Playing with Style Using Watercolor & Brush Pens: Draw & Paint La Sagrada Familia in 5 Ways

1. Intro: Are you bored with your art style? Do you want to try something new? I've got just the idea for you. Go. Hi. I was in Barcelona recently, and my wife challenged me to draw La gradaFamia in five different styles. First, I refuse because I do two different styles, maybe, tops. But then I thought, This could be fun. This challenge could be a way for me to get out of my comfort zone and try something new and maybe even find something I might love. Hi. My name is Fati, but everybody reads it as faith. If you did the same mistake, you owe me a comment in the discussions. I'm a watercolor artist, a drawer, and an online teacher. I have 14 online classes focusing on drawing, painting, and even productivity. Some even call me a top teacher. Did you know that check? In this class, I want to show you that if you look for it, inspiration is everywhere, and there is no one answer when it comes to art. And more than that, you don't have to reinvent the wheel every single time. A famous building like La Sagrada Familia was painted over and over again by Cantos artists. You can follow their footsteps and arrive at a totally new place. Art isn't created in a vacuum. We will start the class with a little stroll through Barcelona. You will see the city through my eyes, and we will search for inspiration. After that, I will analyze the inspiration I found in this city and create a game plan. And after that, I will paint LesagraaFamilia in five different styles. Through the process, I want to give you your creative licenses to explore your own style and voice by painting the same monument. This is an exercise to make you come out of your shell and see what else is available out there. During the class, you will learn how to traditional pencil sketching and inking, seeing the negative space and painting the full shapes, continuous contract drawing for expressive results, painting with watercolors realistically, using brush pens for drawing, as well as creating washes, creating flowing watercolor washes. Simplifying your subject to fit your medium. I'm excited to share this class with you because first of all, Barcelona is beautiful. If you have never been there, you might book a ticket after this class. If you have been there, you know how beautiful it is, and it wouldn't hurt to see it again. You know what I'm talking about, right? Jack, you have no idea. Secondly, I find this challenge highly stimulating, and I want you to have the same itch to try something new and make you go out of your comfort zone. This class is for anyone who loves drawing and painting with watercolors. If you're a beginner, you can definitely pick a style and paint alongside me. More advanced students can challenge themselves with a style that is not similar to their own. I'll be using watercolor, watercolor paper, pencil, fine liner pens, brush pens, and acrylic pens during the class. Your class project is to paint La Sagrada Familia in two different styles. You can pick whichever style you are going for. Alternatively, you can do all five of them if you want to become my favorite student. I'm super excited to do this. Let's go to Barcelona. But first, we need to talk about your class project in the next video. But after that, let's go to you guessed it Barcelona. Jack, can you believe it Barcelona? 2. Class Project: Your class project is to do what I do. Paint sagrada familia in five different styles. No, not in five. Again, your class project is to do what I did, paint Les agrada familia. If you have never heard of this building, it's like the crown jewel of Barcelona, Barcelona. Is that how people say, Barcelona, I went to Barcelona for the weekend. I'm going to say Barcelona. It was designed by the famous Spanish architect Gaudi. Gaudi is famous for his unexpected and flowing designs, and you can see his building speckled throughout the city. This building, however, basilica, kind of a church. I don't know the difference. Was his highest achievement or at least an attempt because he didn't manage to finish building it, and in fact, the building is still under construction since 18 82. Well, I thought my procrastination was bad. So even if you never heard of it, it is a remarkable building, especially when you take into account it was conceived in the 19th century. When you have a closer look, it is super detailed. So for that reason alone, it is a great subject for a painting. Like I mentioned before, I will do this in five different styles. You can watch it all, decide which styles you are going for, and go back to that style and draw alongside me. So your class project is to paint this architectural wonder in at least two different ways. You can choose which two out of the five. I would recommend you choosing as far away as possible from your own styles. I would be thrilled if you did all five of them. I would have goose bumps. Jack, Jack, can you see? Even just a thought of it. Later on, you can take it up a notch, and when you're on your next trip or even in your city, you can do this exercise of searching for inspiration, which we will talk about in the next lesson. You can pick a building that is important to you, see how other artists did it, and decide to go down their path. And if you do, I would love to see what you came up with. So this is your class project. Now we can finally go to Barcelona Barcelona. Barcelona, baby. Check. Let's go to Barcelona. Oh. 3. 1st Day in Barcelona, Finding Inspiration, Analyzing & Creating a Game Plan: So we were in Barcelona for three days, and this was just after I published my NIF droving class. I literally press publish around 7:00 P.M. On Saturday, started packing my backpack, and at 4:00 A.M. We got up so we could make it to our 630 flight. And to be able to do this, I pulled a whole night the day before, worked until 4:00 A.M. So I could finish the class and go on whole day with a clear mind. As you can imagine, I didn't want to think about work at all. And my wife was asking me earlier if I will recall a new class from Barcelona because I like making Glogoses like the one I made from Italy, and Barcelona is a beautiful city. Was saying, I don't know. Probably not. I'm too tired. We arrived in Barcelona, and it was beautiful as expected. I started recording short videos immediately, and my wife told me, I thought you weren't going to record a new class. And I said, Just in case, with a smile on my face. If I remember correctly, while walking towards AsagraaFamilia, my wife asked me, Why don't you draw LasagraaFamilia in five different styles for your class from Barcelona. I said, I can't do five different styles. I maybe do two. Then I thought, That's actually not true. I can't do anything. We continued walking. Arrived at La Sagrada Familia, and of course, I was awestruck with the size and the beauty of the building. It started raining and I saw in the distance a sign five guys. I said, This is that burger joint from the US I always hear about from comedians. My wife said, Come on, then, let's get you a burger. Didn't you deserve one with all that hard work? She was referring to my jump chart and my big reward if I ace 15 days in a month. And she was right. I did deserve one. So we went in to get some burgers and also to hide from the rain. The burger was good, fries were plenty. So we were there for a while, maybe not the best choice, considering we were in Barson and we were eating at an American diner. We went out finally. It was still raining. We went to the other side of La Sagrada Familia. We realized that this must have been the main side we always see on the photos and started laughing at how we were taking selfies at the back. Through all that, this idea was jumping around in my head from wall to wall, La AgradaFamilia, but in five styles. We escaped from there because it started raining heavier and found some cheap raincoats. We walked all the way to the sea, and every now and then, I was telling Kasha a new idea that popped into my mind about this new class. And I started seeing inspiration everywhere. This was a famous building. As artists, this includes you too. We all stand on the shoulders of those who came before us. We don't need to reinvent the wheel every single time. A building like La Sagrada Familia was drawn and painted over and over and over and then some more. If you are visiting a city and you want to document this trip in your sketch journal, but don't know what to draw or in which style to draw, just walk around the city and inspiration will find you. We visited art shops, gift shops, cafes, from magnets to the garage doors, this building was everywhere. Any of these drawings paintings could be your inspiration. Whichever speaks to you or makes you say, Oh, I like this one. Go with that one. This is not stealing, it is not copying. Whichever art style you are taking as a starting point, imagine that the artist carved a path with his or her painting and you are going down that road. R. So I decided to do that for this class. I will paint La Sacre de familia in five different styles. Remember, I will also go out of my comfort zone. I will also try something new. I will also do some of these styles for the first time. If I can do it, so can you. These are the lessons I want to leave you with this class. If you look for it, inspiration is everywhere. If Fab can do it, so can I. Mm hm. And next to these lessons, we will come up with five different paintings. You can try all five, pick three, do two, or even just one. Yes. After coming home, I looked through all the footage, all the photos, all the videos, and tried to find all the inspiration I could find. I think in total, I managed to find 15 of them. And this was already plenty. I put them all together on one page on Photoshop and tried to pick five styles more like three because the first two are going to be my styles. But try to decide on five that I'm going to do for this class. So this is what you see on this page, all the different styles I just collected from the city that this was just walking around and looking around in the shops. So first of all, this on the very left one and two, they look like my traditional and my no for Sketch journal style. So I mark them as the ones I'm going to do, number one and number two. After that, I looked at these ones look like watercolors and very realistic looking. So I think this is close to my first style. So I just eliminated them. After that, I decided I'm going to go with this number three. I'm going to go with the pink one as my number three because first of all, it's pink. Why? I wouldn't think of that. So that kind of reached out to me as an interesting style choice. And also, it's nighttime. So this will be my third style. I'm going to try. And I eliminated the one underneath because it was without color, and very simplified version. I really liked that illustration. I decided it's not for this class. And these three looked similar, like a simplified version of the building. And now black fine liners is very kind of no high contrast paintings. And among them, I decided to go with this one and eliminate the other two. And this became my number four. And as number five, those remaining two are the candle holders. I decided to go with one on the top, because it was kind of a sunset. Look, I decided that there is one daytime, one nighttime, and then another one will be the sunset. And again, it's a simplified version of the building, but there are like, the details were put with a thick black marker, and I found it interesting, so I will try to do that. So to summarize, this is style number one. Let's call this traditional my own style, pencil sketch, ink with fine liners, watercolors, and very realistic, like whatever you see you're trying to put on the page kind of style. I don't know how else to call it. This is my own style. This is how I learn drawing and this is how I do. And style number two, no effort style, again, my own that I do you know from my no effort sketch journals, no pencil sketch, continuous contra drawing and quick watercolors, and the results are very expressive. And style number three, I decided not I decided to. I had to decide how I'm going to approach to these styles, yes, thinking the skill sets I have and the supplies I have art supplies. Because of that, I decided this is going to be all watercolors. Pink color, nighttime. I will colour the sky later. No fine liner pens. I'm not going to use black pens, and there will be acrylic white flowers and also the sky like stars and moon later. Style number four for this one, looking at it, I decided, Okay, maybe this could be a challenge for me not to use watercolors because that's a medium I use often and I am comfortable with it. I'm going to use all brush pens for this one. And it's a daytime blue sky that it will differentiate from the previous one this way. And no fine liner pens again. Again, I'm not using my favorite form of favorite tool to draw. And it's a very low contrast building. It's like a brown for the building, darker brown for the details, so I will try to keep that. And finally, style number five. This one, again, looking at it, I decided I will combine the two together, and there will be a different this kind of sky that you can do with watercolors, but you can't go around the building. So you need to do this first. I thought this will be the challenge for this style. There's a sunset that was one of the reasons why I chose it, and I will do a flowing watercolor wash for the background, and I will use thick black pen for the details. And to color the building, I will use brush pen, so it will be combination of watercolor and brush pens, this class. But I will use two different colors to create the sunset feeling. And this will be the style number five. So this is the five styles I decided after analyzing all the inspiration I found from Barcelona, and this will be challenging for me as well, and I hope it will be challenging for you, too, and I hope you will enjoy this challenge. That's the most important part. So if you are ready, let's go with the first one. See you on the first challenge or first style. See you in the first lesson. D. D. 4. My Own Style: Pencil Sketching, Proportions & Perspective: So, first project is my own style. And to do that, I will pencil sketch this building. I guess this is the most straightforward project among all five of them. This is basically seeing the building and trying to put it on the paper as it is. But of course, I think in one of my classes, I don't remember which one anymore. I was telling that the difference between what you are receiving and what you are able to put on paper becomes the kind of artistic difference, and of course, it's not the same and I always like more what I end up on the page with than the actual building. Like a very regular building could be very beautiful and you might want to put it on your wall. But among the five, this is the most straightforward one. Now for this one, I want to have how to approach this. I want to have kind of a frame around this, but the frame will go around. And I want the towers to peek through, like, break through that frame I'm going to create. So I think let's say the towers will finish like this, somewhere around here. So I will make this. And it's not going to be a straight frame two that I'm later going to do with this ink. Kind of let me show it to you. Something like this. And then I'm going to decorate the bit. And it will have this kind of a frame, and the building will be inside it, and there will be blue sky around surrounding the building, but the towers will peek through. So how do we do this? First, I look at the big shapes, what can I take in here? When I look at the whole image, whole building, that this cross looks like pretty much in the middle. But my middle is not the middle of the frame, but let's say the buildings will finish somewhere here, so here. So I guess that will be the cross and from here, This should be even steeper, I think. Like this. This is a good thing about sketching, we can put something on the paper and look, Oh, okay, this didn't work. Let me try it again. And I guess it's like if it's two X here, it's one X here, something like that. So I'm going to 2x1x. Did it make sense? I thought if it's 2 centimeters here, I put 1 centimeter here to get a similar shape. And under here, There are those big, very impressive impressive looking columns. And where do they end up they end up? Something like this. Maybe even wider. Okay. Not too bad. And from here, there's there's another one that's under the second Towers. And in the meantime, sketching I can spend hours sketching something, trying to make it perfect, and I will try not to do that to you guys. So I think I'm trying to keep it symmetrical now to the other one I drew, something like that. So this is the bottom part. I'm just looking around to see where my where my eraser was. And because I have a whole recording setup, I don't want to knock anything down. There are lights around me and the camera is standing in a balance. I have to be very gentle. Okay. Now, from here, where do we go? I think this main tower will finish under the frame. But this tower will will go all the way up like this and end up here. And this tower should come all the way. Look, it's the same alignment with this one. So this should come even more from here, I think. Okay. And the second one. No when I compare the top of the tall towers and the one behind, these are like, if this is three X, this is one X. So it's like one third down. And it's kind of keep it close. Because of the way I took this photo very close to buildings, really looks like a triangle actually going to the top. So from here, I think it's separating more like this. Now this is always the difficult part because not this. I'm just correcting something here. When you draw something, you have to draw the symmetrically on the other side. Maybe that's why I actually grown more fond of no effort to get tolling because I don't have to worry about any of these. So I think it's something like this. And it needs to end up here. And this needs to end up about this here. Okay. And the second one here. Maybe a closer. Because I want to have this triangular affected like we had here. Something like this. And there's this big tower behind. And this tower, okay, it's I like it. I think the general shape is there. As you can see, I went for the big shapes here that looked at this triangle at the bottom, and then at these cone shapes for the towers and the one behind. And something like that. Yeah, this makes more sense. Then later on, I try to look at the objects and relation between each other to decide where they're supposed to end up. This one comes like this one. Like that. Okay. And now quickly that in here, It's like over here, there are those decorations. And this is like, I feel like quarter of the way, there are those writings. And again, they don't go all the way down, but there are these openings. Okay. Sorry for being so quiet. I'm concentrating on the painting at the moment, trying to see all the details that I need to see. Okay, I think it's something like this. And this cross that I put here is actually much bigger. That It has a very intricate geometric shape with many sites. So I'm trying to capture that at toment Okay. And O here are the same openings. It is really amazingly detailed this building. Like, I think, whatever effort I put on to justice to how pitiful and how detailed it actually is. Okay. And the ones on top, I see, actually, they come like this. And there's one bridge. And then there is under this crown, There's another bridge. I see this building behind. There's okay, this is important detail. There's another bridge here, hope. And just about cross. And there's actually a character sitting on it. I called the character. I'm sorry. I don't know what it is. This part is actually covered with scaffolding. You can see There's the security fabric over it. And this building has the two tower at the back has several sides. It's more here and here. And here there are this triangle openings again into the tower. Crying all the way down. I'm not going to get them exactly right. I'm just again, this is an impression of the building, even though I'm trying to do it realistically and keep the proportions and perspective. Again, I have to pick my battles and decide how many details I can take. In here, there is the I see this gate entrance to the place, I guess. And above that. There's like a shelf with statues, and above that, there is another shelf with statues. Now this is reaching much higher like this. And here's another shelf. And here is another shelf. I call them shelf because I don't know what else to call them. I apologie I apologize for my ignorance. Um, now let's ink this baby. Mm 5. My Own Style: Inking with Fine Liners & Adding Details: Now let's ink this baby. Where do we start? Let's start from the cross again. So many details. This won't be easy to bring together. I can feel. That makes me a bit stress because I'm recording this. It has to work. In normal life. I don't have this problem. But hopefully it will be all fine. And again, this is a drawing. It doesn't have to be a perfect representation of whatever you're drawing. You have a camera for that. Okay, now I need to create these steps. Here I see this shape. I think this is the beginning of it. It will help me decide the rest. And here I see P with a X behind it. Two more shapes. This is now two detail. I'm not going to do for every single one of them, but I want to do the first one. I'm looking roughly to go through the tower, one, two, three, four, five of them, one, two, three, four, five. So this is more or less the same proportion. I'm okay with that. Now, I will try to keep the same for the other side. This diagonal I drew at the beginning to as a general shape of these decorations above the columns. It's guiding me, and that actually helps. And at the bottom, this is, like, thankfully, it's more straight. Before I go any further, I want to draw this frame because that will stop me. In some places when I come to it, that will be my border. I'm not going through the towers because towers will be peeking through. Like that, the frame is in place, and I'm going to give some texture to it this way. Again, you can do the same or you don't have to. I've actually seen this from one of my students projects, and I liked it very much. How it looks so I want to bring it to this project. We should I continue? Let's do it from here. Her name is Bianca B the student I was talking about. Almost done on this side. We started. Let's finish it. Almost there. There it is. And now we can go back to this gray, very impressive construction under the cross that I immediately can see this was supposed to be taller. But again, this is a drawing a photo a photograph. I feel the need to simplify this a bit. This is not easy at all. Actually, it's not true. It is easy, it's time consuming and I don't want this to get too long and too boring for you guys. And I don't like speeding up the videos either because then it becomes something you have to sit down, watch rather than do it with me. I'm trying to avoid that. And here we are. So under not every every second. It goes down like this. And then in between them, That's how the columns are formed. When you look closely, you really start picking up so many details and see how intricate actually is, and there's much more to it that I'm not able to take on for this painting drawing. This goes like this way down. Okay. Almost there. Now the other side I'm getting too close to here, I need to have the columns here. I need to be careful. Okay. Okay. Back to creating the columns. How was it that it was from every These first ones have asteris on them. After that I see S U N E R A Z, a NUS, and I don't I won't continue after that. R E X. And two asterixis, and then I see I I think DNA, and after that, there's a tree I can't see it. Oh. Okay. Back to from this one and every second one. That's how these small columns are formed in close inspection. And then In between them, there are these round shapes that form this very characteristic looking columns. In my interpretation, they turned out more round but in the original, they were more they were taller. But this is the thing I always say that it doesn't have to be exactly the same. That's one thing. The other thing is, the more you put details, the better it gets, even though that you might make a mistake with something might not be happy with how you capture it. But just keep adding details and it will be okay. Okay, now this part is done. I think I will do the top first I want to do. So I will start from this tower. I'm looking at the details from my phone in the meantime. You can download this. And you can also zoom in and have a look closely how they look. And oh, I didn't wrote the bridge on this side. Now, when I look at it, this bridge was supposed to be lower than the main tower behind around here. So I will correct that. And here is not visible second bridge anyway. I just on side I was a bit out of the camera there. Sorry about that. And now this side is coming down. I switch to the other side. Again, I'm trying to decide how much details I can take with me. Decide I'm looking. This is important to keep them same level. So I just skip ahead to be able to finish in the same place, same height, both towers. And then this same goes for this one. And here, again, there's the cross decorations around it. Here there's another cross. Okay. I think the general shape is turning out to be pretty good. Um start these decorations again. Okay. Now let's bring them down. So now I'm going to this bridge, I realized it was in the wrong place, looking at the height of the main tower. It should be around here. I'm going to add that like this one here. And the two towers join here. On the other side. That's also ton. Now, and I'm gonna ignore the that there's a second bridge between them. I think this is enough detail. Let's quickly do the main big tower behind. This is the scaffolding part. And here's the at the bridge here there was a someone was sitting here. That's also done, and I will put the details of the tower behind that there is this Now, looking at the shape, I'm moving this line from my sketching that I think this is more accurate now with everything falling into place. I'm throwing the windows again. But it is really time consuming. So I guess this also plays a role in your preparations for the type of art you want to do. If you have time and if you're enjoying this because it is a very, um, what is the right word? Very relaxing activity. So you might just enjoy doing this and spend lots of time on it and make it better and better every time. That's one way to go. But if you are more time crunch, but still you want to use a little time you have to be creative, you might pick something like no effort, sketjournaling, and that style. This one, I feel the same that it's more time consuming and makes me a bit nervous, especially I'm recording a class with this, and it goes into everything from editing to how people are going to watch and consume this class. That's also important. But other than that, actually, I'm really enjoying doing this detailed work. That once it's done, it has a different kind of satisfaction. Now I'm adding these openings, the side of the towers. I moved to the other side. Okay, that's also done. What else? Let's now try to speed up a bit as a challenge. Another challenge. Challenge on top of challenges, multiple challenges. I will try to at these writings. When I add this, I usually add with my own writing rather than try to create the font because I feel like I change it in a way that it is more me, it's rather than writing A, like this type style, I'm writing with my hands writing. I'm in here. Now, these big big openings I need to add. I think for the sake of the drawing, I'm going to add three of them. I don't think I'll be able to add more. Another one. And the other side And the last tower. When I'm trying to do this, I'm trying to pay attention how he actually coyote designed it that all these openings, they are in line, like going towards the middle, and I'm trying to keep that shape because even though I'm not adding exact amount of openings as he designed, this will still give the same feeling as La grade familia, and it will be recognizable. And that's what drawing is basically. You just draw something from real life. And then when people see, they just say, Oh, this is La grato fami. Then I think even if it's not a perfect copy of it, it's a success. So under this left tower, there's a guy sitting. Here there's an opening, and here kind of another shelf and shoulders. And like under every tower, there's a character like that. This one is even looking to side. Shoulders and that I just want to keep adding more details, zooming in because I can see there are details inside these openings as well. But then I just remind myself this is not the challenges. The challenge is to draw the cycloamilia in three different styles, and that's what I'm doing. Last tower, there's another character here. And now I think I'm happy with the top, there are these I want to just add. I'm going to add these here. I'm not able to say what they are. They look important. And it's a very big part of the building as well. Like, it really adds to the look. So I don't want to skip them. I can see they kind of start a bit separated apart and in the middle, they get a bit more concentrated. Again, they are apart and then at the top, more concentrated. And again, I'm quietly adding my details. Can you imagine me droving at a coffee shop and narrating like some people would think I'm crazy. Thankfully, I don't do that. It would be actually really fun to record the class from a coffee shop, like in a cool spot. In a very natural spot for me to do sketch journaling. But usually, I do the recording at home then. Okay, almost there. This is very time consuming, but I'm liking what I see. Almost there. And with these kind of drawings, maybe it's because the drawing takes so long, it's always this excitement towards then that I just can't wait to finish the switch to the painting part. And here I have a I have this column coming from here and the other one like this. And another column. I can't even think how they built those columns. They look very impressive. No. I'm gonna throw this statue here, and then it'll be done. Again, I'm not trying to draw them perfectly. I'm with the time I have, I'm trying to do as much as I can. M. Here is the door. And there are some more characters here. They like soldiers. I see. Cross hair. And quickly going to the other side. In here, I see two characters. And here there's a knight, I guess of sitting on top of a horse. And drawing the horse quickly on this shelf and on the other side, And this side I really can't see from this photo. Unfortunately, I will just do that part like a represent representative of this space as a market will look better. So I think I'm now done with adding details. I just want to add this extra line here that it looks a bit too left alone. Normally, I would put even more details to a drawing painting like this. Drawing. This is the drawing part. Drawing like this, I would put more details. That rather than a single line when there are two lines, for example, if you look closely, these parts that you can see actually inside if I could add all of them, it would give a better feeling of the space and the texture, but it's taking lots of time. It's time consuming. I think at this point, it's good enough. That as a general shape, I think we have a impressive building emerging from this imaginary barrier we created, and I'm happy with that. So now to finish it off, I will gently without knocking anything down, I'm going to remove the pencil marks. And here we are. I think this is ready for painting. 6. My Own Style: Painting with Watercolors, Adding Depth, Dimension & Texture: So now we can finally paint. For this, I have here picked serlem blue, yellow ochre, or ochre. I don't know how to pronounce that. And aureole. Are ol. And I will need a bit of pink for the top. Mm Other than that, let's see. Let's start. And maybe I will add a bit of green because there were trees that I didn't put a detail, but maybe I will put as a accent to this painting. I think I want to start from no, start from dropping some water to your paint. That's always the first place to start. And I'm going to keep the colors inside of this frame, except those towers. I think I will start laying a bit of this color. This is the color of the buildings for me. Let's try quickly. Yeah, when it's not too much, I think it does the job well. And now we are off. I'm going to add colors to the building in general that is all made out of this sandstone kind of material, I guess, that to me, at least the color looks like the sandstone. And later I will apply some shadows as well. Okay. I'm not painting this part with the same color because as you can see, it's very distinctive gray color. So I might even leave it as it is and just add shadows to it. Now the other towers The last tower is also colored. I think since I'm on this color, I will just continue with this. I'm going to paint. This section is completely covered with this color, so I'm going to go ahead and do the entire thing. Okay, from the water, I'm adding to the paper. I'm using 200 gram paper, by the way, for all the projects. It's a little bit buckling, my paper. It's not going to be very water heavy this project. So I'm guessing I'm hoping I put a bit of a tape behind it. I should help. Okay. And there's also the tower behind. Going around the cross because, again, cross is made out of same material as this part, so it's gray. Okay. And now what? Where shall we start? For this. For the shadows, I'm going to use, I think, is brown. But it's not called brown. It's raw amber deep. Okay. And since I'm gonna wash my I think I'm going to go ahead and put these pink details. That they are around the cross. This pink is opaque, so I'm trying to apply a little bit. And later, I will once it's dry, I will let some yellow there as well. I'm picking some up from here. There was too much. It will take forever to try. And I think next I want to do the sky. So let's get that out of the way as well. It's a very unified looking blue sky. I want to keep that. Just I will probably add the main color to the top of the frame because I'm going to keep the blue in this section. And then bring it down like this. Like this. I want to put most of the pigments here and keep bringing it down so it gets lighter and lighter. Now the site. So this way, at least we have a bit of a gradient going on, even though we use just one color, that this is how sky usually is actually from one side to another side is usually darker or lighter. And now let's go ahead and add some details to meaning shadows to the main building. So it will more come to life and we will see what we are dealing with. I have too much paint on my brush, so I'm trying to drop some of it by touching many spots. Yes, I think this ops, that site wasn't dry yet, and I let my brown go into it. That's also okay. This is watercolors. When I paint with watercolors, I also let colours flow into each other, not as much as I do with no effort style, but that's definitely something I like doing and that's a problem. Okay. With these shadows in place, the building started appearing already. And in the photo I took, the sun is hitting the building from the right hand side. I think I will keep that for applying shadows to the L, not the shadows because there are these openings, but to the general shape of the building because these are round buildings, towers. Okay. Again, usually, when I do my sketch journaling, what I call traditional sketch journaling for me, um, The way I paint is more realistic, like, looking at the photo I took or the place I am and try to apply accordingly. But also, I don't try to do too details of a job, and I always use the same brush to put all the details. And these mishaps happened like over there, and this is part of it. I like it this way. And that's how I do it. And this is since this is my style, I am free to do whatever I want. This side is also almost done. It was really a shame not being able to see inside this building this really was a lesson for me to book things ahead of time. I have this problem of not planning things ahead and suffering the consequences later, let's say. Um, so it was a really important lesson for me to do that next time, especially our friend told us you have to, and we still didn't. But like I said, at the beginning of the class, I was very focused on finishing the previous class and publishing it before going on holiday. And when I'm on the last, let's say 100 meters of publishing a class, I really can't focus on anything else. I'm trying to give all my attention and time to editing. I guess that's not ideal because it cost us this seeing this beautiful place. But still, I hope I will go next time. That here, this whole place is actually in the shadows, but this statue of Jesus is standing out from that. So I'm trying to be careful around it. Yeah, I will apply more to the side so they will actually a bit separate from the rest. Because the columns are definitely in the front end they stand lighter than the rest of the building. So I want to make that visible. And once this is dry, I might add another layer of shadows. Yeah, this way, you can see these columns are now more visible. Thanks to these shadows. Adding some more to the side as well. Okay. The first layer of shadows are in place for this part. Now, this part is dried and I want these buildings to give the feeling that they are actually round. So what I'm going to do, I'm going to apply a bit of brown all the way to the side, and then I will soften that with a clear brush. Now, after applying this, I'm cleaning my brush. I'm picking some of this brown. So this kind of fades into the side like that. So now let's do the same for this side. This way, you can see how immediately the building popped up. This sites also done. This building has different sites at the back, but I think I'm going to do a similar trick here. Apply the brown like this and I'm not going to go into the details of the geometry of the building there. Okay, this also helped the cross to pop out a bit. And I add bit of shadow here to the side of the bridge as well because it was being covered by this tower. And this difference actually makes it pop in front of the as a separate structure from the tower behind it. Now a bit more here. That's also down. As you can see, that it doesn't look like much, but the shadow makes a painting. The shadow brings it all together. I'm pulling this shadow now. So that because there's a bit of water in the brush after I clean and put it on the excess water here. And when I just pull it across, it just makes it all these brown pigments come this way. Okay, I'm quite happy how this looks. There was a bit of excess there. I tried to take it. And now I will do similar thing here. This part is even darker. There's like a doorway there, I think, looks all black. This roof above and here I got some more harsher shadows there to give the feeling. Now I can soften this a bit to it. Now the other side. And these doors look almost black, so I will also go ahead and use this dark brown for that. Okay. And there are some deeper shadows among the statues here. And I will soften this as well. Okay. And okay, overall, our building is looking good. It popped up nicely. For the gray elements, I'm going to use this use black so that because it's gray, I'm gonna let's drop some water here. I think the first thing, I'm gonna paint these parts. Like like this. I don't want to be too watery, but I don't want to be too thick, either. And, okay. And the other side. If there's too much pigment, I just wipe it onto my paper towel. And I want to because it's getting the sun from the right, I want to add these shadows to this gray Cross and with not much pigment left on my brush, I'm adding a bit of texture because there is this fabric on the scaffolding up there to represent that. So it won't be just white sitting there. And other than that, looking, looking, looking that I want to two things are just standing out for me. That these columns are actually very impressive, but there is no second layer to it. I will add a bit of a shadow here. Oh there's that kind of groove to it when you look closely. This will come from here. Similar thing to the other side as well. Okay. And now, sorry for the noise that my chair makes. I'm just going to add I decided not to add the green, by the way. I'm happy with how it looks. I will just pick up a bit of aulin and I'm going to add to the top because there are the cross is yellow. Very roughly. Not too much. These are very fine details. Quite difficult to paint, to be honest, at this scale. And and with that, I think I want to use urlin and the pink as the accent to the rest, and I want to splash a bit, and I'm going to use these two colors for that. So let's start with with this. You know, me, I always like splashing around with And maybe use something for the top part. Think splash Simon. And I think with that, I'm done. I'm happy with how this turned out. Um, so this was it for the traditional style, my own style, and I hope you enjoyed it. I hope you will use it in your own projects, and you will try to do the way I do. And if you do, make sure to share with me. I will see you on the second style second project. Sea. 7. No Effort Style: Expressive Continuous Contour Drawing and Watercolors: So some Mm. D. Or now in this one, I'm going to use my maybe favorite style. I kind of fell in love with it recently and I can't seem to stop using it. No effort, sketch journaling style, which is continuous contra drawing. I put my pen down and don't lift up until it's done. This way, the results are much more expressive and interesting. And let's see. For this, I use thicker pen. That I like better with ticker pen. This could be it. Just a second because I have even a ticker one that was in my This was in my backpack to go pack. And later on, I will, of course, paint it and I will put some colors here to use. If I can get them out, this one is yellow ochre, and I have this urline and some blue for the sky, that it could be this pq is blue, maybe. And maybe I can mix that up with erleon Look, it's here. I'm not making it up. ErleonKerolin, blue, and that there is a tree going on there, so I will keep a green handy. And I don't know if you can see, but on the top of the towers, it's pink over there. So I want to have that. Even though it's difficult to see, I want to have that as an accent, and I will keep this pink here. Yeah, so let's see. When we come there, maybe if I feel like adding something else, I will take. Because my set is quite big and it doesn't fit into the frame that's why I'm doing like this, so they hang out here, at least. It looks a bit better this way. The thing about this no effort style, I call it, that I shouldn't think too much, just dive in and see what happens. So there is no pencil sketching. There's no planning. I just pick a spot and go. So I will pick the center spot. This is where the crosses and I'm off. Sorry, I lift my pen up because my watch was buzzing, my jump was over. Sorry about that. And from here, it goes there's a I don't know the proper architectural terms for these things, but it's going down steps here. And then I will try to go back up again and do the other side. Mm hmm. And I think I want to get the big things covered. So from here, I'm going over the existing lines to travel where I want to start from. And there's a big, big, big tower. No. And here, they join together, and the second tower to the left is about actually a bit taller. Then it goes all the way down here. And then I will go back up There is a bit of a crown going on here. And then there are some other decorations on the top of the tower and here as well. And there are some more decorations around this top of the Towers. And from here I will go down. There's a bit of a bridge between them, and then I will go to this one around here, there are those ornaments and and this extra decorations around I make it a bit fettered towards the bottom, trying to correct the shape of the tower. But I don't worry too much about it, that it's that I didn't get it right. The first time I fixed it, it goes straight and starts narrowing down. Something like that. I will do the same decorations here. Okay. And I'm going to the other side. Again, there's a bridge between them somewhere around here. Decorations, more decorations. As you can see, that this is a representation of what it is, rather than trying to capture it perfectly, it's like a quick study of it, but in the meantime, I'm paying attention. I'm really trying to see all the details as they are. So now, about the cross, I can see kind of a bigger bridge between the towers in the middle. And behind them, there's a huge tower from this perspective, it looks short. The top part is covered with scaffolding that's still under construction. And it has several sides. It has these windows. Again, I'm doing them quickly without lifting my pen and probably they supposed to be smaller than this, but I'm not going to worry about that. And here is the same. You can see a bit of these windows here as well on the sides, but they are very skewed. So I just represented them with some scribbles and around the bridge, I'll actually go to the other side. There are some writings going this way. And then the same here. And this kind of creates a separation for these long openings. I guess there are stairways in it. This is the sad part of this whole day. Our friends told us before going, we should book ourselves all these sites, especially LaGradaFamilia, and we didn't and we couldn't find a ticket to go in. But we took it as a reason to go back. We have to go back to see inside because, I mean, of course, I looked at photos. It's incredible looking. And now I will do this site. I just stop for a second to count how many are there? In the middle, they get a bit close to each other because of the curvature of the tower. U That is a general shape. This is how it looks. Of course, if you watch my no effort schedule and classes, I say that these drawings can be done with this style in under 10 minutes, but in there, I'm working in a very small square, and this is a bigger page, so it's taking longer. Then there are these openings on the side of the Again, I'm seeing this openings there very long, but there's something in between them. I'm doing them as quickly as I can. This sides almost done. And I will go to the other side. No, the last towers. Okay. That if you look closely if I look closely, I can see there are more than three of these gaps visible. But again, I'm seeing those details but deciding how much I'm going to keep that with this style and amount of space I have, I'm using an A five size paper. This is the amount of details I can contain. So I decide to let go of the rest. And there are some statues around here. That I'm not going into details, just representing them with some scribbles. No, they were here under the somos here them here. The general shape of the church is or baslka. I don't know what the differences. I think established. From here, I think I want to go to top again, and I can see it's like this. There are lots of columns and this gets narrower towards the sides. Okay, I will come back to those columns, but first I want to There is this big impressive column. And then there is another one. The other one is metric to this one. Okay. And under here, There are lots of statues, lots of details on this building. It's incredible. And, of course, I got to see many of these details at home when I was trying to draw the And I'm again, representing them as quickly as I can to not use too much time. On this side. Also I'm going to the other side O here actually, I can't see much, but I can see because there's a tree there, but it's following the same pattern. So I will leave it at that. And this is the opening, and this is the column. I'm finishing the columns now. Again, if you look at it, I'm seeing how these shapes and how they look like. But I'm not trying to make them perfectly, trying to decide what details I can take and whatnot. And I think with this, I'm having a last look before lifting my pen. That I just noticed something over here is a bit empty. Actually, I can see behind here there is a triangular shape, so I will include that. And with that, I'm done. Okay. Now quickly, I will move on to painting. Um, the space is limited because I want you to be close to the painting, so I don't want to lift it too much, but I have my waters here. One for dirty water, one for clean. I'm picking up some water for the building. I want to what I will do, I'm going to take some water with this eye dropper and drop some water on my pain so it will soften and open up. I want this to be very I don't want to stay true to how it looks like, but more like a representation of that. And while it's still wet, I want to, um, these pink accents on top. I want to give some yellow as well to the building. Let's I'm adding some details for not details, some color for the sky. I can let that go around look like this. And I noticed I need a bit of a dark comic. Black. Because I want to use for these parts that are in the shade. And to make this gray columns visible. I'm going to add in the gaps, it is a shadow very quickly, so it will pop up a bit and be visible. The same goes here they are actually giving this distinctive look to the building those dark openings into the building. And for this tree here, I didn't put any details of it, but what I will do that I will just splash some green here. And for the general feeling of the place, I want to splash some yellow around. And finally, because there are those pink details on the top that towards the top, I want to splash some pink. And one last look, I think I'm pretty happy with this one, how it turned out. I think it is a good representation of what I was seeing there. I want to pick up some of the extra paint here. And then I want to bring them a bit closer here so it will the sky looks a bit more unified. I'm not doing anything special. I'm just with the paper. On the blue parts, I'm doing a little tap tap tap. To give you a bit of a texture as well. Then to break this, I can add a bit more water as well so it's not same everywhere. An epitope after that. Splash with the torquis blue, and I'm done. Yeah, so this was it for this style. This is how I would, I think, normally do this building La grata Familia from Barcelona, if my wife hasn't challenged me. But next to this, let's see what else will come. I will see you on the next one. D. 8. All Watercolors: Negative Space & Seeing in Full Shapes: No? D. This is project number three, which means all watercolors. It was this pink, I think, postcard set of postcards I saw as an inspiration and it drew my attention because it was pink. So I'm going to try to do that. And the way I analyzed this picture was it used no black lines. And I decided, how am I going to approach this? How am I going to do this? I will do I will have to I do everything in watercolors. And I'm going to draw the building first and then let it dry and add the sky afterwards so that things won't mix up. And I will add the details later with brush as well, with a thin brush. And then there were also white details on this painting, and I'm going to I really like those flowers at the bottom. So I will also add some acrylic flowers at the bottom and the sky. So let's see. We'll start with the pink building. Here's my favorite pink. It's called Cherry Blossom pink. I want this painting to have kind of a nice frame around it, like nice white space. So I think I will do what I will do. I'm going to decide this is the middle. I want this much space, and This will be the bottom part of the building. And then this part is actually come all the way like this. I will create my frame, not go over it later. It doesn't have to be perfect. Um But I want to see some frame. And from here, I think the middle tower will reach up here and maybe I set that too high, but let's go with it now. Or maybe not. Is a good example of making a mistake. If you make a mistake, you can Wow. Pick them up, especially with this painting we are doing later we're going to add dark sky. Oh, I'm making it even worse. Because my paper is very dirty. That's why. Because we're going to add dark sky later, we can actually delete and this whiteness want show. Now I need to find a dry paper to be able to lift that and leave it dry. You see? This is a good thing about watercolors. It accepts mistakes. So let's say this will be the top of my one of the tall towers, low Tower and the middle tower. In the meantime, I shouldn't let these parts dry and leave marks. And from here, it starts very narrow and then opens up a bit. Same here starts narrow then opens up. In this part is already joined and there's a bridge between them. So again, this is kind of an exercise on the working on the negative space and look trying to see the total shape, and this is a very good exercise for you too. Now I'm doing the towels on the right hand side. Later and I'm mating some more pigments because I want this pink to really show through that this was, I think the key part why I like this painting because they chose to do the building in pink. And here there's a grig and of course, this painting I found as an inspiration, it is my guide, but I'm actually doing the drawing from my own photo. So it's not the same as the one we saw from the from the painting. I found as an inpresit that was inspiration for me was how did they tackle this subject which way they decide to go. And I'm going the same way, but I have my own A picture to look at and draw from. So then later with blue, we will create a similar shape, and also what I like in this paint, I'm just adding some more pigments where it gets pale. What I liked about this painting was they used a darker color at the bottom. It was like, of course, there isn't a hill like that. It was artist choice, I believe. But it looked like a hill with flowers on top. I also want to have that. So for that I'm using this purple. Thinking if I should do this while it's still wet or wait for it. No, I think I want this to be very sharp. So I will wait with the purple. And once it's dry, I will apply here. So for now, what we have to do with this painting is to wait to dry, so then we can continue with the rest. See you in a bit. Now, my painting, the first layer of it is now dry and I prepared my colors for the next layer. This is we are doing this all in watercolors, if you remember. In here, I have, and this one is indigo. This one is, how is it called blue gray deep, this one. And I'm going to use these ones for the dark night sky because it's this night scene, this style. And this one is maroon. It's going to be this kind of hill at the bottom where the flowers will coming out. That was also inspired by this painting I saw in Barcelona. And the orange is for the details of the building. And I'm not using any pens. For this one, everything's happening with brush, this one, and later, this one is number 12. This one is zero, a very thin brush. I'm going to use this for the details later. I think I will start from the sky. That's the most challenging part here. Let's see. I hope I won a it up. Mixing the blue gray deep now, and before I drop it onto my painting, I think I'm going to start with this edge. What's going to happen is that I want to have a frame going around, so I will maybe mark that first. I already drop a bit of paint there. All right. And this will come all the way down here and meet where the pink is. I'm trying to do more or less evenly, but I'm not worried too much. I want this frame, the white frame around it to be more nature. Not perfect. I think it's part of it. Part of this style for me. Okay, this is the side. Of course, I will try to be quick so that I will be able to apply this sky shape around the building without letting my paint dry so that it won't leave any marks. Now, the scary part next building. Okay, that's done. Okay, now I feel the need to. Come on. Turn the paper over a bit to be able to do the sideways, I'm much better side to side than up and down. I would used to be afraid of doing these kind of things in front of people thinking that they might think less of me that he can't do it this way or that way, he has to turn his page around and I would feel very self conscious about it. But in time, I realized I don't really care as long as you are able to deliver what you're supposed to deliver to you. Do whatever you can. If you need to put the page upside down, put it upside down. I picked up a bit too much pigment. Last time, I'm trying to, um, dissolve it and make it even around the painting. There was this gap. Okay. Don't try. Don't try. Since we are here, let's do this part first. This will stay under my hand, but I will be careful. Okay. That was smooth. Don't try, don't try. It's like I'm saying, Don't tie, don't tie. And let's take care of this part. Okay, I will do this side, and then I will turn the page around again. Now, I can see the sharp end of the brush to this side. I think it's part of this painting that I picked and I'm executing a bit of me, a bit of the inspiration, a bit from the inspiration photo, painting. I think this one part of the charm is that it wasn't perfect. That's why room I was an approximation of the building, the scene, but with different colors and a different time of the day, night sky. And to this, I want to add a bit of indigo to give a bit of glue going on, but not too much. And I will mix this up with the rest and try to have even color going on. Again, like I said, I don't worry too much about it. I think it's part of the charm for this painting. But like this, there's a bit of a blue tint going around. Still, it's dark night sky. And like I said before, with wet on wet, you can always pick it up and et the colors flow into each other, be careful if you have too much water, it might try to leak from the edges, and you don't want that because then it will either seek seep into your painting, the pink section or it will destroy your frame by running out. Look, I was very close here, for example. I feel like I I will need to dry this also the slant like this. But I also want to quickly apply the maroon here at the bottom, so they will dry together so we can cut from the time. We have to wait. Something like this. Just cover the bottom part of this. I don't want to lay this too thick. Because when it's too thick and it dries with too much if it dries with too much pigment in one place, when you put acrylic on top, that acrylic cracks for some reason. I don't know the chemistry behind it. But it does. So I think this is now good enough. Actually, these polls, now when I look at the image on the screen, it looks like clouds for me. It's actually not too bad. But now what I will do, I will set it aside to dry because later, I will add the details and those details might mix into the wet parts and I don't want that. So I will with a bit of an angle like 30 degree angle, I will set it up like this and let it dry. See you in a tiny bit. 9. All Watercolors: Adding Details with a Brush & Acrylic Pen Additions: Now, I'm back. My second layer, the sky and this maroon hill that will be covered with flowers is dry now. So I can, um, bring this orange because I'm going to use the orange to put the details of the building. Now I think I'm going to start with that and I'm going to start from the bottom. I'm hoping by the time I do all the other details, this part will be dry and I will be able to straight away without waiting, put actually flowers here. Now, of course, I'm going to start from this section that there are these very strong looking triangular I really don't know what it's called. This gray section with cross on top. So I'm going to start with that because this will lead to hope, I think somewhere in the middle, it has to be like this. And the other side will go like this. And underneath. The second layer of this. This is really challenging for me because I'm not I don't use the thin brush for details with my paintings. I don't do that kind of watercolors, and this is a very good challenge for me. I'm not going to go into details of the columns with this one. I'm just going to represent them like this. Okay. And columns are these columns are in and underneath there are the other part which I think it's like this is I'm not going to be able to show all of it here. So part of it is visible. And this part and A. Columns are in place. And underneath columns that are again, this painting didn't have that many details, and I'm not going to go into them either that these are representing the decoration statues under those columns. Okay. And now that's done, I'm going to move on to upper parts. Now, there are two things here that should I put these details all around or only wear pink on pink, this decision to make. Let's go with pink on pink, meaning that I'm not going to put these orange contours around here where the building is separating from sky. And later, let's see if I decide it's necessary, I will do it. And here is the cross I think it's coming together nicely. And here's one of the towers. And here's another one. Oh, it would be so funny if I knock this pan over my paint now. I would be laughing so much. Mm hmm. And I'm doing the tower behind, but there's also the Bridge in the middle. Different sides of the building behind. And let's see what else. There were these crosses these decorations on the top. Okay, it's going so far. There was this triangular detail behind the cross. And there are these openings. Okay. That's there. And now this side for doing these openings, actually, brush feels very adequate. It's very easily done. Okay. And now that there are these writings here that, of course, I'm not going to go into these details. I'm just making some marks with the tip of the brush, cascading down like this to represent those details very roughly. And Now it's time for these other openings on the side of the towers. Okay, that was quickly done, and now the other side. I have to say, I'm not hating it that putting the details, it's a bit out of my comfort zone, but it's actually very quickly and easily done. I will separate the bridges with orange because it's pink on pink kind of an action. And I will put these openings on the back tower. Okay. And there were those statues at the bottom of every tower. I will represent them here as well, very roughly. And on the very top, it had crosses. So I'm going to add the crosses like this. And with that, I think I'm done. I'm realizing that these openings they could have been now taller, so I will try to extend them. I will really knock it down. Yeah, I think this is better and more accurate. Okay, we're almost there. I always feel excited towards the end of a painting. This looking at your creation and the feeling of accomplishment. There's really nothing quite like it. Okay, I think, when I look at the general shape, our building is definitely in place. I think anyone who has seen the Sacra family before would be able to recognize this building. And with that, I'm actually done with watercolors and the brush. What's left is That's what's left the acrylic details. I'm gonna add some stars. I'm just looking. Is it too big to be a star or should I use the thin one? Yeah, thin ones, I think, doing better job. Let's add some stars. We can move this before I knock it down. It's really gonna happen. Very starry sky. Maybe here, I'm going to put the how was it called? We call this in Turkish the Big Bear, this star system constellation. Or maybe I should have decided I want to put the moon as well. Where shall I put the moon here on top or that here I have this constellation, so there is this on the left, right. Okay, let's go with the left. I want to make a crescent moon. M. And maybe one. Or two of the stars falling. Now it's time for the flowers. I think sees all dry dry here. Um For this, I will use the big one. And my go to flowers usually daisy I will go with daisies. Okay. And let's get some more. Again, I'm not trying to do anything perfect. This is very, I guess, the simplest way of drawing flowers you could think of h because as I was saying before, I think this is part of the charm of this kind of painting where I picked as a inspiration. I have lots of acrylic coming out at the moment. I will try to color them inside with this Okay, it doesn't look like much at the moment, but let's trust the process here, shall we? I think the end result will be cute. A filling them in it's a bit time consuming. And it's a long class. I don't know. I don't have anything to say at the moment, but I don't want to be quiet because I don't want you guys to get bored. Yeah. But overall, I'm really happy. My wife said what she said and challenged me like this because I'm very happy with the result of this challenge and how I kind of stretch myself because as I am also growing, I'm trying to keep an eye on this flexibility thing that it is important to be able to flexible in life when something happens, something changes and how quickly can you adapt? And I always praise myself for that, that I'm very flexible and I can adapt to situations very quickly without getting disturbed. But as you get older, I realize I'm trying to hold on to certain things and certain way of doing things. And this was a great actually exercise. Oh, too much. Critic on that. And this stretched me a little, and I tried new things, and I realized I actually enjoyed these new things. So I would advise you to the same. Keep an eye on that flexibility thing, okay? There is nothing wrong with doing the things the way you like, the way you are used to. I'm totally in for that as well. Just every now and then when life throws you a carpal, it's good to know that you'll be able to handle it. Come on, Acrylic pen. Don't let me down. Look at that. It's either coming too much or coming too little. If you know any good acrylic pens for that, I thought this Zika was a good brand, and I had high hopes for it, but it could have been better. Okay. Now, we are almost done. I have just one addition to this. Yellow. Yellow Arctic pen. This one. This posca, I'm actually a bit happier with this one. This one is better. Of course, you can have daisies without the yellow in the middle. Okay, it's coming together, as you can see, with the yellow dots. It started making all sense. O. Almost there. Part of me always gets so excited towards the end of finishing a course, which I am. Now as you are watching, it's finished. But as I am at home doing this, I'm starting to think what kind of class projects I will get from the students and what will they come up with. And that's really the best part of my work. Okay. And the daisies are in place, putting the acrylic pen down, and I will just it This Okay, I said that I'm not gonna use pens for this pen, but it's just for the What is it called? The stem of the flowers. Only for this, okay? A. Okay, I think every flower has its stem, and with that, just ignore this one, okay? With that, I'm done. All watercolors, a bit of acrylic pens. These ones. And We are done. I'm happy with this one. This definitely something I wouldn't think to go for, but as an end result, that I can totally imagine this on my wall or as a notebook cover or something like that. So I hope you enjoyed this one, and I will see you on the next one, which will be all brush pens, I think. See you soon. See you on the next one. Bye. Ly. 10. All Brush Pens: Big Shapes, Creating a Wash & Simplification: I I I and so Videos recording too. So in this one, I'm going to I looked at the inspiration photo, and this was, again, without contrasting lines, which means there were no fine liners like I use like these ones. So I feel like this is my strongest tool in my toolbox. And without this, I feel kind of naked. But that's why I choose this one as an inspiration. I want to do something to a similar effect. And so I decided, how can I achieve a similar effect? Because it looks like the color of the building is this sand color, again, but the details were put a darker, but much closer to the sand color. So like brown. So I decided I'm going to do this one as a challenge for myself only with brush pen. Now I'm actually looking around to find my brush pens. Where are they? They were under a pile of paintings. So these are the brush pens I'm using. I use them if you watched my no effort Sketjournaling class. I use the same brush pens to show you that if you don't feel like using watercolors, there are other options. And one of them were these brush pens from Ecoline. These are watercolor brush pens. So after applying them, you still have a chance to add water and blend them into each other. And this way, you can still create watercolor kind of look. But it's much easier to carry and you don't have to carry water with you if you're just going to use pens. And I'm going to use for this one, this yellow will stay? No. This orange, I want to use them for the building together because this is too dark and this is too light and something in between. And one of the reasons I picked this as an inspiration, I picked one evening. Lo daytime. This is the daytime, and then there is one with the sunset, that covers three different situations and so I will use this one for the sky and then this brown one for the details. So I'm putting the rest aside. And with this one again, what's important is to see the negative space, like seeing this building as a whole, not like one tower, another tower, and there is a bigger tower behind them, like, not separately, but try to see from where you are standing the whole shape. Now I will try to do this as a big shape. And this will be my border line that I want to leave a bit of a white space around it. Because I like to do more detailed drawings, paintings, but again, I'm challenging myself to this inspiration I saw I'm challenging myself to do something similar to what date to do something similar. Okay, maybe I will try that sentence again. I'm trying to do I'm challenging myself to do the way dated. And so this one look like a simplified version of the building. So I will try to do the same. So this will be my building. With these brush pens, if you apply one line after another quickly, they blend straightaway. But if you wait a little bit, then you are able to see like a highlight actually that you can see that they leave a mark on top of each other. I don't like that much. But like I said, this gives you an option to blend them later and I will show you a trick to use brush pens, but have a much interesting result by applying a bit of water at tint. I'm adding this second layer it's more visible with the orange, for example, if I wait a little and then can you see how it's overlapping here. But after this trick I told you about with the water, it won't matter. Again, I'm using this inspiration I found in Barcelona as a starting point. And I look at it, see what they did, how they approach to the subject, how did they deliver it with amount of details or lack of details. But still, you can clearly see it is as agrada familia. This is also a very good skill to be able to do this toil simplifying things. But I'm also looking at it with the eye. How can I do this with the skill sets I have? And how can I put my own twist? I'm not trying to change it that much because just even by going down this road and doing it a bit my way, it ends up as the result is much different than the original. I took it as an inspiration. And this blue will be our sky. I can brush pens give you this option with the very pointy end you can actually get really close to what you are drawing and you can deliver it with greater precision. I. Even though I'm normally not too concerned about these things, I'm trying something new. I'm trying to do my best to do like them. That's why for looking at this inspiration, I decided to go with brush pens. I thought after doing the building, it will be easier to apply the sky. Okay, so this much is done, so you can see the general shape is there. The trick you can just take some water with your brush and apply to blend it. But then this comes with a bit of a complication because water tends to run around on the paper and they get mixed up much more, which can be also something you go for. But instead, if you put a bit of a paper towel, good old paper towel and get a spray bottle, And spray on your painting after applying this brush pens. This way, the water is still applied to the painting, but it's sitting in the same place. As you can see, it buckles in some places, so it's not touching to the painting like here, here. So I help with my finger so that it's kind of everywhere, evenly distributed water that at least everywhere is touched by the water, let's say. And then I'm going to pick it up and we are done with this result, which I can see now. Sorry, I put a bit too much of water. What I will do, I will take excess water. So then suddenly, from this very childish looking drawing, we end up with a very cool effect. Whoa, what's going on here? This wasn't here a second ago. And I'm putting my paper towel away. Now, if you start applying the details to brown immediately while it's still wet, that also starts bleeding while you are putting. So it also gives very fun effects that you are putting fine details, but those details are a bit fuzzy. Um, Like, for example, in the middle, I just touched and it just I will show you as an example. I'm trying to touch as little as possible and it immediately gets blended into the paper and the water that's sitting on top of it. So I will go with this while I'm doing this, it will dry more. So in some parts, it will be more blended and some parts, it will be more sharp to lines, and it will create a nice effect. And let's not forget the cross and I'm really trying to touch with the tip of the pen and Look in here, for example, it is dry, so it's not breaking so much, but in here, it is dissolving, which I really like the effect. I'm not trying to complete the lines everywhere. That's also fine. Everything is recording. Good. During my classes, you can hear me saying every now and then, okay, everything is recording this because a few times it happened that the phone ran out of battery or ran out of space and it wasn't recording while I thought it was, and I just went ahead and did everything and I had to repeat those shots. So there's a bit of a trauma, I guess. That's why every now and then, I check if everything is recording. And so I'm doing the building from my perspective, from my photo I took. But I'm doing in this style that I found and decided from Barcelona. I'm trying to deliver this building in the same style. And there were those ornaments and sexual there are crosses here. Mm hmm. As you can see the building already starts appearing in front of us from all this mess we created. I will do the this impressive columns. Mm hmm. And we were able to see this building behind this big tower behind us with windows. And for this, I will turn it around and I will put this Again, these very tall openings on the side of the towers, very distinctive to this building. I'm trying to do them a little bit sideways, since that's how they were appearing. And my inspiration also depicted the same way. I used to have trouble turning my page sideways like this to draw a line straight or something like that because I was thinking people will think less of me that he's not able to do it in this way or that way. And later I realize this really doesn't matter, whatever you need to do to be able to you're trying to achieve a certain result, if you need to turn your paper sideways and if it makes it easier for you, just do it. And under here that my inspiration didn't go into that much detail with this part. I'm thinking if I should just leave it as it is or at least put the general shape that there are some things going on here. Because in my um, the photo I took these details were visible. So I need to find the middle way between my inspiration and my prop that I chose for myself. Yeah, I think this feel better, and also there were these columns. So I will actually to make the columns pop, I'm going to paint the gaps between them. And I think this way, another painting of Las agrada Familia is done in a different style. I think I really like this one. This was the part I actually really wanted to do this, why I wanted to do this challenge because I didn't know I could achieve this or this wasn't something I was going for, but here we are. And in a way, if I showed it to someone, they might not even think this is related to the picture painting I took as an inspiration. But that was a starting point and I arrived here and I didn't know this exists. This didn't exist before. This is the amazing part for me. And now it does. So I hope this class, this challenge will do the same for you. You will end up somewhere you didn't know that existed. Okay, so this is all for this one. This is all done with these four brush pens, and I will see you on the next one. D. 11. Watercolor & Brush Pens: Creating Flowing Watercolor Wash for the Background: I So this is the fifth and the last style and the project. And for this one, this is watercolors plus brush pens, I called it because I'm going to combine the two with no fine liners, but the separating factor for this one was the sunset, one of the reasons why I chose, and I thought it would be good to show you guys as well. I looked at the sunset from my inspiration, which was on the top of a candle holder. And I thought to be able to do this, when I was analyzing the inspiration and deciding which projects I'm going to do. To be able to do this, I need to do the background first to give this nice flowing like gradients, colors from one color to another, sunset kind of look. I need to do the background first and then put the building on top of it. And the way to do this, we're going to create the background with watercolors first, and then we will let it dry completely, and then we will come back and do the building on top of it with brush pens. So otherwise, if you try to do this around the building after doing the building like we did for the night scene, that will be nightmare, trying to make it perfectly around the shape of the building. So because of that, I'm going to tape this and I got this cardboard because with this cardboard, I will be able to tape the paper to this cardboard, and then when I need to, I can lift it up a bit and let the water go around, and that actually gives the flowing watercolor wash effect. Now I realize I cut this too short. So first, I'm going to tape this. I'm using a normal TM masking tape, nothing special. That sometimes it rips my paper, but if you are careful and gentle, it's okay. And I like, try to do half of a bit of the tape off the paper. And that will be my border as well for my painting. U now I'm doing the bottom part. I try to keep you guys close to the action. So these very edges might not be visible sometimes. So sorry about that, but you will see this other part in a second, the long sides. Okay. Only one side left. And after putting the tape, when the two tapes land on each other, I try to with my nail seal that part because there is a tiny gap because of the thickness of the tape. So I just really press that part down so that the paint won't Go under that. Yeah, under the tape to stop the paint from going under the tape. Okay. Now, the first thing we have to do, I'm using a sponge for that because it's much faster. I'm going to wet the whole thing. If you want your watercolor washes to be flowing, that's basically a wet on wet technique. And where will the colors to paint the pigments? We will they flow in the water, of course, on the paper. When you apply with a bit of water, they have a very limited way of moving around. But when you do like this, you need to keep it wet. We might need to spray later as well in case it starts drying. But it has to be wet on wet. And for this, I'm going to use this purple, maybe some of this pink orange, cadmium orange. And this what was it? A rolling? I think for now, that's it. I don't want to make it too complex. It's gonna be a simple sunset. And I'm going to take some water. I already wet them, but I'm going to put these colors in the order I'm going to use, let's say, for the page. I'm adding some water to them. I love this pink. You can see it's running very low. I will need to get a new one probably soon. This orange as well. Okay, that's also done. Now we can start adding colors. I will just start like this. And I wash I'm mixing pink, mixing it nicely, so there lots of pigments. This pink is very strong. So I will not put too much. Maybe in between, I will add some more purple later. And Some yellows hit on tears. And now we can let them flow around a bit and see how they are mixing together. When there's an excess, you can take these extra bits. But I want paint come all the way to the site so I will help here. I'm lifting it up, letting all the colors mix, and it can be time consuming process. So be patient. I knock down my spray bottle. I'm adding more water so it will mix up nicely. And add a little bit to the site as well. And now I'm happy how it's actually mixing up. But I have a feeling when I look at the painting that I took too much of the pigments from the sites and purple disappears. So I want the top part to be a bit more Mm purplish. Now, this time, I will I will get some more water on those parts that the pigments are just sitting and not moving. There's a nice yellowish color happening in the middle. I like that. And I'm letting it come a bit more up. And probably what I'm going to do, I'm going to let this dry not flat, but I'm going to let it dry standing up so that all the colors will be kind of on the move when they dry. So there won't be any L as you can see, as my paper buckled, there are some little lakes happening here, collecting the pigment. So when you do dry this flat, that everything is going down and it will be okay. So now I'm going to let this dry and we will and before that, I want to add a bit touch more purple here. Then I will let it dry this way up to be able to continue. We need to let it completely dry. That's basically what I'm trying to say. 12. Watercolor & Brush Pens: Drawing & Adding Details with Brush Pens to Create Depth: Now, I'm back with our background. It's all dry. You can't see with this light, but maybe slightly. There is a bit of a um like wavy ness going on on the paper. And I will tell you why. I thought I could speed up the process, and I let it dry like standing up so that all these colors would flow down and it would create this beautiful watercolor wash, flowing watercolor wash. You can use this effect by the way with any of your projects. This is a good skill to have. So anyway, I thought it was the colors were set, but the paper was still a little bit wet, and I needed to be completely dry to be able to continue. I thought, Oh, how could I spit this up? Because you can flatten a paper by wetting it and putting it under something heavy like a book. And I do that with my paintings. I thought, Oh, I could speed it up by using an iron. And I just use an iron on my paper directly and ended up with this. So it's actually pretty flat. If I could show you that it is actually okay. There are no big waves and uneven. But tiny bit of maybe this happens when you dry too quickly, and the fibers in the paper are constrict too quickly, and that's what I end up with, but it's not a big deal. But I thought this could be another additional lesson for you not to iron your paper while it's wet. So let's continue. Now, this part is done, our sky. Now we're going to put the building on top of it. And we said that we're going to do this part, this was the watercolor part. Now, it's the Again, brush pens time. I'm going to use for this one, the orange and the blue. And at the beginning in this analyzing the inspiration part, I said that to create a similar effect with this painting that I saw on a candle holder, that I'm going to use a thick black pen to not be able to put too many details and create a similar effect as they did. And I'm going to use combination of watercolors and brush pens, and the brush pens, I'm going to use two colors to create the sunset effect. And this will be the part that is in shadows. This one will be the catching the orange, yellow, sun setting. And I will imagine that the sun is actually setting on this side. And yeah, so let's get on with that. Shall we? First, I'm going to because this is the pen I'm going to use. I just had a little thought if this actually plays well with brush pens. Very good. I was worried it would smudg but it doesn't. Perfect. It's always good to test on the side like this before you if you never use two things together before and you have a doubt always have some scrap paper handy end check. Now I will stay there. Can you stay there? Now let's bring this building together. Again, I'm not doing exactly the same as on the inspiration. I have my own photo and the inspiration is from the painting, so I'm bringing together. I'm using the stick pen. I'm going to decide where everything falls. So let's imagine this is where the cross is going to be. And this is where those columns start. Mm hmm. It narrows down. So let's say this is our starting point. That in the painting I'm taking as a starting point, there weren't many details, to be honest. It was a candle holder, like I said, and it was an approximation of the building. You could say you could tell that it is LagraaFamiliar. But that was it. So I'm going to use this as a base, and I think I will keep the cross details a little bit that I can see that it has these details. Okay, our cross is in place. And from here, I need to decide where my towers are going to end up, and I'm going to say the tall ones here and the low ones here, and the one behind is a bit lower than them and in the center, so it's like this. I think I'm going to place The towers first. And where is it going to end up? It's going to end up somewhere next across here. And the middle of that would be maybe here and the other one over here. Here here and here. So let's try to execute that now. Okay. And now the side. Here are the towers that around them, okay, in the details, say it later. And behind there is but this is the top layer. So this is the one below, you know, the part that is covered with scaffolding. And above the cross, there is this bridge. That's about, I think, this high. Again, I'm not adding too many details about that. Behind the crutch, there was this triangular detail. And There were these details, and I will draw these columns, this long kind of diagonal shaped columns that's coming from here. And the other one. I'm trying to keep this symmetry. Okay, and the general shape of the building is in place. I like how quickly it's going. Again, this building didn't have that many details. So I'm gonna just there were these parts where the statues were. I'm just gonna put them as a general shape and like where they actually look like more in the depth of the shadows there, and I will even maybe black them out like this. Later on, they will also stay in the shadowy parts of the buildings, which means I will use the blue for these parts. This is to give the general feeling of the building without going into too much details. And I guess now we can do that there were these decorations on the building. I will try to keep some of them. Around these crosses here and around them diver these circular decorations. So I'm adding them only with some dots. And under this, how is it like around here, they have these openings. Right. I'm doing two times the thickness of the pen to give a similar feeling. And by the nature of this painting, it's more flat design, and I'm not trying to give the curve here, but just a general feeling of how these openings on the side of the towers, they are just climbing up towards the bridge. No. The other side. Almost there. And the openings are also done. And for there are these other openings here, and those I'm just going to do like this. Just to represent just a general feeling of the just to give general feeling of the building. Now, the side. And the final tower. Okay. And now double those openings also on the main tower. I'm going to Ts Again, I'm not trying to draw those triangles. It's just approximation of the building to give the general feeling. Why? Because I'm trying something new that this is this was the inspiration I picked and I'm trying to go down their path and see where I will end up. You Okay. And I think the only thing left is to create these columns. And to do that, I think instead of drawing them, I will draw the gaps between them because the black is like the shadow here, the opening so that the shape of the columns will pop. Like this. Covering them in. So then you can see what is standing. Here is the shadows, not the shadows, the columns themselves. What I'm actually drawing is the absence of the material here that these gray columns are the ones that left untouched. Almost there. Let's do this side as well quickly. Almost there's a few more. Okay. I think the building is in place and sunset is going on. Just what's left is the building. So for this, we're going to use these brush pens, and like I said, the sun is setting on this side. So the building is getting the sun from here. So these buildings have a round shape. It means this side will be in the shadows, but these sides will be brighter, which we're going to use orange for them. Now, I'm going to turn my page sideways again and and the rest here, I'm going to leave for glue. Can you already see that it's starting to shape, and it will really give the, it will make the page the beauty building pop really in front of this beautiful sunset. Almost there with the towers. Again, this side of this this tower, this side of this tower would be getting the sun from here. And, however, there is this bridge here, and this bridge would be actually behind this tower. So actually, this side of the bridge would be in shadow, which will be in blue. And And this side of it would be still catching the sun if it's coming in this kind of angle I'm imagining. So in here, there is a bit of a flip. But this side is catching the sun and this side is in the shadow because of the building. And behind it, I will just follow the same as the main tower behind it. This side is orange. Now, we can go into detail, trying to do every single column here, but that will take more time. Or instead, we can imagine this part is catching the sun that this side is orange. This side is blue, and I think I will go with that. I want to keep it a bit simple. I don't want to go into too much detail. That simplifying is also good sometimes. And for this part of the columns, however, I can do that because they weren't flat these columns. So I will separate from the middle So I'll decide for the glue and here. Also. And the same deal here. Can you see it's already starting to appear so much three dimensional, even though it's a flat design drawing. And now I think I'm just looking quickly if there's anything else, I think I will switch to blue, and then we will be almost done. There's one more thing I want to add at the end. Now the neg, again, I will start with turning my page sideways. Can you see how this tower is now in shadow, and this is catching the sun. I love it. And this part was in shadows. Around cross. I'm thinking if I should leave the cross as it is, because it has a nice yellow color behind it or not. Let's see, let's leave it to the end and decide. At the moment it looks good to me. Kind of stands out from the rest. There's a bit of a too much mix up there. And it's turning into green so you can avoid that on your own projects if you go down the same road as me. You see, now the building is like pop. And the sunset, the sky behind the building is sitting perfectly. That's why it's good to try different styles. And, you can always use a masking fluid to put your throw your building and do the sky after. But I find masking fluid very messy, and I tried a few times, but I'm not a big fan. This also done? Oh, the columns, it's almost done. Adding the shadows. It is so easy to cover the edges with this very pointy brush pen, by the way. Okay. Almost there. Now this remaining part. And here we are. I'm so happy how this turned out. It's like, perfect sunset behind, and the building is really popping into your eye that this was a very simplified version of it, but I feel like, very impactful somehow. I'm very happy with this. But to finish it off, I want to do one more thing. I have this acrylic pen, you know. And it works with, like, you pump it and it comes s. So what I want to do that I feel like Sky needs something. And because this was this whole project was about came out actually from traveling and holiday, I want to Can you guess what I'm doing? I thought I would adhere like something to remind me of our travel or our flight a plane long in the distance and leaving behind this trail of I think they have a name, this thing. How was it called? I really can't remember right now, but, you know, that's when the plane are flying very high and they leave these white fluffy marks behind. And the more in the distance, the more they kind of separate. Cloud trails. I thought something like this would make the whole painting a bit more dynamic. I like these acrylic pens, but maybe I need to find new ones that I'm not very happy with how they are flowing and how they are delivering. Almost there. Almost there. How does it look? Yes. So it is a little addition from me that wasn't there originally. And I think it makes it this painting more complete and more dynamic. The sun is setting over there, the plane passing above this beautiful building. And uh oh. When did that happen? I don't believe it. Great. Even more mess. Let's see if I can pick it up. Oh, no. Okay, maybe some more blue on top, f fix it. But this part became even darker. I think I can do the rest the same. Okay. This was a little addition to her painting. But mistakes happen. So this was it for this project and the final project. And after this, we will go to, of course, as usual, to conclusion. I will see you in the conclusion. I hope you enjoyed this one. I really did. I think this might be my favorite. Bye. D. 13. Conclusion: Inspiration is Everywhere and There Is No Bad Drawing: Thank you very much for sticking with me until the end. I wouldn't be able to do it without you. Just kidding. I just did. No one else was in the room, except Jack. But I would be able to do it without you, as well, I think. No, I'm kidding. I wouldn't be able to do it without you, Jack. None of this would be possible without you. I'm telling you with all my heart. But if you weren't watching, none of this would mean anything. So thank you very much. Hmm. This video seems too long, just for a goodbye at the end. I wonder why, Jack, what's at the end? Nothing. Yes, nothing. Nothing. So to summarize all with it, we painted Les Agra the familia in five different styles. We pencil sketched it, continuous contoured it, painted only with watercolors, sprayed water on brush pens, and so much more. I hope one of these techniques stays with you, and later on, you will use it in your own projects and remember me. Most important thought I want to leave you with is that art is never final. It's always changing, evolving, trying new things, and adding them to your repertoire is a big part of it. So because of that, I hope I managed to give you creative licenses to be more brave in your own art journeys, and you will say yes straightaway when your wife challenges you with something like this. Once again, thanks for watching. Thank you, as well, Jack, for watching. That's all you do. Please follow me here and also here, here, here and here. Don't forget to share your class projects. Don't be shy, either. Remember, there is no such thing as bed drawing. There is drawing, and then there is no drawing. That's all there is. And please leave a review. Tell me what you liked, what you didn't like, the good, the bad, the ugly, give me everything. It helps me to become a better teacher. That's all from me. I will see you on the next one. Stay creative. Bye. Jack, we finished. Yeah, it's still rolling. Take us out. Oh, the wrong side. I was supposed to record the cathedral. I have 14 online classes focusing on drawing, painting, and even productivity. Nailed it. Art is increased in a vacuum. Vacuum vacuum. Is that how you say vacuum, vacuum. Vacuum. Yeah, I think vacuum. Check. Accum? No, it sounds like a raccoon. Vacuum. Tell me something funny and Ibis whisper to my ears. Okay. It was very nice. Yeah, yes. If you did the same mistake, again, if you did the same mistake, yo yo yo way away. I'm holding a sneeze. You can pick which is Giorgi Wii? Paint, agrada familiar. That's it. I didn't put a full stop. If you have never heard of this building, it's like the crown jewel of for some reason, the word jewel is funny to me, and I want to laugh. Jewels. What's his Jew Barcelo now. Person. This video seems too long. I hope one of these techniques will stay with audio. One of these techniques stays with you because this one it stays. My English lessons back in the day, they're catching up to me. One stays, many stay that we were having an English lesson. That's how I met my wife actually when we were in England, we had a teacher called Jane. Lovely old lady. She taught us well. I'm talking I hope she's not. Actually, we are not in touch, so I don't know, but she was a kind lady and she was a nice lady. And she would always tell us nice is the most boring objective. So use something else. She was a kind lady and fun. I hope I managed to give you a creative license. Su means water in Turkish. Another use information for