Impressionist Drawing Vol. 3: Mastering Sunsets in France

1. Impressionist Drawing Vol 3 Mastering Sunsets in France: Would you like to learn how to draw the breath taking sunsets of Normandy in just a short amount of time, create beautiful detailed sunset drawings without spending endless hours on intricate details. If so, this course is for you. I am Volo Vperez and I'm excited to present to you volume three of my Impressionist row and Series, where you will learn to draw anything using graphite and take it to a fully colored draw. With over 30 years of experience in the best art schools, my mission is to guide you to elevate your skills to the next level. In this volume, you will discover a fast and effective technique that will allow you to capture the stunning hues and shades of a sunset while the sun dips below the horizon. Using graphite, pastels, Pagni and high quality paper, you will explore and evolve your drawings from simple sketches into vibrant emotive works of art. This course is set in the beautiful city of Cavour in Normandy, where you will immerse yourself in the artistic references of great impressionist masters. You will explore how they capture the magic of some sets of drawing inspiration from their techniques and styles. On the other hand, we will create two major projects a sunset at the beach, where we will capture the serene beauty of the sun setting over the waves and a sunset with a typical Cavour house, where you will learn to portray the idyllic architecture illuminated by the soft glow of twilight. Each lesson is designed to provide you with a rich and immersive experience, lending theory and practice in a relaxed and creative environment. You will learn to simplify complex scenes without sacrificing beauty or expressiveness, discovering how encapsulate the essence of a sunset in minimal time. This course is designed to help you advance on your artistic skills, regardless of your experience level. You won't be able to find a more comprehensive and exciting course on this platform. My name is BaldloVbz and this is my in Atelier, on impression rowing volume free sunsets of normaly I see you in the first lesson. 2. Learning to draw with sunsets: Hello, people. Welcome to volume three of our impressionist drawing course. In these theoretical lessons, we will explore references about an essential skill learning how to capture skies and sunsets. This approach allows us to connect with the essence of impressionist, training our sensitivity to detect the subtle nuances of light, the shifting of colors, and the movement in the atmosphere. Drawing a sunset sky is not just a technical act of representation. It's an effort to capture a unique moment that once portrayed, becomes a living sin pulling on the paper. Sunset teach us to observe how colors dissolve into each other, creating gradings that seems infinite, full of subtle hues. The play of light and shadows on the horizon is like a dance, teaching us to use warm and cool tones to create depth. The light at the end of the day transform into character on de sgn, casting long shadows, creating reflections, and filling the sky with mystery. This process is essential to understanding the nature of atmosphere and light in impressionist painting. To better understand this visual richness, we will refer to three great masters in different ways, capture skies and atmospheres full of emotion. Theodor Roussea is Sac Levitan and Eugene de la Croix. Theodore Rousseau is, without a doubt, the central figure of today's lesson. As one of the leaders of the Barbizon school, Rousseau dedicated his life to exploring nature in its purest and wildest form. Sunset skies are not mere backgrounds. They are protagonists that convey a sense of vastness and drama. Rosseau had a unique ability to work with dark and deep tones, capturing a texture almost palpable in its clouds and skies. By observing his works, we can see how he used layers of dark tones and dense shadows to create sky filled with atmosphere and width, making the viewer feel the immensity of the landscape. Rousseau excelled at balancing the intensity of the sky with the rest of the landscape. His sunsets tinged with deep reds and purples, teaches not to fear to use of dark tones and a strong contrast, essential elements to express emotion and character of a scene. In his representations of even skies, the clouds take a solid, tangible presence. In each cloud, each dark hue seems to have its own story, its own identity. This approach allows him to communicate a sense of calm melancholia, almost reverence towards nature. Learning from iso means understanding how many details and control over tones can build a dramatic, powerful, yet profoundly intimate atmosphere. Incan dressed Issac Levitan offers us a more serene and ethereal perspective. Known for his tranquil and basful landscapes, Levitan blends it skies naturally with the landscape, conveying a sense of peace and harmony. Sanss don't seek the drama of Rousseau. Instead, they are characterized by a delicacy that invites us to look calmly to pause in silence. Leviton employs soft gradations and subtle play of colors to create a continuous atmosphere between sky and land, making them breathe as one. This approach teaches us to work gently and precisely with gradients creating skies where color becomes an echo of Earth, enveloping the scene in profound peace. Eugene de la Cra although part of the Romantic movement was also a precursor in sky representation. And some of his studies seem to foreshadow impressionist techniques. Take, for instance, one of his sky studies. Though filled with energy and drama, we observe something completely innovative and almost impressionist in his execution. The blues and pinks of the sky are synthesized in loose energetic strokes that blend in dance of rich strokes and vibrant colors. Delacroix shows us how the sky can convey movement and vitality, as if the colors themselves are dancing. This use of color, full of emotion and energy, adds a sense of urgency that teaches us to see the sky as a vibrant living space, not merely a background. From Delacroix, we learned to use Cutter, not only to capture the appearance, but also the motion of the moment. Throughout this volume, the exercises will take place in the charming town of Cabour Normandy, famous for its inspiring sunsets in the first exercise, the goal will be to learn how to detect the shapes of the clouds with precision. In order to represent a sky that is bat ful and full of presence. We will begin working in graphite to capture the form and structure of the clouds in detail and then transition to color ball techniques to add the layers of light and shadow that bring the sky to life. We will discuss important references to understand how to structure the clouds and work with tones and textures needed to give them realism and drama. This exercise will be essential for capturing the essence of the sky in the light transformations during sunset. In the second exercise, we will work on a typical rural landscape of Kabur featuring one of its traditional houses in the impact of the sunset on the surroundings. This will allow us to understand how sunset light interacts with the landscape, how the colors of the light change, and how they project onto the elements of the scene. Learning to draw sunsets will be an essential step in our artistic journey. It will allow us to master the use of light, color, and emotion to create works that capture the essence of the moment and connect with the viewer in a deep and lasting way. Let's start then. 3. Sky First Approach Sketch: Hello, people. The purpose of this sketch is to learn to understand the arrangement of clouds and lights in the sky. The structure of these clouds and the glare of the sun is almost always irregular. So we must pay attention to know how to interpret it in a creative and appropriate way. So let's not worry about achieving precision this time, but rather trying to understand the essence of light in the composition and the location of the clouds, the sea, and the coast within the landscape. So let's start by drawing the horizon in a slanted line to represent the shoreline. This section of the composition should divide the landscape right in half, more or less like it's in the reference image. Now, using an inclined and consecutive hatching, we will try to represent the darkest and most prominent clouds in the sky, as well as some areas of the lower landscape. We will try to see the dark areas of the entire reference image as if they were spots that we must represent with the hatching. Pay attention that this is not about any kind of precision at the beginning. In fact, this sketch is not about achieving precision, but about understanding the location of the most important lighting elements and the division of the different tones and shapes of the reference image that could be in front of us. Once we have more or less a general structure built, we can begin to experiment with color. So to test how sensitive we can be in differentiating the different tones present in the sky, we will start by representing the blue of the dark clouds that are closer to the horizon. We are going to use any blue color we think is most convenient, but we must put it in the drawing in those places of the clouds where we feel that color is present. That is very important. That is the exercise. We should try to do this with all the colors we detect in the composition. If we happen to see a specific color in some parts of the sky, we simply take the color pastel bar and then we draw a spot there. Even if at first, it doesn't seem to make much sense. We start applying the colors, we will notice the similarities. That is to say, for example, that same light gray color that rooting on the clouds is also present in the reflections of the sea. So as we add the first colors, our wrong language will be built, and we will discover new colors within the composition because our mind will see the colors already applied as a reference points to build the image on paper. Pay attention to how I now at the soccer yellow color to represent the sun behind those clouds. Notice that once I apply it, the color of the paper changes its meaning because, in fact, the color of the paper is the tone of the sun on the beach itself. When adding this yellow tone, we must try to feel how far the sun's glow really reaches between the clouds. Now look how I'm going to use this lighter tone to represent that the sunlight shines more above than below, since the clouds are denser below, which prevents the light from passing through to us. Pay attention to the edges I'm creating on the clouds. Now, look how I use this lighter shade of blue to represent the atmosphere exposed in the sky. As I told you before, the balance between colors is quite important. We already know that the lightest shade of blue in the sky is that of the atmosphere. Therefore, all the blues that we apply to the clouds should be more intense and darker than that of the atmosphere, as we see in the reference image. Now I'm going to use this pink in the sand to represent that there is a light hating that sun as well. You can notice that it's not exactly the color in the reference image, but within the language of the drawing, it works. Now I'm going to apply the reference colors for that area below. I mean the entire part of the terrain in the hill. I'm not going to give as many details as in the sky, reference colors to complete the language. This is also very important because by properly creating the cante, we can also make the sky look better. Now I'm going to use the graphite pencil again to mark the most important contours. For example, some small important elements on the beach, as well as the lines that divide the shore from the sand and even the horizon. That is very important when trying to read elements in the distance. We can add some outlines to the clouds in the sky, as well. Outline the edges of the cloud can add a great deal of three dimensionality to the volumes of the clouds. O If we see that we need more color somewhere, we can edit. But remember that this is just a sketch. We don't need to go far with details. But now pay attention to this final detail. We need to represent that the light is really coming from that side of the clouds. I mean that the sun is really hidden behind those clouds. So we must represent its glow traveling and spreading across the sky, even if it's not completely explained in the reference image. I mean, we must interpret it creatively. And that's it. Our sketch of this sunset is complete. Pay close attention to the arrangement of colors in relation to the reference image. Even though it's not realistic, the colors and the light capture the core essence of lighting. That is the secret of impressionism when it comes to capturing a sky in a sunset. But we will continue to go deeper into this in the next lesson. 4. Sunset At Beach Theoretical Approach Artistic References: Before we begin to represent this beautiful sunset over the beach in Kabor it's important to study significant references that will help guide our approach. These references will provide us with insight into how to capture the drama and subtities of light, color, and the overall composition of the scene. Our first reference is the work of ArkiGunji, a Russian artist renowned for his groundbreaking use of light and color. Gunj sunsets are more than just depictions of the sky at a particular moment. They are expressions of the overwhelming power and beauty of light in nature. One of the hallmarks of his sunset is his ability to create a sense of vastness. In several of his works, we see the sun positioned centrally in the composition, often small but radiant, casting its light across a broad and dramatic sky. Displacement of the sun creates a focal point in the painting while also highlighting the immensity of the surrounding landscape. The sky in the Kunji's work is almost like a living entity, pulsating with energy and light. He uses bald, saturated colors, vibrant oranges, red, and yellows, blended seamlessly with cooler tones like purples, blues and greens. The effect is not just a representation of a sunset but an emotional experience that pulses us into the sin. What sets Kunji apart is how he treats light and its reflection on the water. The water becomes a mirror of the sky, magnifying the intensity of the sunset's glow. The light which is projected across the water transforms it into a vast shimmering expanse that seems to radiate outward. Cong skies are never static. They pulse with life, movement, and energy, and studying them will help us understand how to use color and light to create depth and atmosphere in around sunset scene. Our second reference is Jan Constable, an English painter best known for his landscape paintings, and particularly his ability to capture the dynamic, ever changing nature of the sky. Well, Gunstable is more famous for his rural English landscapes. His studies of the sky, especially at sunset, offer a wealth of knowledge. Constables clouds, unlike those of many artists, are not merely decorative or fluffy. They are sculpted with great care, and he gives them with and definition. Making them a central element of his compositions. The way Constable represents the light at sunset is also crucial to understanding his work. In many of his paintings, we can see the light coming from below, as if the sun is just dipping below the horizon. Casting warm golden rays upward into the sky. This creates a striking contrast with the color tones of the sky above, as the light from the sun illuminates the lower part of the clouds, turning them into glowing luminous forms. Constable was also known for painting rays of sunlight breaking through the clouds, which gives the scenes a sense of movement and energy. These rays travel upwards into the sky, creating a radiant, almost divine atmosphere. Through Constable's technique, we can learn how to represent the complex interaction between light from the sun and the clouds, how to capture the transition from warm to cool tones, and how to create a sky that feels both alive and full of depth. In addition to their technical skills, what both Kinsey and Constable offer us is a deeper understanding of how to translate the light and atmosphere of the sunset into a visual experience that goes beyond mere representation. They teach us to see the sky as an active participant in the ne. Not just a backdrop, but a vital element that shapes the mood, tone, and energy of the entire landscape. Quint's use of dramatic color contrasts and Constable's delicate handling of light in the clouds will be key lessons for us as we work to represent the dynamic, fleeting beauty of the sunset on the beach. Now, as we approach our exercise, we will focus on representing the sunset over the beach in Kabur inspired by these references. Our goal will be capture the interplay of light in the sky, focusing especially on how the sun's rays illuminated the clouds and reflects of the water. We will start by observing how the color shifts during sunset, how the warm tones of the sky contrast with the color tones of the ocean and sand. By studying the composition of the kung and Constable, we will learn how to structure the scene, how to position the sun, and how to convey the lights, radiance, and reflections. In the next steps, we will use graphite to sketch the basic shapes and structures of the scene and then move to pastel colors to bring it all to life. By understanding the subtle transitions of color, the movement of light, and the dramatic effects that these artists achieved, we'll be able to create a sunset scene that is not only beautiful but also full of atmosphere, capturing the essence of that fleeting moment on the beach. Let's start then. 5. 1 General Structure Sunset in the Beach: Hello, people. Let's start building the structure of this drawing. The first step is to draw the horizon. And the reference image is quite clear and it divides our canvas almost completely in half. We must also place the sun, which is also the center of the paper. When we get the sun, we will try to make dismal triangle form by the most direct sunlight on water. Do not rush with this. Take your time to create this triangle. Now we're gonna draw the shoreline. No, that is an inclined and line that touches the small triangle we just made. Try to feel the angle formed by the line with respect to the horizon. So we already have the space that corresponds to the sea. Therefore, we already have a good reference point to continue building the drawing. We are going to start drawing the clouds. We must take into account the distance between the lower edge of the clouds closest to the horizon and the horizon itself. This distance varies along the horizon. While we are drawing this outline, we must take care that this distance is respected as in the reference image. Pay attention to how I draw this line. If you compare it with the reference image, the outline doesn't really look exactly like the reference image, but this line is located appropriately in space. Once we have the lower edge, we can break down the whole structure of a set of clouds into a general regular shape that can enclose them all. But I would like to remark this, due to the regular nature of these clouds, we should not worry about it being perfect. As long as it is similar, it's more than enough to be able to render this sunset. Once we have more or less made the outline of the general structure, we can move on to some internal details, not with the purpose of building the clouds, but of locating the general structure of these small internal clouds. After all, those inner clouds are just random clusters in the sky. Oh. Now, let's move on to the grass section. We are going to draw the outline that divides the sand area from the grass area. Look carefully that it's another inclined line that forms an angle. As I always tell you in all my drawing courses, the human eye is very sensitive to angles, and we must take advantage of that ability. But if you can see well in the reference image, the grass area seems to have three sections within it. The first one I make now is the first strip of grass more exposed to the light. Remember that this line that separates it from other stripes doesn't have to be perfect. Just approximate. But we must try to respect inclination of the line because the perspective depends on that inclination. Now, we are going to draw another line farther down to create the three stripes corresponding to the grass. Pay attention to what we are going to do now. We are going to apply a layer of different hatching for each of the stripes. Ideally, this hatching should match the level of shadows in each of the sections, but it's not completely mandatory at this stage, because we are going to add color later. What we need to do is to use this hatching to help us see the difference between each of the sections and even between the clouds in order to develop the drawing appropriately. This hatching should serve as a map for the later details. So doing it well at this time allows us to have more information to develop the drawing properly in the later stages. Pay attention that in general terms, all the hatching goes in the same direction, and only a cross hatching has been applied in the sand area to add density. In that area corresponding to the C, we could try to represent the grading of the sea using hatching. Look how I'm going to do it. We simply add several layers of hatching that is one on top of the other to darken the tone in the area we want. Now we are going to add a stronger hatching in the grass section, since it's practically the darkest area of the landscape. As we darken the grass, we will try to define the clouds in the drawing in general more using hatching. We will darken with more details of those small areas that correspond to the small clouds or some parts of the sea. We must do this carefully and patiently. Pay attention to the different nuances to represent the different clouds with the hatching. But do not get stuck here, remember that we are not giving intricate details, just a guide. And there you are the first stage of development of this beautiful beach in the north of France, the pure essence of Normandy in a single image that we are going to render from this moment on, I see you in the next lesson. 6. 2 Creating grass in Graphite Sunset in the Beach: In this lesson, we are going to create the details of the grass area in graphite. So we are going to focus first on the middle section, the middle strip. We are going to darken this section with a vertical hatching. It should be vertical to start representing the direction that the grass blades should have. If you can notice in the reference image, they all points upwards. Additionally, as we apply the hatching, we should try to represent the perspective. This doesn't mean that we are making the grass blades with hatching, but that the perspective should also be represented through the shadows. Now, let's try to go deeper into more details with the hatching. We are going to try to represent the darker, smaller areas within the same section of grass, those points where the light reaches with less strength. Additionally, as we are darkening the grass, we should also darken the sand so that everything evolves at the same time. Once we have a general shading of the whole grass area, we will begin to represent the grass blades in small groups. For example, in this far corner, we must break up the grass blades with a very dark hatching, but paying attention to the ages and above all, to make them pointy at the top. We must take great care of the contact area between the sand and that part of the grass. Now, we will continue creating more grass. Each blade of grass should grow as we get closer to the other side of this area. Pay attention to how I build the outline of this more illuminated part. I have not made blades of grass here, but the outline I have made creates the visual effect that the lighter part below is more illuminated blades of grass. In the same part below, we can begin to suggest the size of the blades of grass to have it as a guide. Now we're going to try to blur it a bit to add consistency to the tone of the whole grass. You can do it with a blending stem or a tissue. Pay close attention. Here you can see how the blades of grass look up close. Pay attention to the regularity and the fact that I'm not portraying exactly what I see in the reference image, but making an interpretation that can represent the essence of this landscape. Look at the randomness of the blades in the perspective. The ones that are farther away are smarter. Now, let's start doing the same in the rest of the grass area. Taking into account that there are places where the grass is denser and the light reaches with less strength forming those shadows that you can see. It's not about doing blade by blade. It's about understanding there are groups of them that can be represented both individually as well as using hatching. This specific area is a perfect example. I first add a layer of strong hatching, and then I make small groups of individual blades of grass. Way Here you can see an example of what I'm telling you. I'm darkening a specific areas to generate volume in the general appearance of the grass. Obviously, we must follow the reference image to guide us. I h. In this area, the detail of the perspective is much more noticeable. The blades of grass are significantly larger than on the other side farther away. You must pay attention to something important. The border that divides the grass area from the sand cannot be a clean line. It must be made up of blades of grass. I mean, they must be noticeable on that edge. Now, let's move on to the sand. We must try to represent the light shadows that are in it, but also in some way these small dark dots that are going to represent those small hills in the sand. Those spots must also respect the perspective, and their function is to create an effect in the distance. Although you should make many black spots, this spots should also be regular. I mean different sizes to give the consistency to the visual effect in the distance. Try to be patient. We must make many so that the visual effects of the scan can be felt. Now let's continue adding details to the grass. As you advance, you should use darker graphite pencils to make some areas stand out. Another important factor is to respect the randomness of the grass. Even though we must follow the reference image, it's necessary to experiment from the reference image. In fact, it's very useful because if we want to develop a completely imaginative drawing later, we will already have knowledge of the grass in order to be able to portray it. At I h. Now, let's start on this edge a little bit. As I told you, you should feel like there is really grass there in that contact area. And that's it. The grass is ready. It looks magnificent, even in black and white, but this is just the beginning. I see you in the next lesson. 7. 3 Creating Water in Graphite Sunset in the Beach: Hello, people. Now we're going to do the water details. But it's important to mention that all of these details will be complemented when we add color. The first thing we're going to do is create the lines of the waves closest to the sand. We need to create these lines to represent the perspective along the beach. Even though the waves are moving in individual groups towards the sand. There are also general groups that move together. When we look at the beach in the distance, these groups look like long lines of waves that are moving at the same time. For now, we just need to draw these lines respecting the perspective as if they were other inclined lines. Try to see here the subtlety of this line that goes from the farthest parts of the beach to the right side. They are in the same strip of water. I mean, at the same distance from the coast, only from a different perspective. Now, let's start working on this area near the sun. We are going to try to darken it using lines that can represent the waves in the distance. But we must be careful to do as much as possible to leave light in the small triangle that we made at the beginning, because we are going to work on it later. As we go along, we should add details to the waves closest to the sun. Every time we make a detail, we must see its value in the distance to check how the visual effect of the sea looks in general. Pay close attention to this important detail. If you see at the edge of the water on the sand, there is a very contrasting line. You can see it very well in the reference image, and we must represent it to add volume to the water that is covering the sand little by little. M Now we are going to make the gradient in the area far death from the sea. Notice how the edge of contact with the sky is darker than the rest of the sea. That must be represented as well as making the small waves in the distance. Look here how I make small waves. They are small, irregular colle lines. The dark tone on that side of the sea must be the product of a large number of these lines in the distance. You must be patient because this part is made up of many small strokes. It's important to be patient to achieve the final effect. Here you can see the pattern in much more detail. Notice how the lines are and how they are intermingled to create effect of the water. They are very small strokes that somehow overlap. On this section close to the sand, we must make these details much softer because the waves have already broken on the coast. So we only see the pooled water returning to the sea. Therefore, what we are going to see is the reflection effect of the water, and that is the reason why that area is significantly lighter than the rest of the sea. But pay attention. This doesn't mean that we are not going to make details of small waves in that area closest to the sand, but they should be much more subtle than those in the background. You must remember that this is an impressionist drawing course. Defect in the distance is everything. Pay attention to the different nuances in these waves near the shore. Notice that there are even areas where I apply slanted hatching to create the visual effect that there is one layer covering another. Now, let's try to shade those parts that we feel are not dark enough. I mean, when you feel that you should not make more waves, but you should continue to darken the water, you can apply the slight hatching. Look at this part where the layers are seen more clearly. You can even add different shades to each layer. Remember to represent in the largest waves. They are those darker strokes that you see in the distance. It's very important that you can render them currently. And there you are. The first graphite stage of the sea is completed, and you are already starting to feel that this landscape comes to life. I see you in the next lesson. 8. 4 Creating the Sky Sunset in the Beach: Hello, everyone. Now we're going to do the sky details. But this time, we are only going to worry about the lights and shadows. So let's try to create the contours of those clouds to give them a more concrete definition in space. You can see in the reference image that there is a progression of shadows whose darkness increases at the highest part. Obviously, this is due to the fact that the sun is down almost on the horizon. So we must try to represent this as we create the contours. I mean that those contours and clouds that are closer to the sun must be lighter than those that are far away. Shut We must also take care of the areas close to the sun. In the case of this drawing is a work that will require color. In the lighter areas close to the sun, such as this yellow and orange area, we cannot add too much graphite, since that space will be filled with color later. Pay attention to how important it is this line here below, the bottom edge of that cloud over there. Even though the final product of this lesson will look good, even if it's only with graphite, if the drawing were only with graphite, then the technique should be different because we should be able to represent that orange color with a different tone of graphite. For now, we should just limit ourselves to not darkening that area and leaving it clean to add the yellow and orange color play. Here you can see up close the value of hatching in the line when it comes to creating the shapes of the clouds. Look how I use hatching to create a contour between one cloud and another. O. This strip near the Horizon is one of the most important because it will have a very intense color like in the reference image. So you can better define those clouds near the horizon very well. And I remind you again, it doesn't matter if they are not exactly the same. It's simply necessary that they are in the right place. H. Now, I'm going to darken the upper parts of the clouds more. Pay attention to the fact that not only the inner parts of the clouds is darkened, but also the details contours. H. Now, let's blur the graphite a little bit to add softness to those clouds that really need it. For example, the large cumulus clouds above and needed. On the other hand, it's not necessary to blur all the hatching. Soften it. Leaving the hatching is something very beautiful in a drawing. F. Now, with much more precision, we are going to define the most intricate details. To achieve this, we must make much more delicate contours with much more thinner and darker lines in some areas. A wonderful impressionist artist known for painting skies and sunsets is uji Budan Budan often called the Master of skies had an incredible ability to depict vast cloud filled heavens with soft luminous colors. His works, such as the beach at Treble and sunset over the sea feature skies that seems to breathe with the changing light of day. His delicate brushstrokes capture the movement and mood of clouds, allowing them to drift seamlessly across the canvas. Budan's skies inspire us to embrace the fluidity of light and color in our own work. O. For example, here, pay attention to how I trace the age of this cloud. Look at the volume it acquires and how it stands out from the background. H. These details can also be crafted with eraser pencil. In those areas where you have blue to graphite, you can use the razor pencil to make those clouds that we see very illuminated in pink. Obviously, we will add that color later on. Pay attention to how important this cloud in the center is. Although it's not exactly the same as the one in the reference image, it occupies the right place. Pay attention to the illuminated edges and the gradual gradient towards the center. These clouds at the top of the composition should also be detailed in all the necessary tools used. The eraser pencil is very useful when it comes to making these saddle details. Two. The choice of the paper color in this drawing has been important in order to reach lighter tones without having to apply too much white shock. I think it's one of the few drawings in these areas of impressionism that we will do with a very light paper color, and we should take advantage of that. And that's it. Look at how beautiful the graphite drawing looks, and we haven't added a hint of color. Look at how beautiful the clouds are and the distribution of tones from the horizon to the highest part. You can retake this lesson several times if you feel you need it until the next lesson. So. 9. 5 Color in the Sky Sunset in the Beach: Hello, people. In this lesson, we are going to cover the color and the sky. Now, since we have added quite a bit of h. 10. 6 Sky's Reflection in the Water Sunset in the Beach: Hello, people. Although in this lesson, we are going to work on the water in terms of color. It's actually going to be an extension of the pre. 11. 7 Foliage Color & Final Finishing Sunset in the Beach: Hello, people. We have reached the last lesson of this drawing. While I give these last touches of blue to the water. I will explain what we are going to do. The idea is to give color to the grass. But first, we have to understand what the color we see in the reference image is made of. We could say that the grass is green, but the color we see in the image is sum of the green with the lighting that the sky and the sun cast on the grass. I mean, there is automatically a yellow glaze on that green grass. And the result is that in many areas, this color will go towards browns. So we are going to start by adding some toaches of brown on the areas most exposed to the beach. So let's get these touches simpler to find out if it's the tone we need. On the other hand, it's important to know that this brown is not exactly in direct contact with the beach, but rather it's a transition between the deepest area of the grass and that age that faces the beach. And there we can see that it looks pretty good. Now, let's apply this dark green color to the darker areas of the grass. Since this is a dark color, we must be aware that we can mix it with a dark graphite to give it density and depth. Oh. But pay attention to this. We must be aware of one detail. The grass is exposed to the wind coming from the sea, and therefore, there are two factors that change the color of the grass. The first is the sea wind and the second is the light. This results in the areas most exposed to these two factors, drying the grass in some areas, and that is the reason why you can notice that in some areas, the grass is drier and therefore lighter. As a consequence, this lighter color reflects more the light of the sunset than the dark green. It's then necessary to apply this particular light green to those areas. This color will not only be in the exposed areas, but mix in isolation with the other areas. A Now let's add this dark brown color to compliment the dark green that we had already added. 12. House With Sunset Theoretical Approach Artistic References: Hello, people. As we begin this new exercise, our goal is not only to represent a beautiful sunset over the rural landscape of Kabor but also to focus on how the light interacts with the entire zen. The key here is to capture the essence of the light at sunset and how it brings a sense of warm and tranquility to the setting, creating an intimate atmosphere. Sarsap's landscapes are often imbued with a deep sense of serenity. Yet they carry an emotional charge through his remarkable ability to render the light in nature. In particular, his portrayal of the sky and how the light interacts with the landscape is crucial to understanding how we will approach this exercise. One of Sarsav's most remarkable abilities lies in his talent for representing the presence of the sun, even when it's not directly visible in his works. In many of his paintings, the sun is not depicted at all, yet he masterfully captures his presence through the play of light and color. The way he renders the light hitting the landscape, especially during the transition of day to night, allows us to feel the warm and the gentle radiance that the sun imparts to the scene. The colors ranging from soft oranges, warm pinks and golden hues imbue the canvas with a sense of light that seems to emanate from the very ebb, even without the sun ever making an appearance. Arasav's landscapes are deeply affected by the atmospheric qualities of light. His clouds are not just simple forms, but active participants in the motion or charge of his works. The clouds are often painted with a sense of fluidity using soft flowing strokes that suggest movement in the sky. Yet they are grounded in a delicate balance of light and shadow. The way Sarasav paints a cloud allows them to capture the light, making them appear to glow from within. This sense of light, even in the absence of the sun, creates a powerful atmosphere, giving the viewer a feeling of being enveloped by the warm and beauty of the landscape. In particular, his work on the Volga stands as a prime example of how he represents light. The river is bathed in soft golden reflections, and the sky above is filled with hues of orange, purple and pink, creating a peaceful, yet, emotionally charged scene. The clouds in his work are dynamic yet soft, shaped by the light rather than distinct from it. This technique of portraying light without necessarily showing the zone is something we will focus on in our exercise. Through color, the subtle manipulation of shadows and highlights, we will aim to achieve the same atmospheric effect where the presence of the sun is felt, even if it's not directly depicted. For our exercise, we will focus on replicating this interaction of light and landscape using the sunset in the rural landscape of Kabor with a traditional house as our subject. To begin, we will work directly on dark green luxury paper. And instead of starting with graphite sketch, we will begin by applying white basal to the vapor. This will help us create the base for the luminous glow of the sky, and the house as the light from the sunset bathes everything in warm tones. The process will start by mapping out the structure of the house and the distant landscape. By starting with white pastel and working with dark green luxure paper, we are setting the groundwork for the reflective light of the sunset. This technique will allow us to integrate the tones of the sky into the landscape itself, as we gradually introduce warm tones such as soft pinks, oranges, and golds. The light will define the shapes of the house and the surrounding yard. The shadows will also be key to understanding the time of the day. We will use cooler tones like soft blues and purples to create depth and contrast, ensuring that the landscape is not only defined by the light, but also by the subtle interplay of shadow. Throughout this exercise, the queue will be worked carefully and gradually, leisuring the basal colors to capture the natural flow of light as it moves across the landscape. As Sarasov did, we will pay special attention to how the light transformed the texture and mood of the environment, enveloping everything in a soft golden glow. The sunset is not just a background. It's the central character of the scene, shaping every detail of the landscape around it. In the end, our goal is not simply to reproduce a beautiful sunset but to convey the relationship between light and landscape, capturing the emotional resonance that comes from the transition of the day into night. Just as Sabasev's paintings invites us to pose and appreciate the quiet beauty of nature, or drawing will seek to create a peaceful moment suspended in time, illuminated by the fading light of sunset. Let's start then. 13. 1 General Structure with Pastel House & Sunset: Really really really. No, no, no, no, I all right. No no I may Eye maybe. I no 14. 2 First Graphite Layer Hourse & Sunset: Hello, people. In this lesson, we are going to start using graphite. I think it's a very nice feeling to apply it to this initial structure made with basal white. So we are then going to apply graphite so that all the shapes we have made so far at quite real volume they should have in space. On the other hand, you will see that once we start applying it, you will see how the color of the paper will completely change its meaning in the composition. Now, let's continue applying graphite to all the dark areas of both the house and the fence. The contours of the roofs, the shadows under them, those parts are quite easy once we have the initial sketch in white. So it's right here when we are going to define the real shape of all those roofs and structures of the house. Now let's complete the fence with graphite. Those spaces that are in green is where we are going to build the wooden slats. We must define them very well with graphite. This is the moment to create the final shape. So if we have to put graphite on the white area to achieve it, we can do it. It's important to remember that creating a drawing on dark paper offers a unique and powerful way to explore light and contrast. Starting with white pastel to shape the form in scri as it allows you to establish the highlights and give the subject its volume and structure right from the beginning. I mean, on dark paper, white pastel acts as a source of light, and by leisuring it first, you are essentially carving the forms out of shadow, making the drawing feel as though it's emerging from the darkness. Once the highlights are in place, adding graphite in other colors becomes a matter of balancing light and shadow, allowing the darker tones to deepen the contrast and the colors to stand out more vivierntly. Pay attention to this. Even though the horizontal slat I have created below is made with white pastel, I am filling it with graphite because it's actually a wooden strip. That is why I mentioned to you that the initial sketch was not in the final form of the drawing. It was the information we needed to create the final shape and structure. Here's another example. Pay attention that the top edge of the fence is white, but in reality, it's dark. We must fill it with graphite, even though we made a sketch in white. Notice how I am retoching the spaces between the wooden slats. It's a slow process in which we can use the white pastel and graphite at the same time. Remember that the boards on the right side are bigger than those on the left. We must represent these with graphite as well. Now let's go back to the roofs. We must concentrate, as I told you, on the dark parts of the roofs. I really love the effect that the drawing acquires as soon as I darken those areas. It's like an instant three dimensionality. So it's precisely this transformation that we are going to use to develop the rest of the details of the house. So let's focus on the roofs and the dark parts. Look how beautiful the house begins to look against the light. It seems to emerge from the paper. The graphite color takes on a completely different meaning. It's also important to start defining the ages. For example, here above the chimney, the ages of those outlets must be clearly visible because they are an essential part of the upper edge of the house. Now we can start to define some internal details of the house. I mean the black and white planks along all the walls. So we're going to build them from the outside in. First, we are going to concentrate on the more general structure. Try to don't despair with these internal details of the walls. We will advance little by little in their construction, and we must get closer each time. That is the process. Et's create also this wall down here next to the fence, and this fence is actually a gate. Now we are going to proceed to blur all the white basil that we had put on the sky. Using a tissue, we're going to blur all the hatching with intention. If you see that you need to add more white pastel, we can do it in blue again so that the sky is much more illuminated as in the reference image. Remember to pay attention to that area around the edges of the house. At the top of the house, you should feel more light there. Now, let's add white pastel to this area below near the entrance so that we can work on details later on. And that's it. Now our house has a very solid voluming space. Notice how the green color of the paper has acquired another meaning in the composition, almost as if it were a greenhouse. But let's keep working in it, and I see you in the next lesson. 15. 3 House Intricate Details House & Sunset: Hello, people. In this lesson, we are going to do the intricate details of the house. But this time, we are going to focus on all the details of the walls. To achieve this, we are going to use the white pastel and the black graphite at the same time. We are going to start with this area. In order to make it, we should concentrate not on the exact size of each wooden plank, but on the distribution of them. For example, here, you can see that the white planks are not exactly the size of the ones in the reference image. But I have drawn four vertical planks in the two horizontal ones. So it's the structure of that side of the house. Therefore, in the proportion of the drawing, it looks the same. In fact, you have to really stop and measure the planks carefully to realize that they are not exactly the same size. But pay attention. The importance of respecting this will depend on the importance that the side of the house has with respect to the viewer. That side is crucial. It's the only side that is facing the viewer. To complete the rest of the walls, we must set a thick layer of pastel. It's recommended that you use the pastel bar since it has more density and adheres more easily to the paper. Now let's blend all the white pastel because of the nature of the walls here, it's necessary to use the blending stump. It's the only way to reach the corners. Since we are working on white, you should use the blending stump only for the white. Now, let's do the same process on the other wall. Try to soften the white bastel quite a bit so that it's a completely smooth surface, and the graphite details will then be seen with quite a bit definition. Now, let's do those details of the dark stripes. We're going to use as a reference the lines that we made on the front face of the house. We can start with the window and then do the details above. Remember that the size is not what matters, but rather respecting the sequence of wooden planks. Look how this line starts right here at the same height as the other line on the opposite side. All of these are reference points. You should try to be careful and do it with a lot of patience, taking great care of the edges and the straightness of the lines. All of these details should look quite clean. The process of working on intricate repetitive details in a drawing can lead to a sense of catharsis, as it allows the mind to focus deeply on the acts of creation, as we immerse ourselves in the tiny lines, textures and patterns, the world outside fades, and we become fully present in a moment. This careful attention to detail not only enhances the artwork, but also serves as a therapeutic release, helping us connect more deeply with both the drawing and ourselves. Once we get to this wall that is farther away, the accuracy and the distribution of the wooden planks will be less important. For example, here, I will make the details very similar, but I will not respect the exact number of inclined planks on the side because in terms of attention, it's not necessary. We only need to respect the general appearance and the design. The distinctive black and white striped houses in Gabor reflect the traditional Norman architecture, known as a Norman half timbered or Colm beech style. This style dates back to medieval times and is characterized by exposed wooden beams often painted black with white or light colored plaster filling the spaces between. The design is both practical and aesthetic, offering a stored structure while giving the buildings a unique decorative appearance. When we get to this far wall, we can do what we want, as long as the effect in the distance represents the general appearance of the house. You can experiment as long as it looks convincing, that is a secret of impressionism. Now, you are going to find the horizon behind the house. Note that this is one of the most illuminated areas of the sky, and there are also some small trees in the distance. We can do this with a white pastel pencil to get to the smallest details. Pay attention to these light details on the edges of these roofs. Although we are not working completely on the color of the roof in this lesson, it's very important to define these details. Look at this wonderful detail under the small roof. It's not even that clear in the reference image, but it looks magnificent. On the other hand, we must make the effort to define the edges very well. We can do this by defining the sky or by using graphite on the roof. This window must have quite a bit of detail. It's also very important to know that later on we will add some color on it, but we must finish the color of the sky to define that color well later. Now, let's fill the chime with white bastil and then blend it so we can make its details. This chime is another of the elements of the house that most attracts attention at first glance. So we must respect the sequence of bricks that compose it. Try to follow it very well. You don't have to respect the number of brick lines, but the sequence and the layout. There are bricks that overlap others. Pay attention to how the bricks follow the sequence also on the sides of the him. This is important so that it has three dimensionality. Pay attention to how I clean and define the edges. I do it with a white pastel pencil. And that's it. Look how beautiful the house looks. In the drawing, the chime is longer than in the reference image, but it looks so good that you can only see how beautiful it rises above the roof. Although the drawing is not an exact copy, it completely renders the house. I see you in the next lesson. 16. 4 Red Roof House & Sunset: Hello, people. What we are going to do in this lesson is add color to the roofs. Obviously, this process involves creating all the intricate details. The first thing we are going to do is create the clay colored tiles that cover the roofs. To do this, let's create parallel lines with this dark clay colored pastel. We are going to do them slowly one next to the other until we cover the entire roof. I am representing this brick colored roof of a traditional house in Kabor where the characteristic elongated tiles place one next to the other, create a rhythmic, almost musical pattern. These roofs, with their long overlapping plates, reflect the architectural heritage of Normandy. The tiles are designed to protect against the coastal weather with their shape allowing rain to slide off easily and their warm earthy tones blending harmoniously with the natural surroundings. Using a clay pastel pencil to form these stripes captures the texture and blade of light on the Terra cotta tiles, while the green paper beneath acts as a natural division between them, forcelessly creating the shadows and gaps. This method mirrors the harmony between the human made in natural elements in the cbwors architecture, where the roof almost seem to grow out of the landscape. By We must try to do our best to respect the base line on each roof. For example, here, the roofs faces to the right. So we must respect the direction of the base line while we make the lines. We really As for the chimme, we must also add clay basil to each of the dark bricks. Now I'm going to try to represent the dust and light on the roof. For them, we are going to use this blue cotter. I'm going to add blue strokes to some isolated clay stripes. We must use this color because part of the sky will be that color. Even though the roof is terracotta, the blue light of the sky can subtly influence its color. As the sunlight reflects off the roof, the cool blue tones from the sky blend with the warm terracotta, softening its freebnt hues. This effect creates a gentle shift in color, making the roof appear slightly mute or cooler in areas touched by the sky's reflection. Really, really, really, really being Now we need to create a definition of the clay tiles. To achieve this, we are going to use the graphi to draw each of the parallel lines corresponding to each of the plates in the same way as creating the lines with the clay bustle, we must respect the direction of the baseline. In an impressionist drawing, capturing the essence of a landscape is often more important than maintaining precise proportions. When creating the roof of the house, for example, the goal is not to render every tile with exact precision, but to convey the overall atmosphere and feeling of the scene by focusing on the mood, the way the light hits the roof, how the colors interact with the sky and the sense of the space around it, we invite the viewer to experience the landscape emotionally, rather than through strict realism. So I think this approach allows for greater freedom and expression, where the character of the roof and its place in the landscape come alive through loose ferent strokes and the interplay of color. In this way, the essence of the scene becomes more compelling than any technical accuracy. B you must be aware about something. We are going to fill the spaces between each of the roof tile with graphite to a depth in darkness, enhancing the contrast with the warm terracotta tones. However, we won't completely obscure the green color of the paper. It will still peek through the divisions, adding a natural earthy tone to the scene. This blend of graphite and the paper screen will give the roof a dynamic ge quality where the interplay of light and shadow highlights the roof structure while keeping the underlying color alive, subtly influencing the overall mood of the drawing. Maybe maybe maybe. Maybe maybe maybe maybe. Maybe. Now let's complete this brick wall in the spar town here. We simply have to make a classic brick pattern on this wall, of course, respecting the sides of the wall. By baby. Baby. Maybe And as the last detail, we're going to use the Pierre noi to darken this area here in the house. It's a very dark place, and we must get a darker tone. That is what the Pierre noi is for. And that's it. Now the house has almost all its details. Little by little, we are going to completely cover the landscape to later cover it with the beautiful Normandy sunset. 17. 5 Foliage Details House & Sunset: Hello, people. In this lesson, we are going to portray the two trees at the bottom, as well as the cobbled stones of the entrance. So while I finish these details of the house, I will explain more or less what we are going to do here. We can take advantage of the irregularity of the trees and the fact that they are in the main focus of the drawing to experiment freely with their forms. Since these two trees stand on either side of the wooden fence leading to the house, they frame the scene without demanding too much attention, making them perfect for creative exploration. So by using white pastel to define their shapes and contours, we can play with how the light interacts with the trees, especially in the warm glow of the cabar sunset. So the white will blend beautifully with the green of the paper, softening the trees and giving them luminous ethereal quality. This allows the trees to feel more like a natural extension of the landscape, while the mix of white and green creates a subtle contrast, suggesting the fade and light of dusk without relying on traditional colors. This approach gives us the freedom to experiment with textures and form, enhancing the atmosphere while keeping the focus on the overall scene. You can see in the reference image that this little bah has hide contrast between its leaves. What we are going to do is try to represent the light projected on the laps above. We are going to create branches that fulfill that particular characteristic. Little by little, we will create this visual effect almost as if there was snow stuck in the upper leaves. The most interesting thing about this is that the green colour of the paper would still be part of the bosh, adding magic to its nature. Not only you should take care of the contours of the leaves using the white pastel, but we should also be able to create small leaves as if they were hanging from a small curved branch. You should do this very slowly, paying attention to the fact that many of the branches overlap slightly. With this same color, we will try to represent the dry grass at the bottom of the tree. This detail is also very important. Pay close attention to the blades pattern. Although it's not visible in the reference image, we are going to add graphite to this area to represent the street before the entrance. This will help us separate the entrance from the street and give it more volume. We must mark the edge very well. The cobblestones will be in that entire wet section. On the right side, we are going to make a sort of sketch of the Bs. We didn't have to be very precise because, in fact, it's like a sort of vine around the wall. On the other hand, you can see in the reference image that there is a light green tone in these bushes. We can try to experiment with a color like that. We don't have to put it exactly where it is in the reference image. We should simply try to create branches of that color, especially in the intermediate areas. In other words, not to represent the most illuminated parts, but rather that midpoint between light and shadow. Abstraction plays a key role in the impressionist style, serving as a powerful mechanism to capture the essence of the scene without getting lost in details, rather than meticulously rendering every element, abstraction allows artists to suggest forms, movement in light through loose, expressive brush strokes or marks. In this way, certain elements like the shimmer of water, the glow of sunset, or the texture of the trees can be represented through simplified shapes and colors, letting the viewer fill in the gaps with their imagination. Now, let's add graphite details to highlight the small branches more. We're gonna do this in both bunches. Pay attention to these little green touches at the top. Now we are going to create the same brick pattern in this wall here. The wall on this side is darker, so we need to draw that way, too. In the same way that we applied the light green on the right side, we are going to do it now in the left bosh. Look how I applied on the base to grade the grass. Also in the intermediate areas of the bosh. I don't tote the most illuminated parts. Now, I'm going to try to define the branches of this Bh even more. Note that it has its own nature, even though it's inspired by the reference image, we must understand its own nature to add the shadows under the branches. Now we are going to make the cobbled stones at the entrance. This is going to be very simple with a light pencil tone. So we are going to create irregular stones. The only thing to keep in mind is that as the stones get closer to the fence, they should reduce their size slightly. And that's it. Our house is almost completely ready, and all the elements around it are too. The effect of the cobble stones in front of the fence is very interesting. I think that just as the drawing looks now, it looks like a snowy landscape during the hot winter, but there is still more to come the sunset in Cabour until the next lesson. 18. 6 Creating The sunset House & Sunset: I Hello, people. We have reached the most awaited lesson of this drawing, the moment of creating the sunset. So we're going to start directly applying this yellow color near the horizon, and we are going to apply it with basil yellow bar. We must try to fill the illuminated space that we see there. So let's try to fill the whole space smoothly, paying attention to the fact that these yellow tones extend in some way also upwards. Now with a pastel pencil of the same tone, we are going to feel the ages. We must define them so that the contact one of the sky with the house and the horizon looks perfect. Now let's apply this light orange tone near the horizon, just as I'm doing here. Pay attention that I also use a tone between yellow and orange to create transition zones in the range. Now with this blue, we are going to make all the details of those clouds that are near the horizon. We're not only going to use blue but also light gray, those light shades of gray close to the light blue. Now again, with the yellow pastel pencil, you are going to define the clouds by creating the visible gaps between them. Pay attention to how these clouds are practically made up of the white pastel color mixed with the green colour of the paper. Of course, we must go on to wiching up the areas where more light should go. We are going to do this at the same time with a white pastel pencil. We must focus on the shape of the clouds or at least understand their nature in order to represent them appropriately. Now, with these two shades of blue, we are going to create the color of the atmosphere. This will be almost like revealing the atmosphere in the sky. Pay attention that I first added the light layer, and now I'm adding a layer of deeper blue. On the other hand, although I'm creating areas where the atmosphere is uncovered, I am also trying to create a very subtle veil over the nearby clouds. Now, we are going to complement the same veil, but this time with a yellow color. Simply slide the pastel bar subtly over the areas that need it. These ves will transform into the natural colour transitions of the sunset. Now let's continue making the gaps between the clouds. But this time, we will do it with a white color little by little. Look at the height where we are making these gaps. Try to follow the range that is changing as we go up. Now, let's use a blue pastel pencil of the same shade of the most intense blue that we used before, and we are going to continue making gaps, but not only that, but also making the outline of that big cloud that is in the center. If you see well, the lower outline of that cloud ends in the orange and yellow part of the sky, and the upper one is in the bluer part. It's as if we were erasing parts of the clouds with this blue that looks wonderful. I think that pastels are an incredibly useful medium for capturing the rich, vibrant tones of a sunset. Their soft or blend nature allows artists to lay your colors as forces ling, creating the subtle gradations of light and shadow that define the magic of a sunset. I believe that with pastels, you can easily transition from the warm oranges and pinks near the horizon to the color blues and purples that stretch across the sky. And actually, that dusty texture of pastels also enhances the softness of the colors, making it perfect for representing the sky's changing hues and the gentle glow that covers the landscape. Now we're going to add this wonderful pink. Let's give these touches to this big cloud here. Adding one more color, adds even more three dimensionality to the sunset. But this sunset must impact the house, as well. So we are going to add a subtle yellow layer to that wall that is exposed to the sunset. We must do it very subtly so that it goes unnoticed yet present. Now, we are going to add a light layer of blue to those spaces between each fence board. We are actually adding that blue to the yard behind the fence. Since the roof is blocking the light that should hit the chimney, we need to darken that chimey a bit. So we're gonna apply graffiti very lightly, being very careful not to ruin the details of the bricks. Oh If you look closely at the reference image, there is a shadow of the chimney projected on the roof. We need to make that shadow, as well as the correct shading of the roof as well. If we need to improve other roofs, we can do that, too. On the walls, we must also make that saddle final shading to represent all those shadows generated by the edges of the roof and by the fact that some walls are less exposed to the sun than others. Now we are going to add this light blue tone to this window to represent that the sky is reflected just like in the reference image. Now we can give the final touches to the drawing. If we need to darken any roof or corner, we can do so. And that's it. We have finished this beautiful rendering of this sunset on Normandy. Look how beautiful the blue color of the sky is in the drawing. Almost as if we could slide between those clouds and travels towards it. Pay attention to those pink details of the big cloud in the middle. There are a complete transition between the yellow light and its progressive fade out into the blue. Notice how the darker parts of the clouds are made by the color of the paper, and the house is there, covered in the light of that sunset staring at it. I see you in the next lesson.