to create the shadows and waves in the part under the bridge. Now I'm gonna retouch everything with this light gray. Now I'm going to use this white pastel to continue creating curves in representing the little waves. You can already feel the river coming to life. At least that is how I feel. Look how important this blue is, the same one we put in the sky. Now, I'm going to fill the sky with more blue so you can feel the connection between the sky and the river. You have to make sure it's exactly the same shade of blue or at least very close to it. Now I'm going to use this ochre color to represent the reflection of the paper color on the water, since the paper colour is rendering the concrete color around. Now, with much more care, we will try to make even more details with the graphite as if it were a higher level of resolution. This stage is quite slow. Try to relax and follow the shapes little by little, even make spots you see, even if they don't make sense to you because when they are all together, they will make sense. We are going to try to mix this process with white pastel, always using it with pencils, white pastel pencil. Okay. Remember that the closer we get to the sunlight, the more details there should be with the white pastel. Oh Now, you can feel the movement of the water much better, right? Once you have drawn water many times, you will begin to understand its behavior and irregular patterns, then you can experiment and creatively interpret what you are seeing. You didn't have to copy exactly what you seen. Just understand what you are seeing in order to represent it. Notice how this entire middle section seems to be shaded with the blue light, and it looks wonderful. Try to spot the key areas that make water look compelling and beautiful. This is one of them. Now, we must try to follow the same pattern, but with much more white basil, so that there is much more light in this area. Now I'm going to cover the whole ceiling with pastel to darken it even more. It's necessary to do this whole process before continuing with the water. The reason why this ceiling has to be completed before we move on to the water is because the final color of this ceiling has to be reflected in the water. Only in that way, we will find out what a part of the water under the bridge should finally look like. I'm going to put a little more white pastel on the walkway. This is the end of this lesson, and we will continue to delve deeper into the effect of water in the following ones. 8. Bridge Cealing Details Calm River and Walkway: Hello, people. Let's start by addressing this seal that bridge section above. As I mentioned in the previous lesson, it's crucial to finish the sealing before engaging in the rest of the river, especially that part that is under the bridge. This sealing is not as easy as it seems because it's shaded. I mean, you have to tieve a shade that also contains texture. When it comes to dry pasts, dark tones are more difficult because papers are always much lighter. So more pigment is required. Try to pay close attention to the different range of greens that I'm going to use here. Those colour layers that are overlapped superimposed one on top of the other to get the final color. You have to understand that drawing and painting are a language. And as a language, there are things that acquire meaning, not by their nature in itself, but by the place that they occupy in the composition. This is the case of this ceiling. Doing this ceiling well changes the meaning of what we are going to see below in the water. It makes it look more interesting. So working this ceiling well is indirectly working the water well. As I mentioned before, even if you notice that I'm doing a texture I mean a green texture is a basement, a foundation to create a properly visual effect later on. Remember that when working with graphite and pastols at the same time, we must be careful because the pastel slides on the graphite. If we apply a lot of graphite, we will completely fill all the groups in the paper. Graphite is quite hard, so the pastel piment will not find a way to adhere to the paper. The tip of the pastel pencil will just slide. No, I'm gonna darken the whole thing. We must try to spread the dark pastel respecting the details that we have already made. They are like our map out. It's the information we are going to use to continue making new details. Notice that now that I had already created details, what I do is follow those details with this brown pastel pencil. Texture effects also take time to do. In the case of this drawing, we are not breaking down that ceiling into a simple, flat, dark shadow. While that might be a clever technique, in this case, it's not interesting because the sunlight is too strong to not also illuminate the ceiling. I mean, this ceiling should be partially illuminated, even if it's dark because the light from the sky reflected in the river also illuminates the ceiling in some way. Look how it starts to look more interesting. The dark ceiling gives more value to the light from the water. How useful is this tool, the Pierre noi? If you really like to draw, you cannot miss the pencil. Even if you are only using graphite, the tones you get with the Pierre noi are an intense black but has no comparison. Now I'm going to complete this section of the river. What I'm going to do is match it with the tone of the ceiling so that it feels reflected in the water. I'm using this shade of green to get closer to that color on the ceiling. Of course, small details are important to give it volume and consistency. I'm going to use this white pastel pencil to make them. You have to be aware that even though you are using a white pastel pencil, you are not exactly painting white because there is already pigment and paper. This is the very pastel nature that makes it very similar to oil painting, which makes this technique very useful when it comes to colors. Pay close attention to this. In order to render those gentle waves properly, it's necessary to understand their shape in a coherent way. Those little shadows you see over there are little hills in the water. That shadow is there because the elevation of the water blocks out a bit of the sunlight and therefore produces that dark area there. So all the dark zones or dark spots you see in the water are the byproduct of a little elevation. Now I'm going to use the same green that I used on the ceiling to enhance the color of the shadow here on the cobblestone path. Because if the shadow on the ceiling is that color, the shadow on the cobblestone path should also be close to that tone. After all, both the ceiling and the bath are made with the same material. Look how beautiful everything starts to look. Even though it's not a realistic drawing, there's so much reality in the light that it makes it very attractive. That is the very core of impressionism. Look how important this detail is on the edge of the carb. I'm making irregularities in the carb so that it feels like the concrete has come loose a little and looks more real. Pay attention to as this path looks better, the water itself looks better. It's incredible that this is the case. It's like you have some isolated words, and then when you put them together, they take on another meaning in a point. And the same words become more beautiful than they were initially. Look at this detail and adding shadow to the cracks in the cobblestone to represent the light and shadows much better along the path. You can already see that the paving part always takes time, so we have to be patient. This part is important when it comes to cobbled stones. A slight particles collide on each of the stones and must be captured. Now I'm using the pure graphite pencil to get the most graphite in this area. Look how good the water looks at this stage. Pay attention to the light, the volumes, and the shadows, but we will continue moving forward to the next lesson. 9. Distant Building Details River in the distance and Walkway: Hello again. In this final stage of this drawing, we are going to add the range of colors that we had used throughout the process in that building behind and also in the sky in the same way as it happened with the bridge, this will make the water look even better because all the elements will be more integrated into the composition. You can see that in the reference image, there is a soft light illuminating the building in the shaded part. So we need to represent that the concrete is lit in that way. So I'm going to add these gray tones and blue to achieve that. The purpose is for that building to have a color tone quite similar to the blue that I applied to the sky. This gray, although not blue is close to light blue. Grays are close to blue. When we work with color, we begin to realize the true nature of colors. As I mentioned, graphite is a gray color in orange, so we are going to apply it to the roof to create the darkest tomb of this building. I'm using a very dark shade of graphite. Pay attention to how cool this is. I'm creating the windows details, and since a large part of the building is grayed out, the windows have a lighter tone. In fact, the lighter tone is the reflection of the water in the windows, and this happens both in the drawing and in the reference image. In distant objects, it's always important to give as much detail as possible because the size of the pencils will always be a limitation. I mean due to the nature of the pencils, we will not be able to make all the details. This has happened to all realistic painters throughout the history, and it's from there that impressionist movement comes. That is why most of the impressionist works in the history of art are small informat. Pay attention to how those lines are represented in the sky. Those crossed clouds are very important in the sky. Look at this detail. The light not only spreads in the point of light, but seems to adhere to the edge of the bridge. So I'm adding white bastal that stands along the edge. M. Look at those blue parts in the sky. It's like an opening between the clouds that lets you see the blue sky in the background. As I always tell you, drawing and painting have nothing to do with the pencil. It's actually the ability to see the tails. Things are not simple. They are full of details. Pay attention to this wall over here. I'm doing these white traces to portray the bricks. You must try to do on those elements, a next level of details. I'm doing bricks over here and also sharpening this edge on the river. H. Pay attention to this detail. Even though it's not in the reference image, this detail seems to describe that the sunlight is impacting that surface. Now, I'm adding more white pastel here so that the reflection of the river and the windows is even more noticeable. We're going to focus now on those builds on the background. We must try to portray the most noticeable details from the distance. We can use imagination also to do it. I mean, try not to render the reference image, but to interpret the reference image instead. Now, behold, how beautiful this building looks like. Impressionism is all about details in the distance. It's important to see good references. Look at how the building looks already at this stage. It's something that, as I said, improves the language apply to water. I personally find impressionism magnificent. Impressionism was created after photography when it was no longer necessary to completely imitate reality through painting. The aim of impressionism is to interpret reality from a creative point of view regarding colors and details. Y. I think these are the final ******* on this building. And there you are. You have a beautiful rendering of the Seine River in Paris. Observe the magic of the color of the water in the shaded part of the river. It is a language of color that portrays the essence of the beauty of Paris. I hope you have enjoyed doing this drawing. Four. 10. Theoretical Approach Artistic References Water with Bright Sunlight: Hello, people. Before we begin our exercise from the Pont de La Cite, where we will capture the same river from a close perspective, illuminated by the bright afternoon sun, it's essential to explore some references that will inspire us in this creative process. This will not only reach our vision but also provide us with valuable lessons on how to use lines, colors, and shapes to represent water and light. Midday at the beach of Valencia by Joaquin Zoroya is a splendid example of how sunlight transform Asin. In this work, Saroya immerses in a vibrant atmosphere where the waves shining intensely, reflecting the light as if they were made of crystal. His technique of quick brush strokes and his ability to capture the movement of the water reveal the magic of the sun reflecting on its surface. The second work, the Little boat features a small boat anchored in a resplendent sea. Here, sunlight reflects off the water, generating a blade of light and shadow. Seroya achieves this effect through masterful use of color and texture. For our exercise, we could begin by outlining reflections in the water with rafte later on when applying basil. We would use bright colors and sodded radiations to achieve the same luminosity, highlighting the sparkles with yellow and white, while the shadows would be represented with deeper greens and blues. Finally, Calla de San Vicente in Majorca offers a coastal view where water and light interwind magically. Zeroja captures the clarity of the water and the glow of the sun in this is. To imitate his technique, we might use graphite to create lines that suggest the texture of the water. With pastel, we would apply layers of color reflecting the play of light on the surface. We would start with a base color and then overlay lighter tones, allowing each layer to contribute to depth and vitality to our presentation. Now when we observe the works of Turner, we encounter it exceptional ability to depict sunlight, water. In regulars, the radiant light and effects of the water reflecting the sun creates a vibrant and dramatic atmosphere. Turner used intense contrasting color to achieve a luminous how that envelops the scene, inviting us to feel the warm of the light. In his piece, Kilman heaven caused by moonlight. Although it's suggested to be a nighttime scene, the illumination is so powerful that it seems to emanate from the sun. Creating an effect that will evoke the luminous halo we will seek in our work. Turner's technique centered around the fission of color and light, an aspect we can apply to fight and basil in our exercise. As we focus on the pont de la Cite, we envision the arch of the bridge framing our view. The sun's light intense and golden filters over the water, creating a vibrant reflections that capture the essence of Berries. Will use pencil for the initial counter followed by balls to evoke the light and color of the water. Additionally, we will choose paper with a tone that simulates the concrete of the architectural elements, which will help anchor our work in the Parisian context. So as we explore these references, let us remember that each stroke and color choice is an opportunity to experiment and develop a run autistic voice. Creation is a personal journey, and each work should resonate with our individuality. Let us draw inspiration from Zeroya and Turner and their mastery in capturing light and water. Allowing our works to become a celebration of the beauty that surround us until the next lesson. 11. General Structure Water with Direct Sunlight: Hello, people. In this first lesson, we're going to build the overall design of the drain by focusing on the structure of the bridge and the pathway. It's essential that we construct these elements accurately as they will help define space for both the river and the sun. We are going to start with a visible part of the pathway, which can be seen as a slanted line to the right, beginning from the horizontal base of our paper. This angle is quite prominent. From there, we will begin constructing the arch of the bridge, which is a key feature in this drawing. Right from this point, try to watch how I trace out an angle to determine the dimension of the arch in relation to the pathway. We are drawing one of the historic bridges around the Isle de La Cite, home to the Notre Dame Cathedral in the heart of Paris. Many of these bridges date back to the 16th and 17th centuries, and they are integral to the city's architectural and artistic heritage. These bridges are important because they symbolize the connection between the old and new parts of the city and offer stunning views that have inspired countless artists throughout history. Here you can clearly see the angle. It's almost 45 degrees. It's essential that you visualize this in the reference image. This angle will allow me to construct the arch. From this arch, we can then build the exit of the tunnel visible in the background, as well as the interior of the tunnel. As a result, we will have the entire space for the river already set on the paper. But on the other hand, it's not just this angle that is important. You can also start building lines that are close to the ones already on the paper. For example, this bar led line allows us to begin seeing the structure of the walkway more clearly. The initial stages of a drawing are slow and require a lot of observation. It's necessary to be patient because we are making the backbone of a drawing. This doesn't mean that the steps we are taking must be perfect. Remember that we can always correct them. What I'm trying to say is that you should reflect a lot on the composition of the landscape. You should try to observe that logic behind the architectural elements of what we are seeing that, in this case, is a bridge. Now we are ready to create the background of the tunnel, as well as the background of the landscape beyond the tunnel. We have enough information with this main arc, and we must take this important step to create the structure of the composition. Pay attention to how this small angle allows me to know if the position of the internal structure of the tunnel is correct. From here, I can create the arch in the background as well. Remember that it doesn't matter if the proportions are not exactly the same as our reference image. The important thing is that the structure makes sense. I mean that it feels like a bridge is real, that its shape makes sense in perspective. The whole thing is that we are going to portray the bridge and it should look real. It's more important that its structure looks real than we fight to make it look the same as the reference image. Remember that our technique is impressionistic. As this part of the walkway is closed, it's advisable to start drawing its details. Each of the squares and lines that make up its architectural structure are reference points that we can use to build the rest of the composition. Pay attention to the fact that I'm creating an interpretation of the cobble stones on the floor. In fact, I'm going to modify it later, but it allows me to complete parts of the landscape to have more reference point. As you know, I have the proportions of the two main arches, and I have the information to build the structure of this bridge column, due to the amount of light it's barely visible. But if we look closely, we realize that its structure is there and we must represent it. As the structure of the column is barely visible, we can experiment with its nature, for example, with the number of elongated blocks on the side. We don't need to count how many there are. Simply depicting them is enough to capture the essence of the bridge. That is part of the impressionism. The same goes for the elongated blocks that are bordering the arch. The most important thing is their essence, the concept. I mean, no one is going to count those blocks. So unless there is a really significant detail in one of the blocks, it's not necessary to do exactly the same number. The only important and very subtle details is that as these blocks move away towards the left side, they should reduce in size very subtly. But that is something that we can correct even later stages. Pay attention to how with this very general structure of the drawing, we can already feel the depth of the space. I mean, we don't need to add shadows or gradients for A space to be well constructed in proportions. It's careful observation that will allow us to create depth and balance. Now I'm going to add a light hat chin on the drawing to represent the most important shadows, especially on the inside of the bridge and the water also. Hat chin is a crucial technique in impressionistic drawing. As it allows artists to create texture, depth, and movement through simple lines, unlike traditional high detailed shading, hatinimpressionism captures the fleeting quality of light and shadow with quick expressive strokes. This method helps to convey the atmosphere and emotional impact of asine. Even though this will be a color drawing, we must map out its entire construction in graphite, not only because the graphite will be part of the color, but because it's a solid base that will give us the appropriate Kiaro scoto for the entire range of colors that we will use. And that's it. We now have the general structure of our drawing. You can see that it even seems like we are seeing the bridge from farther away from our point of view. And it's very interesting because it gives us a better sense of space in the entire composition until the next lesson. 12. Color Base Calm Water with Direct Sunlight: Hello, everyone. In this lesson, we are going to add the base colors of our drawing. But where do we start? We must understand that the selection of colors in the initial stages of a drawing, even in oil painting, always goes from the lightest fundamental tone to the darkest tones. For example, I'm going to start by adding this light brown color on the paper. A lighter base. And then I will add a military green that will represent the darker tones of the river. But pay close attention to this. This doesn't mean that this will be the final colors, but the base from which we will grow the color of the river. The reason why this should be so is because we are going to use the base color as if it were the color of the paper, and on it, we are going to draw the shadows and the rest of the volumes that will represent the final color of the water. Note, I'm applying the light brown tone first to represent the shadow of the bridge over the river and pay attention that I'm doing it gradually and carefully, and above all, trying to fill the space consistently is not necessary to blur the Bkment for now. But let's try to draw the shadow of that bridge a little bit. Pay attention to what I'm doing right now. If you can look closely, the water seems to move slightly in this area from the left to right. So I'm trying to place the color in that direction as if it were a wave. Now I'm going to start applying the dark green tone. Try to pay attention to the reference image. Notice how I apply it in the darker areas of the shadow progressively. I'm not trying to make too many details, but spreading the pigment over those fundamentally dark areas. Now I'm going to use this color between gray and blue to represent this illuminated area of the river. In the same way as in the other area, we are just going to add the color progressively as a base that we will later modify. The blue and gray colors are closer than you might imagine. See how apply the color in the regular waves that join the illuminated part with the shaded part of the river. Now I will use this light gray color to represent the base color of the walk away and the concrete of the bridge. Notice how this color actually matches the lighter parts visible in the concrete. Right here, you can better understand what I'm trying to tell you. I mean, later on, I will add all those texture details that create the relief and volume of the structure. Now I'm going to do the same for the ceiling under the bridge. Try to feel this subtle yellow color that is the product of the sun, of the color of the concrete in that yellow color of the sunset. Since this gray color is a kind of white color, it practically works as if it were a white surface that absorbs the color of the sun at the moment. But the color of the sun is not the only one hitting that ceiling. The color of the water is also reflecting on the ceiling. Therefore, we must add this sidle layer of brown to the ceiling as well, so that it blends in with the composition. Brown and green are also very close colors. Now we'll use this green tone also for the darker parts of the ceiling. What we are going to do now is to blur all the color that we have applied to the drawing, but sadly, to make the gaps between the strokes disappear, we're going to do it gently. It doesn't matter if we break the hatching. I'm going to continue adding this very spatial gray over the entire external structure of the bridge. Notice how I do it respecting each block of the structure. And, of course, we are going to blend here, too to make the cracks between the pigment disappear. I'm going to add white pastel right here where the sun is to clean up that area and mark the most illuminated point of the composition. As we have added the color, some fundamental lines of the structure of the drawing will be lost. So now we must retouch them so that they can still be seen even though they have the color. So progressively, we will try to highlight and reinforce important lines under the bridge, for example, on the horizon in the background and also in the blocks of the bridge structure, even in the walkaway, if necessary. We are going to use a very light graphite pencil to highlight the most important lines in the light areas in a very dark one for dark areas. In the case of the darker areas, I highly recommend you a Pierre noi pencil. Pay attention how important it is to leave those lines on the ceiling of the bridge. These lines help us to represent the perspective inside the bridge. And that's it. We have the color base for our drawing. It's an excellent start, then I'm sure you will be excited to see the final result later on until the next lesson. 13. Water First Details Water with Direct Sunlight: Hello again. In this lesson, we're going to do the first approach to the water details. We are going to start by adding this black color to a dark pigment to the color of water. We are going to add it in the most pronounced shadows in those places where we feel that the water reaches a very dark green tone. Once we add that color, we are going to use the same military green, and we are going to apply it over everything we had done to fill the entire space, the entire shaded part. That will be the main color that will predominate in the water. Pay attention that even though I'm filling the entire space with shadow, I do so with a certain coherence, seeing the shadows, trying to follow the saddle wave that rises slightly. That is something that we will refine later on. But it's important to be aware that there is a movement and volume in the shaded parts of the water. Try to be very careful with the edge of the shadow. You must try to follow the spots formed in the water. Try to follow the sequence that you see at the edge of the shadow. Remember that all those irregular shadows are part of the movement of the water, and we must represent it. Pay attention to what I'm doing now. In the illuminated parts of the river, there are also shadows of the same color as the large shadow under the bridge. These shadows are the result of the waves blocking the sun as they move. The small wave moves, and at the angle it rises, it slightly blocks the sun. That is very important to know in order to understand why shadows are made. The small waves are like little hills on the water. With a lot of patients, you will make spot after spot shadow after shadow. Even if you feel that what you are doing doesn't make sense or you feel that it's not turning out as it is, try to make all those spots that you see in the water, understanding the principle that I mentioned. Once you understand the principle of the little hills on the water, you will be able to experiment on the water. In fact, that is a bit of the idea of this drawing, but we will see that later. One of the great impressionist painters who capture the essence of water, especially in rivers is Alfred Sicily. His mastery in depicting the shimmering reflections, gentle ripples, and the movement of water is remarkable. Cisi's work often features the serene rivers of the French countryside, such as the Seine and the Themes, where he skillfully rendered the way light danced on the surface of the water. Brush strokes were delicate yet deliberate, allowing viewers to almost feel the flow of the river, the soft breeze, and the changing sky reflected on the water surface. In some paintings, Sicily embraced the flitting quality of light and shadow, evoking both the calm and subtle dynamism of the river's presence. His use of soft blues, greens and earth tones created an atmospheric quality, making the water an essential character in his landscapes, alive with movement in natural beauty. All these drawings we had made about Sena in this course are inspired by his work. Now we're going to start to give life to the water. We are going to use the white pastel pencil or a small sharp piece of white pastel. We are going to use this to draw each of those reflections of light that we see on the water. In the same way as we made in the shadows, we will make these reflections progressively one by one following the progressive movement that we see in the water. Observe the small waves. Every single spot has a sequence that we must follow. We must draw slowly and very carefully. We must take advantage at the moment and trace the direct reflection of the sun on the river near the horizon. Observe how slow the process is, observe the chaos of the reflections. The process is slow, requires observation, but more than that, you will truly feel the movement of the water as if the shadow itself were gently pushing the water towards the light. Now we're going to start applying some touches of yellow. It's a very bright and clear yellow. But when it is applied over this range of greens and grays, it will then dilute. What we are going to see on the paper will be the byproduct of that mixture. Now pay attention at these touches of gray. It's a slightly denser gray. Every time I add a color with intention, I'm adding resolution to the reflection. This is very important. Now we are going to repeat the process we did at the beginning, but in a darker shade, we are going to apply the dark green to the entire shadow projected on the water, and then we are going to apply the black color again on the most shaded areas. As the color combination grows, we will feel the need to continue retouching the other areas, and we should not stop doing so because that means that our observation is improving, and we are noticing many more things than before. That is we are more aware of reflections and details. Now look at how I'm blending the black hatching that I applied over the dark green. Try to see the soft shadows in the water. They are very subtle. The slightly darker part is because there is a slight elevation in that area that is slightly blocking light. Remember that your fingers are the best tool to blend the pastel accurately. Now with a Pierre noi pencil, I'm going to make dark details on the water. Generally, these details are close to the random reflections. Now, pay attention to how beautiful this detail is. These small white spots in the water. It is fun when the water that being white reflects more sunlight. And that's it. These are the first details of the water, which is going very well, but this is just the beginning. I'll see you in the next lesson. 14. Bridge First Details Water with Direct Sunlight: Hello, people. In this lesson, you're going to cover the first details of the bridge and the walkaway. The idea is to store from the area closest to the water and work our way to the rest of the bridge. Pay attention to what I'm doing right now. I'm going to mark all these lines that you see in the reference image. They are quite contrastint near the water. I'm going to use a dark gray in the Pierren. It's important to mention that it is actually a coincidence that the concrete in this image looks gray in particular. It's not common. However, the color of things is the result of light projected on the material. This walk away in other lighting conditions could look completely different. In fact, in the other drawings, the color changes quite a bit. Now pay attention to how interesting is what I'm going to do. This part of the wall is almost facing the sun. I mean, the sun hats that area quite a bit, but not only that, but the sun projected on the water also hits the wall. Consequently, the light projected on the wall will not only be yellow but green. So now I will add a light layer of light green to create that effect. Now, we'll add that dark gray that predominates on the wall. But obviously, it will be mixed with that green, looking just like in the reference image. Now, using the same gray, I will begin to add the marks that belongs to the textures of the cobbled stones of the road. We can combine shades of gray. For example, here in the reference image, you can see that there are darker areas. This is very important because it means that they are deeper areas. They are deeper cracks. You should try to be sensitive to the small details. For example, here on the edge, you can see that there is a light stripe. It's quite a bit lighter than the gray and green tones, and in fact, we can even play with the color of the paper in that part. But it's important to draw a border so that lighter stripe on the edge is noticeable because it creates a very interesting and realistic visual effect on volume. For all these gray tones, even to add density and darkness to some colors, we can use graphite directly. In this case, I'm using pencil to create a texture, the smallest details of each concrete square, to create irregularities in the small random cracks in the concrete. Now we're going to start creating the color of the inner part of the bridge. This array is a bit complex because it has several layers, so pay attention. I'm going to add a first layer of dark yellow tone. This will be the outline base color. We're going to apply it respecting the direction of the lines. Now, we are going to add another layer of dark green, the same military green as the water. We're going to make a hat chin to cover everything while also respecting the direction of the lines. The perspective lines should continue to be seen regardless of the color we are applying. Look how it take more and more care of the details. As we get closer to the final color, we will take care of the details. This is the process of creating a texture. Now we're going to try to see on the top of the wall a kind of brown color. We should represent a darker brown that is projected for some reason. Pay attention to the ceiling where the lights are. Around there is a brown color, and we should add it. Now we are going to retouch the tails with the Pierreni in the color within appropriate. But above all, the Piergnoi to improve the area of the wall in contact with the water in the upper edge of the tunnel. We will achieve the color of this part of the tunnel little by little. I not only this, but you must take into account the halo of sunlight that is substantially modifying the color of everything around it. Now I'm going to use this bluish gray to represent the parts of the bridge that are back lit. If you look at the reference image, the area we work on a few minutes ago is exposed to the sun. So this shade of gray should be different. It's important for you to know that you can experiment with this. That is what impressionism is all about. But what is essential is that the shade be different because what is happening with the light there is different. It's basically the low gray in the shadow mixed with the glare. So I'm going to apply this gray on each block so that the color of the paper becomes part of the texture of the concrete as well. The color of the paper is part of the drawing. Notice that now three colors are in play light gray, blue gray, and the color of the paper. That is the magic of impressionism. I'm going to tote up these very important parts of the wall down here with the same color. It's one of my personal favorite parts. And that's it. We have taken a big step in this drawing. This beautiful view of Paris is starting to come to life, but there is still more, much more until the next lesson. 15. Sunlight & Water Reflection Calm Water with Direct Sunlight: Hello, people. In this lesson, we're going to go into more detail throughout the throwing. We are going to give more details to the water. We are going to create the sunlight, and we are going to retouch much more the whole bridge. So we're going to start by giving more details and resolution to the water. I'm creating more reflections and light. Remember that this process is slow. The water already looks pretty good, but we must continue advancing. Remember that as we go into the details of a drawing, the decisions we make about color and details are much more thoughtful decisions. They are not random. The process of observation is slow. There are even scenes in movies that portray these processes, like in that scene of the Danish Girl, where the young painter Einar spends hours making the details of the swamp. He reflects on which is the most appropriate color to portray that place. I think it's a very good representation of the life of a painter. The purpose of this drawing is to create an impressionistic interpretation of a slight movement of water. This area that you see here is key to achieve this, but you won't be able to see the final result until the last lesson. Now I'm going to add dark details to the inside of the tunnel. See how I follow the perspective lines. It's very important to do this. It's no use trying to get the color and blur everything. The lines are creating the texture and perspective of this part of the tunnel. Now I'm going to create the sunlight. Using the white pastel bar, I'm going to trace the most prominent rays of the sun. I must stain whatever is necessary with this white ray. For example, here in this part of the bridge, on the other hand, it's advisable to use the white pastel bar because it has more intensity. Additionally, pay attention to the fact that the ray is downwards and upwards at more or less the same inclination. Now, using the same method that is stain and everything, we are going to make the first hallows. There are several hollows. Some are white, and others are yellow, but we are going to start with the white ones. So from inside out, we're going to draw some hallows over here. It's important to mention that the circle produced by the halo is almost perfect. Now we are going to combine this white color with bright and yellow. If you can see, there is a circular area fairly close to the sun, where there is a yellow light that we must portray even in a partially circular way. I mean, following the shape of the hallow. We must make this hollow little by little, making its diameter grow slowly and creating by modifying the color of all the surfaces it touches, the water, the bridge, the inner wall of the bridge. This detail is so important. The glare is so strong that it creates luminous deformations, points of strong backlight, colliding with the background. We can represent this phenomenon by adding dark areas within the glare. We must also improve the consistency of this backlight. We can do this with graphite so that it reaches a very intense dark gray without reaching a completely black tone. This back light cannot reach complete black because there is too much light in that area. I'm going to add more touches of yellow pastel with this beautiful and bright shade. Look how beautiful the sun is already starting to look in the distance. Now, pay attention to this. If you have looked carefully at the reference image, in reality in the sunlight, all the colors are there. Now I'm going to add this beautiful blue to the sunlight to add magic to that globe. Look how good this looks. This is the very center of an impressionist technique. Now I'm going to tow the whole area of the bridge so that the contact of the light with that part of the concrete surface is better felt. I need to darken even more the parts where the light doesn't reach as strongly. And there you are. The sun itself has risen to illuminate the entire drawing, and nothing in this setting has escaped its beautiful glow. I see you in the next lesson. 16. Intricate Details & Final Finishing Calm Water with Direct Sunlight: And. Hello, people. This is the last lesson of this drawing. Here we are going to work on the more intricate details of the outside of the bridge. We are going to do all of its texture. So since we already have the sunlight, we need to intensify the tones of the concrete, the texture of each concrete square as well as the light effects on the surface. On the other hand, it's important to mention that we will also add some details the small grass that grows among the cobble stones. We are going to start by adding more texture to the concrete, using the pencil to get to the smaller details, especially in this wider section of the walkaway. For example, we can focus on some details to faithfully represent them and then make an interpretation that can complete the full texture of each section. As I continue to advance on the cobbled stones, are you paying attention to how beautiful the water looks? Look at the movement of that little wave that seems to have bounced off the wall and then tried to return to the sunlight. Look at the curvature of the lines that make it rise. It was actually a personal touch because I slightly exaggerated the movement of the water that you see in the reference image. But I think it's beautiful. I'm going to add this layer of dark gray pastel to darken all this texture. In these cases, we can blend it and continue making details. Remember what I always tell you, patience is almost eight dimension when it comes to drawing. Try to pay attention to the speed at which I move. It's slow. Therefore, seeing results will also be a slow process. I mean, these details I'm adding now are very subtle. They require a real understanding of what is happening visually in the pavement. You have to observe a lot to be able to follow the patterns. One of the most important lessons when it comes to drawing is to know that the visual effect of one element can vary by enhancing another element. This is because drawing is a language. And in that language, there are signs and symbols like in any other. Therefore, depending on the different symbols in the painting, and how they vary, we can interpret a drawing or painting differently. But what do I mean by this? I'm going to give you an example. Let's imagine a drawing completely made of graphite. In that case, even the darkest points of the drawing will be with the darkest possible tone in graphite. It turns out that if I add a single line to that drawing with Pierre noi, the language changes because I'm reaching a tone of black that is impossible to reach with graphite. And secondly, I'm telling the viewer that even the darkest tone of graphite expressed on paper is not the darkest tone of the composition. Therefore, even in the darkest areas of the drawing, that place is not so dark after all. I mean, I would be telling people that the landscape is not completely dark, so the message is changing completely. Now, look how I'm adding the blades of grass between the cobbled stones with this green pastel bar. It's a very interesting detail that enriches the whole area of the bridge. I'm doing it with the pastel bar because its color is quite beautiful. Now look at these little touches of yellow on the concrete. Look how the subtlety of these details noticeably improves the lighting. I'm going to add now some small white details to the cobbled stones texture. These white details are going to add much more resolution. Pay attention to how much the appearance of the cobble stone has improved. I love the texture achieved, but I really can't stop seeing that little wave moving in the water in the background. It's just beautiful. Now, I'm going to finish making the blocks at the edge of the bridge, the bridge lintel. That is the correct term. I'm going to focus on divting lines between each block. So I'm going to do it carefully, paying attention to perspective. Remember that as the blocks move away, their thickness decreases. Now, look how I'm going to add irregularity to the tones of the blocks. I'm doing it all with a pencil because it's a ton close to gray. Now I'm going to give the final details. I'm going to retouch the sunlight here by adding more yellow color to the main halo. Look at the beauty of that little blue detail near the sun. It's simply beautiful. Look at the reflection of the sunlight on the water in the distance. Impressionism is a great chance to express ourselves through drawing. I mean, it's precisely the license to experiment with textures that allows expression to manifest itself. In reality, that way of representing the sun is not going to be the same for each one of us. In fact, it's the point of view of each one of us. But of course, it's wonderful to have the basic foundations to be able to start this path of impressionist language. Look at this pink detail in the light on the stone. And that's it. Look how beautiful our representation is. Look at the inner part of the bridge, the beautiful hollow of the sun, the details of the concrete. And the most wonderful thing is the movement of the water, returning after hitting the edge of the bridge. It has been a pleasure to accompany you on this journey. I see you in the next lesson. 17. Water in Motion Theretical Approach Artistic References: Turner and mastering the representation of water. Provide us with valuable lessons through his works. In the wreck of transport sheep, Turner not only depicts a turbulent sea, but also illustrates how the small hills form by the waves and merge and shift. It's important to observe how these hills often have foam in their peaks, suggesting the movement of the water. This foam by blocking the light, creates a contrast that highlights the volume of each hill. As we approach our drawing, we will start by constructing the space and the bridge, using architectural lines to define their shapes and structure. Then we will apply close attention to the details of the water, focusing on those hills and their interaction with light. In Dutch boats in a gale, the water is shown in constant motion with waves displaying small crest that are fundamental for bringing the scene to life. Turner applies different tones to illustrate how light interacts with the hills of the water, creating shadows that suggest depth. On the other hand, shipwreck offers a powerful representation of water and motion. The waves, which seems to come alive, teaches us to capture the energy of the sea through loose and expressive strokes. As in the other works, we must notice how the heels of water present shadows on their undersides in bright light at the peaks of the foam. This will help us create a sense of volume in our drawing. Lastly, in beach at Valencia, the morning light. By Joaquin Saroya, the treatment of water is equally revealing. Saroya masterfully handles light to show how the sun reflects on the waves. The small hills in his paintings have a special glow at the top, which we can represent in our work by applying light tones in the illuminated areas and darker tones for the shadows. As we begin our drawing, we will first create the structure of the bridge in the surrounding space, ensuring that each architectural element is well defined. Only after establishing the base will we focus on capturing the movement of the water? Will observe the hills formed by the waves and how light plays on the foam and shadows, blocking light in ways that help us shape the volume of each hill. It's essential to consider this work not just as an exploration of moving water, but also as an opportunity to learn about perspective and the architectural elements present in the scene. When depicting the interior of the bridge over the water, we should observe how light and shadow erct in the space projecting onto the water's surface. The beauty of the bridge is just as important as the water in achieving a realistic feeling in our work. Let us leverage these references to experiment with our strokes and colors, allowing every detail in the water to speak to our connection with the scene. With each stroke, let us celebrate the beauty of moving water in our artistic interpretation. Always keeping in mind the architectural context surrounding our work until the next lesson. A 18. General Structure Moving Water Under the Bridge: Hello people. Let's start immediately with this other bridge. It's another point of view of the water. Quite interesting because you can see that the water is quite moving. And that is exactly the visual effect we want to capture. But not only that, but it's the same concrete of the bridge, but under other lighting conditions. So let's start to trace this part of the walkaway that as you can see, is partially under the shade. I'm going to use the angle formed between the edge of the walk away and this prominent column that rises to the left. As you can see in the reference image, the column has a prominent structure. This structure is very important for this drawing because it helps us to draw lines that indicate the position of other elements in the composition, such as the part of the bridge on the right side and also the exact place where the arch, the lintel of the bridge over the river should be. Look how I draw this line from the column structure to determine the position and dimensions of the parts of the bridge visible on the right. That space is a very valuable geometric shape for this stage of the drawing. Now I'm going to create the same structure of the other column right now in this column because I already know the position it has in space. Look at all this starting from the first column. Now, from this new column, I'm going to try to locate the point from where the arch of the bridge is born. I'm going to draw an angle from the each of the other column to create its exact dimensions. Of all the drawings in this course, this is the easiest to build in terms of structure because we have enough reference points to develop it. Now, from this side of the arch, we are going to draw the upper edge of the bridge, the roadway part. In this part, the inclination of the line is fundamental because it will represent the perspective of the bridge. It's possible that we failed in the inclination, but we can correct it as we advance in the drawing. That doesn't matter at this moment. We can clean up the construction lines a bit, and we will proceed to build the most distant elements of this view. The arch on the other side of the bridge with the horizon in the distance, which is nothing more than the other side of the Sena River. Pay attention to how important the structure of the column is to build that horizon. We simply have to relate all that space to this element of the column. I mean how far apart are the lines of the column, the angles, the place where the column touches the horizon, et cetera. M. This part of the inner wall of the bridge is important. We must follow the perspective of that structure. Note that it's kind of rectangle, but wider on the left side due to the perspective. This bridge is significantly wider than the others. So the space is larger. So this perspective can be seen in its shape. These arch lines are extremely important. They allows us to build the volume and shape of the ceiling. To draw these lines, simply try to see where they start and where each of the lines ends in both sides of the bridge. Now that we have the general structure built, we're going to start giving some general details to the whole bridge. Let's start by building the blocks and bricks of the bridge structure here. This is very important because it allows us to give consistency to the structure we create and above all to get ahead with the work on the texture of the walls. When creating these blocks, it's more important to be precise with the horizontally aligned blocks than with the blocks that directly border the lintel. With regard to the elongated blocks of the intel, you don't have to make exactly the same number of blocks, represent them. No one is going to count those blocks. We just need the visual effect in perspective. Pay attention to how good this general structure of the drawing is starting to look. It's very interesting when a drawing starts off very well from the very beginning. But be careful. This is not guarantee of a good result. It's like a movie script. A good script can make a good movie, a normal movie, and a very bad movie, but a bad script will never make a good movie. Now we're going to proceed to make this group of blocks in the column, which are easier because they are regular and follow specific lines. Here we can count and create each of the levels along the column. We are going to do the same thing at the bottom. We just have to count the number of lines of blocks and represent the blocks one by one. These details are quite close, so we must try to render them very well. Mm. Of course, a walk away is also very important, and you can see there are rectangular shapes on each surface. Therefore, we can make these crossed lines to know the angles of that geometric shape and thus represent it appropriately. Going to clean up those construction lines a bit now to finish our first sketch. And that's it. The general structure of our drawing is ready. It's a very good sketch and drawing design. We haven't even represented the shadows through the line, but the depth in the space is already very well felt due to the good construction, but this is just the beginning. I see you in the next lesson. 19. First Shading Approach Moving Water Under the Bridge: Hello, people. In this lesson, we're going to do the first approach to the shading of the drawing. We are going to go step by step applying hatching on each section of the drawing. But at the same time, in some specific zones, we will give some details. The reason why in some places we will give details is because those specific details reveal information about the lighting of the space. First of all, I'm going to start by completing these parts of the wall here that is visible. Pay attention to the fact that it's not easy to see because due to the humidity, it's full of moss and water. So it's dark almost the color of the water. A now applying a hat chin in the same direction, we will represent the different values of light and dark of each of the elements of the drawing. For example, the column on the left, the inner parts of the breach, the most prominent shadows of the water, and, of course, the entire right side of the bridge and the walkaway. So beyond the color of each of the elements, let's try to see the amount of light there is on the surface. And above of all, we must take into account that in this drawing, we are going to use the color of the paper to represent the color of the breach material exposed to the light. You can clearly see that is quite similar. A Notice the way I'm mapping all the shaded areas of the water. Although I am applying a very subtle and fine hatching, I'm indicating with lines the structure of the shadow on the water. This process is crucial to succeed at shading, most of all, in the first stages of a drawing. I'm going to darken this column on the left in the upper part of the bridge a little more. While we observe in detail the internal part of the bridge, the ceiling. Looking closely at this area, we are going to use dark lines to give strength to its shadows without altering the hatching. Now we're going to continue darkening the column on the left. As we shade the drawing, this column should give us the darkest point of the composition, so nothing can be darker than the column, so we must continue darkening it. Et's go for the next step. I'm going to add these details to the wall. We're going to reinforce these lines that are part of the structure of the bridge, and we're going to darken this internal part even more. Now, I will define the space even more. The drawing must evolve as a whole. So let's try to see in the reference image, which are the divisions between the blocks that catch our attention the most. We must darken those. Now we're going to darken the walkaway. Notice that in the reference image, it's much darker than the rest of the parts of the bridge, those ones that are exposed to the light. And of course, we are going to give more density to the dark tone of this column on the left. By using a kind of tissue, I'm going to blur it, and I'm going to add more graphite when necessary. Now let's give more details to this column. This section over here is of utmost importance that is rendered as well as possible because it's very close to the viewer and because its dark color is quite representative in the composition. This column means next to us. Is shadow seems to protect us, and that same shadow seems to become an accomplice and witness to our contemplation. This detail over here is quite important. Notice that the surface of the concrete is so polished that it practically reflects the light. It's very common for artists to pay less attention to the dark areas of a composition and break down all those areas to a tone dark enough to completely hide the details of that section of the drawing. Although in certain occasions, this can work, I highly recommend you giving details to the areas of maximum darkness in a drawing. The human eye is detecting everything, and even when it's a dark area, the volumes and textures represented are crucial for the whole composition. Now we're going to continue giving density to all the dark areas of the rest of the composition. Try to vary the hatching as you advance. While in the first hatching, we can keep a single direction. As we add the following ones, it's better to vary the direction to get closer to the texture of the surface or object. Now, let's try to make the general outline of the most prominent shadows of the water. So we'll try not to complicate things too much. We'll just treat the water as if it were another object for the moment, and we will add some shading to identify those shaded areas. As a final detail, let's represent in this small group of clouds here, we can actually concentrate on the visible part of the sky, the blue part. And that's it. We have the first shading design for our drawing, which is going pretty well. The left column should be darker, but I didn't darken it enough to go give in detail as we go along. And as it's a color drawing, that column will have dark pastel. So if I applied a big layer of graphite, it will cost me a lot to make the dark pastel stick to the paper. But this is still the beginning. I see you in the next lesson. 20. Color Base Moving Water Under the Bridge: Hello, people. In this lesson, we're going to add the base colors of our composition. We're going to choose the most prominent color of each section of the drawing and we will add it in the important areas. We are going to start with the water, the river. We are going to choose this military green, and we are going to look at the areas of the river where the color of the water is closest to this color. It's not necessary to keep a hatching in the same direction. You can vary it. The most important thing is that you recognize the sections in the water that have the same color tone. This will give us information about the different shades within the same water and the range of colors that we will add later. I will also add these darker tones with black in the darkest points of the river, like it is one, for example. Now we are going to do the same process in the left column. Look at what I told you in the last lesson. Look how far this black tone reaches. It's much higher than the darkest tone of the graphite. Now we are going to add this gray color to the walkaway. We are going to add the pigment as if it were a material that we are going to use later on. Now, the attention over here look how it's exactly the same tone as the walkaway, a little darker. I'm going to add the same color to the edge of the bridge. This process is important. I'm going to spread the pigment a little more on the walkaway, and in the areas of the drawing where I feel this color is also present. Now we're going to tackle this part of the bridge, the inner side. This area is more delicate. In a city is also a shade of gray, but a different one, you're going to use the graphite to add its base color. But this time, you're going to try to respect in some way the details that we have toned so far. Try to notice that unlike the rest of the parts of the drawing, in this section, I'm giving some details on the edges and internal lines of the ceiling because they actually have a crucial importance from the initial stages of the drawing. Now we are going to move on to a more detailed level in the water. We're going to add more base colors. Look at the importance of these white tails. In the water, there are white reflections of light that are very important, but not only that, pay close attention to the kind of hatching I made with the green. If you notice, there are some curved lines that are trying to represent the hell shape that those little waves near the walkaway have. Now, pay attention to this yellow color to give the base to the illuminated areas of the water, that part where the warm light of the sun reaches. Now, look at these little details of blue. But why do I put this blue? Because in reality, we must understand that the areas of the water that are white are reflecting the sky. Therefore, if we are going to add blue to the sky, this blue could perfectly be in the water. On the other hand, the blue color is close to gray. It's not random to add it as part of the gray ranges. Now I'm going to blur all the dark pigment that we added in the left column. Let's try to spread it softly over the entire surface of the column. Of course, try to respect the edges and the details, especially of this structure down here. Now we're going to add the blue color of the sky in the areas where we can see the atmosphere. After all, that is the color we just added to the water. Notice that it's not exactly the same blue color that we put on the water. This one is more intense. The blue of the water is a lighter color because it's mixed with the reflection of the white clouds. I'm going to add these little white pigment shreds over here. As for the inner part of the bridge, pay attention to this. I'm going to add these green details here under the bridge and pay attention to how the sunlight hits the water. That is producing the water becomes bright, and that brightness hits the wall with that intense green. As a result, these details on the wall that are actually dark become a dark green. Now we're going to go over the concrete of the bridge, those parts where we are using the color of the paper as a part of the texture. We are going to play with gray and white to represent the texture. Try to see those areas of the concrete more illuminated to represent them with white color. And the wet areas can be represented with gray and also white. On the other hand, pay attention to all the salt and solidified mold on the wall. As we are giving details, we can add details to the rest of the elements of the composition. Let's try to see colors in each element. The more colors we see, the more resolution the drawing will acquire in the sky, in the water, in the farthest point of the drawing after the bridge. Everything has many tones. Oh And that's it. Our first approach to color is ready, and everything is going excellently well. Try to notice the contrast between the left column and the rest of the areas in the drawing. This is a proper color scheme. I see you in the next lesson. 21. First Details Approach Moving Water Under The Bridge: Hello, people. In this lesson, we're going to cover the first approach to the details of the texture of the entire bridge. We are going to start with the left column. I'm going to use the shade of brown very close to black to represent those stones in the reference image that create the texture of the concrete under the shade. Next, we are going to start to blur the pigment we put on the walkaway. And then using the graphite pencil, we are going to start to give the details. You have to try to see them all. The edges of each section on the floor, the edges of the step, and the subtle cracks on the concrete. Little by little, we are creating the texture. The subtlety of gratings is very important, but we should not obsess over this. There is a problem with many drawings in which there are only gratings but not texture lines. This creates a rather commercial and amateris result in a drawing. When the drawing has not texture through the line, it doesn't look artistic. I mean, you can even achieve the right tones, but the drawing will lack the precision of the texture and the artistic value of presenting a realistic image through a language that is not photographic. That is part of the secret of impressionism. We are not taking a photograph. We are representing reality from a language that approaches it through its own point of view. Pay attention to the value of the line over here. The darkness of the line represents how deep the cracks are in each part of the concrete. The process of creating textures is slow. And the most important thing about this approach with color is that we are getting a browser concept about drawing that will help us even to have a better drawing in graphite, because all this that we are doing helps us to better observe the color tones of the things around us. Although we are in a course of impressionism, this phenomenon of visual sensitivity is clearly present in the mind of Michelangelo. He was a great sculptor, but as he was very sensitive to forms and visual tones, he was also a great painter. So you don't become a great visual artist because you know how to handle a language, but rather you truly understand what you are seeing in front of you in an artistically sensitive way. I'm going to use the white color to represent in the most illuminated areas of the concrete. Pay attention to the manner. I'm using the eraser pencil to clean all the edges over here. I'm going to start adding these gray tones over here. Those areas of humidity are very important. For example, down here, there is a mold, and we must represent its dark color well. Now I'm going to start giving details to those walls exposed to the light. I'm going to do the same process as in the walkaway. I'm going to use the graphite pencil to draw each detail little by little. The lines between the blocks, the edges of the concrete, as well as the texture and darkness of the wet areas. A white color is crucial in this section of the wall. It will allow us to represent the lime from below to the highest part of the entire wall. We must manage to represent the filtration in the wall. This wall really shows the effect of the passage of water over it. And look how the white color is representing the solid white lime on the wall. Now I'm going to work on this part of the bridge. We must define all the lines and the upper part so that the perspective is felt along the edge. We must also define the divisions between the bricks and blocks of this part of the bridge. It's necessary that they are visible even in the distance. We must pay close attention to these details. Not only must we add the tone of the mold and the leaks, but also the limit the edge of each stained part. The line is critical in this process. Pay attention to the manner I'm using the eraser pencil to create these lines on this part of the bridge. I'm removing the pigment as if I were painting the lines, and this automatically improves the texture. Now, using the graphite, we must take advantage to tow cha each flock or brick to add realism to the random tones of the wall. Look at the importance of the line here to create depth. It allows us to clean up the edges and also improve the depth of the divisions between the blocks, just like we did in the walkaway. As a last detail, you're going to touch up all the lines of the ceiling under the bridge. This area is very important for the drawing. We must not lose the curved lines that suggest its shape in the distance. And that's it. Now the drawing is coming to life. Look at the beautiful tones and colors that are starting to appear in the paper. I see you in the next lesson. 22. Water Details Moving Water Under The Bridge: Hello, people. In this lesson, we're going to cover the waters details. But before we do that, we need to complete and correct something important. We are going to touch on the section under the bridge and also the sky. But let's start with the sky. We need to complete the color of the sky or at least get close to the final value. The reason is that the sky is one of the main generators of the illuminated areas of the water. In that sense, we need to be clear about what its tones are in order to be able to approach the reflections of the water appropriately. So by using the white bustle, let's define the clouds. Let's add the amount of white pastel needed to represent all their shades. Now, let's clean up a little bit in this area after the breach. Now we're going to fix something important. Actually, looking at the drawing from a distance, we realize that this area under the bridge, the ceiling is not dark enough. So we're going to try to blur the pigment that is in it to add consistency, and then redo the details with more strength later. But to pay close attention, it's important not to eliminate them completely to have a reference point later on to represent those details. And I As we are giving more details, we can take advantage and place this bridge sign over here. Perfect. Now we are going to tackle the water details. We're going to start adding with much more precision this military green that we were using. We are going to polish the spaces where the color of the paper is still visible and above all, we are going to improve the gradient of those green tones mixing with the yellow. This part is very important. Let's use the white puzzle to build the movement of the water in this part. Try to see these small hills on the water. The white strokes should represent the light of the sky, and we are supposed to make the strokes respecting the direction of the hill. We are not only going to use white, but also gray to improve the curved shape of the waves. You can notice not only the importance of this gray color that I'm adding now, but also how I am applying it to represent different waves. The ones that are close to it and those ones that are farther away. As I told you, it's a game of building small hills that are bucking the light in different directions. But the most important thing is to represent the arch shape that the water takes after the movement. And not only that, but at the top of the small hills are always the most illuminated areas. Learning to observe this is very important when it comes to representing water because it even allows us to create small waves that were not initially in the reference image. The et's continue adding white lines to finish the final, the shape of the waves very well. Pay attention to the manner. I use blue again to give touches of blue light in some areas. This color will gain meaning when we see the river in the distance. Look how wonderful it is as the light begins to be reflected in the small waves. It's like a magic that is transmitted through the white dry. Additionally, pay attention to the importance of the curved line in the volume that the water requires when combining all the colors. As we are already achieving the color of the water, we can use the graphite to improve the shadows of each wave. Remember that the small waves block the sunlight. Graphite always adapts very well to light colors when it comes to darkening them. Now, pay attention to how I use the white pastel to represent the foam in the distance. Remember that the foam reflects the sunlight because it's obviously whiter. Of all the stages of this drawing, this is the one that requires the most concentration and observation, although it's an impressionist drawing. We must always choose a part of our drawing that will carry more details. And in this case, it's water, since it's the main theme of this volume. Pay attention to how important every single white line is in the water. Once they are on the paper, it feels as if they were always needed to be there. On the other hand, it's really wonderful how the yellow color in the part where the sunlight hits the water really seems to warm that part of the river. And that's it. I dares that the water in the drawing is more interesting and turbulent than the water in the reference image. And that is the most wonderful thing about drawing in art. Our representation speaks of our deep way of feeling things until the next lesson. 23. Intricate Details Moving Water Under The Bridge: Hello, people. We have reached the last lesson of this drawing, and we are going to focus on the most intricate details, especially those of the bridge and the ceiling. So we're going to start with the inner part of the bridge. We are going to define step by step, each one of the lines that form the texture of that ceiling. We must take great care of those arch lines of the ceiling. Remember that the separation between any line is important to chief perspective. Remember, as I always tell you, in the final stages of a drawing is where you should observe more and draw less. It's necessary that the decisions you make on paper are with absolute intention. Now look how important these horizontal lines are for the texture of the ceiling. The sequence of lines one on top of the other makes the dimensions of the ceilings as well as the realism for its structure fill. Now, taking into account all the lines we made, we are going to use the white color to add the texture of each line. Pay attention to the lime adieu to the certain parts of the ceiling. All of this is part of the irregularity of the ceiling leaks. We are supposed to use all the tools available to represent them graphite and white basil. Pay attention that I'm not doing exactly what is in the reference image. This is an impressionist drawing, so we must make an artistic interpretation that brings us close enough to the reality presented in the reference image. Look how this same pattern appears on the wall near the water. The leaks and lime spread over the entire surface. Remember to toe up the edges and all the details of the lines that should be clearly visible from a distance. That ceiling is very important, because it's right in the visual center of the viewer. The viewer cannot avoid seeing it. If you look closely at the reference image, that part of the ceiling in the wall have quite dark contrasting lines. If we compare them with the darkness of the column on the left, we could easily say that they are quite similar in tone. In this sense, we must darken some lines even more, and I'm going to do it with Pierno, which allows us to reach a stronger shade of black. Now I'm going to touch up the background over there. You can see the deck of a couple of boats. Now we are going to move on towards the sky. We are going to add more blue colour to improve the tone of the atmosphere, and then we are going to create a more realistic visual effect of the white clouds. Pay attention to the manner I created clouds. Notice the transparency of some parts, the irregularity of their shapes, and also the areas where you can see the blue of the atmosphere. Everything is bailed between the density of the clouds. M. There are some details of the clouds that must be toned directly with the white pastel bar because they are a type of intense white color that should not be mixed with anything. So if you need to make stripes or expose that are very white, try to use directly the white pastel bar and not the pastel pencil. A Now we're going to add the red detail of that sign on the bridge. We're going to do it very carefully so as not to stain anything around it. Now, we must clean the edge of the bridge very well with a white pastel so that it is well defined. I highly recommend you using the pastel pencil to do it. You see that I'm not using it. But in reality, I'm using the tip of the pencil that broke. Now we're going to give more details to the entire exposed area of the bridge. We're going to add more texture with a white basil. We must observe the reference image very carefully. Now, using the Pierre noi pencil, we are going to refine the details and texture of this column on the left. The idea is to trace all the dividing lines with the darkest tone possible and add all the irregularities and spots as well. For example, these lines over here. And also right here, Remember to add random spokes to create a realistic effect on the surface. And that's it. We have finished our drawing, a beautiful rendering of the senna from this beautiful bridge. Look at the beauty of the movement as a water and the reflection of the sunlight in the background. The very core of impressionism is capturing those details of light. It has been a pleasure to get this far with you, and I hope you can continue to love drawing in this way until the next time.