Transcripts
1. Welcome to the class: Hi and welcome into my studio. For today's class, we're going to be doing an urban sketch of a little snowy street down at the harbor here
in civic Iceland. It is a one point
perspective and this is what it's going
to hopefully look like. I've got the picture in
the gallery down below, so you can download it. All you will need for
this class is your ipad, an Apple pencil, or equivalent. And a little bit of
time and patience with yourself.
Let's get started.
2. Let's set up the drawing: Okay, so we're going to open up, procreate, and we're going to select an four
piece of paper. And that's going to open a
new piece of paper for you. What I want you to do is go
to the project library and download the picture that
is in the gallery there, and you're going to bring
that into your drawing. Simply insert a photo, find the photo and it'll
bring that into your drawing. Now reduce that a little
bit in size and just place it at the top
of the page there. The next thing we're going
to do is create a layer. We're going to draw and outline
a frame for this sketch. I'm using a technical pen here. I'm just going to
simply draw some lines. And they're not going
to be straight, they're going to be
slightly wobbly. And that's just going to add more character to the
drawing. That's fine. They're just going
to basically try to be about the same size
as the picture above, so that we can use
that as a guide.
3. 1 point perspective: I'm going to just
add in another layer and make it a really
bright color for you. I'm going to show you the
perspective of this picture. Now all of the lines are
leading to one vanishing point. This is called a one
point perspective, which means that all of
the lines that are in perspective are all leading to that vanishing point
on the horizon, which is roughly, I
draw some of these in, let me make this
much bigger for you. They're roughly going towards
a point around there. And we'll do it on the same, the other side, let's say
that our point is here. There we go. That's our
one point in perspective. Now that means that
the eye level, the horizon line is
on that point there. I'll draw that in
as well for you. Let's go back. Here we go. That's our line there because
this is going down hill. Now normally people's eye line would be around about that line. If there's a person here, the eye line is there. If there's a person
standing here, the eye line would
be about there. They would be this height. If you were to see them
actually standing, let's say, there you go. A person like that because
they're going downhill, they are slightly below the vanishing the horizon line here. Also, it depends on
the height of someone. They might be taller or shorter, but roughly your eye line is slightly below on this
one. That's fine. That's our guidelines that we want to base our drawing on. We've got one point perspective, all the lines leading to that on the horizon and our eye level. I'll just turn
that layer off and we'll go back onto
our drawing layer. And select a black to draw with, or a gray or whatever
you want to draw with. I'm going to reduce the
pen size. Back down again.
4. Start drawing (right side): Let's start with putting
some of our lines in. Now we're using the same shape and size for the drawing below. We can roughly guestimate some of the lines
where it intersects, like up here. This
point over here. Let's see this point over here. And then this point down here. Now, any of the vertical
lines to the lines going up and down will
be straight up and down. They don't go in perspective. We can start by
putting this line, which is this line right here. Now, it doesn't matter
if it's slightly off or not in the right
position, it's a sketch. It adds to the vibe
of the whole thing. We don't need to worry
too much about that. We're also going to put
that point in perspective. I'm going to say
that it's probably actually about halfway
down the piece of paper. I'll put that point in as a just so that I know that that's where all the lines
are leading to. Now I can start putting some of these perspective lines in. Let's start at the top
here and just bring it to that point in
perspective at the bottom. Nice and light you can
draw over this as you go. You'll see that I don't ever
use the eraser on this. The rubber, I don't
like to take out lines. I think that it actually
adds more to the sketch, puts a bit more
character in there. Definitely just
draw over things. Even if it doesn't match, it's fine, doesn't
really matter too much. I'll put that bottom one as well because there is something
underneath here. Let's start working
on this area here. I like to work from the
outside of the building, the perspective
right the way down. Because things get smaller, the further away they are, there's less detail and it
becomes a bit more sketch. I like to put the actual drawn components
and elements in. First of all, I'm going to
start working on this door. It's got a step up, there's a little bit
of an and then a step, and then a door and window
does above as well. I'm just going to start off
by trying to figure out roughly how far in this point, this box, that's
an electrical box. Something that is something
that goes straight. Vertical lines are straight, and the horizon lines
are straight as well. Both of these lines here, this shape, this rectangle,
is all going to be straight. The sides of it,
the front of it, rather are going to
be in perspective. Try that one again. The top
of it will be in perspective. It's got two doors. I'll just pop them in.
Remember, everything that goes further
away is smaller. These aren't equal, the furthest away is smaller than the
one that's nearest to you. That's that box put in there. I can just go over that
a little bit more. You can see everything. That's basically the box. The box then working back, there's a little line here
and then it goes upwards. That's the outside of
this entry way here. Again, that goes
back in perspective, that's the top line. I'm just going to work
my way up the wall there and put two lines in for the windows that's
straight above and there's 1.2 windows. Then working my way
down from the door, the door is about halfway
in the window here, I'll just pop that
line in roughly. There is a little step here. It goes straight up for the
step and along for the step, and again back in perspective. And then we pop in the
edge of the wall in there. It does go in a little bit
and then back in perspective, you want to add in that
detail, but it's quite dark. And shadow, that's
our wall right there. Or step up and
into the building. Now, forget that these lines are in here. It
doesn't really matter. It's adding some
character to it. We can start putting
our door in, it's got a window around here, and then a panel below. Again, back in perspective, lines coming off. There we go. I'm just going to add
that up a little bit more to make it seem like the
window is slightly bigger. There we go, you can add sketch in the door handle,
the key above. There's also a sticker on here. We can't see this because it's out of our drawing
for now. That's fine. Then the window over here, there is a panel and
it is roughly here. Again, perspective goes
to beyond the door, actually up to the top. Here we go. It's a
little bit more of a squash than it is in the
photograph, but that's fine. Again, adds character. It's got three panels. It's got six panels rather. That's then put in there. Now you can zoom in, of course, that is the beauty
approcrate and just add in the exact panels there. You can also maybe just add another layer and just she
shade them on that layer, increase the pen size
if you want to as well then I like to just reduce
the opacity of that. Bring that down a
little bit and it shows you those are just
a little bit lighter. That's adding our
windows in right now. I'll just turn that off for now and go back onto
my drawing layer. That's our windows being
put in there. That'll do. Then above we have
windows as well, we have a window frame. Then we see the
window within there. Again, window frame,
then window within. You can add as much detail to this as you like, obviously. You can zoom into the picture. Zoom into your drawing,
keep the components together and draw at
it, whatever you like. Just two fingers together
to bring it fell again. Fill the screen. Moving along to the edge of the
building here, just look at what you
can relate it to. It's always best
to either go along the ground line or if you have something already in place, draw it in relation to there. This rainwater pipe comes to around about half
the way over here. I'm just going to pop that in. Now, draw that straight up, Then it comes out and
it's going at an angle, you don't need to worry too
much about perspective there. Then it comes up to the roof. You can see the rain
guttering here. I shall just pop that in as a second line.
That is not correct. There we go. So it's going to go into that
guttering there. Come down in a thickness of a rain pipe down
to the building. Now from here we can work our way back to put
these two windows in. And they finish at
the end of this box. They do go to the
top of that door there we've got our
line to work with. And a line from where they
actually come down to, they finish just slightly
above the box here, Boxing and fit within here. I just need to bring that
line back in perspective. Okay, we have two windows. Again, slightly smaller
as it's heading off in the distance and the slightly larger as it
comes towards you. Also, because of
the perspective, we see the wall, not full frame. Remember these little
details as well. You'll actually see
the window more realistically like this because
the wall is in the way. I'll just put that
in a little bit thicker so you can
see the lines. And we're not thinking about the lines in the middle there. That's the window on
the right hand side working slightly further down, we have this sign that comes out and then there's a
door over this way. Things are getting
a little bit less detailed as they go
off into the horizon. We don't need to worry so
much about putting detail in, but I'm just going
to work my way down this perspective line
of the ground here. It does go in a little bit where there is a door.
The door is open. There's just too much shade in there for us to really
tell what's going on. Too much of a shadow. I'll
just pop that in straight. Bring the door out a little
bit on the horizon and then bring it up from
there. There we go. There is also a canopy coming out over the top of it here, which is somewhere there. Just bring those lines right up, give it a bit of a
thickness as well. Okay. There are two
windows within here, but it's really dark to see or maybe it's
a door actually. Let's are they're not
on the same line. They come to about
halfway of that window. Just double tap to undo and they come to a round about here,
again in perspective. And we'll just bring
them right down. There's a couple down there. They're probably on the
same building line. Okay. Then this
sign that's above, it's structurally tied back
to this rain water pipe. So we can pop that in there. It is a oval shape. Let's just pop in an oval. We can add some detail
to that if we want to. It goes up at the top
and curves around. That's fine. There we go. Okay. We don't need to
actually write everything. Just put squiggly lines to make it look like
there's some text on there, but it distracts
from your drawing. If you actually put
in the signage, obviously this here, the half studio sign, you
can add that in. Again, in perspective, let's
just pop that in there. Half studio or an interior
design company here, just if you wanted to know, there we go, then we can start adding in some of the detail into
the roof as well. This is the edge
of the guttering. It obviously ties back
into the eaves underneath here and there's all of
lovely lights outside. I just put some little
lines in there to indicate and then just start putting some of these lights in. Obviously, again, as they
go towards the horizon, they come closer together
on the same line. There we go, we
just pop them in. Now, the building does step down as it goes towards
the shore there. I can just pop that in. Then after the sign,
it stops again. There's a wall. Then
it stops again. Here, there's a wall. Then that's the end of
the building there. This person is
standing in the way. But that's absolutely fine. We're just going to pop
in a couple of lines to show that there is
another little role for like a roller
system canopy that can be brought out in
the summertime when it's not all snowy in Kubik. There's the second one here. Those are over doors. Again, just bring that down to indicate the door
and these are straight, that's the two doors there. Then we have another door and a window just tucked in behind
the door that's open here. I'm going to try
and indicate those. Now, there's also maybe a bin or a Ballard
or something here. Artistic license. You can
put that in or take it out. Absolutely. Up to you.
I'm just going to try and pop that door in here. They're all around
the same height and then there were two windows. I'm literally just
putting some shapes in. It doesn't matter if
they're both one side of the rainwater pipe or
however you want to draw it. That's the beauty of a sketch. Now we can put some detail
into this door just to bring it to life a little
bit. This is it here. It's got two hinges, again, leading back
in perspective. It's got number three on
it, we can put that in. Then there's a lock on this side and some detail down here, that's the thickness
for it there. I will just put those
panes of glass in. You can move them onto that
slightly lighter layer that we did for windows earlier or just keep them on one layer. That's that's up to you. Okay. That will do us for now. These doors will
go straight back because they have a little
bit of thickness to the wall there they go in the door and
then come back out again. We can just add in
a little bit of thickness is it goes
in and comes back out, that's one side of it now.
5. Continue drawing (left side): We're going to go over the
road and do the other side. Starting over here, the
top of the fence here. We're going to go back in perspective, give
it a thickness. You can just add some lines in to create a bit of material. Now there's a door behind here, a double door, that obviously
goes back in perspective. You can, it's about halfway
along that line there. I've guest mated that correctly. We put some thickness. There's also a rainwater
pipe that comes down, then there's this interesting
screen, a situtory. It goes straight, comes
down at an angle and then goes straight
along the front here. That is a little bit difficult
to draw these lines here. We go back in one
point perspective. These lines here are on horizon, and then we will just
connect the two. That comes about halfway
down between here, it starts straight straight
here. This is coming. Let's try and figure
out where it is. It's about halfway up this
fence here in perspective. Then it comes along,
maybe around here, we've got the first fence
and then actually the second about there give height. And then we're just
going to literally join these two together. This maybe doesn't
come out as much as that line in there. Then everything has a height, so there's a section at the top goes along,
this is structure. Then it does have a frame. This is a bit open and cross,
so we can put that in. Again, These lines do go in an angle a little bit like this. There's a thickness in there. Everything does have
a thickness to it. Because structural components, they are not a single line. They are made of a material, they have a material
value to them. Make sure you're adding the
language of all of that in. Again, it goes like this down to the bottom and
then it's set within some, maybe concrete or
whatever it is. It's hard to tell
because there's so much snow around here. But we'll put that sign in as
well, at the bottom there. Okay. Then just pop some lines to indicate the
material values there. Here we go. Okay. That's
our fence on that side. Now we've got a lot going on for these windows
and doors here. I'm going to actually carry
on with these lines down the roof because the best
thing to do is analyze. What's the easiest
form to follow here? Along here, I'd
say it's the roof because the actual line along the ground is
pretty straight. Let's see, it is about the middle of the
sign here that is our ground line there
for the buildings. I'm just taking them right
back to the horizon there. We'll just follow the roofs. We have the roof
for the first one. They do step down a little
bit to the next one. Let's say that's
coming just above that join and where the rainwater gutter turns
and it's going along, let's see a little bit past
the sign around about here. Go up and just join that. Back in perspective, it has rainwater gutter
comes down again. Down a little bit past the sign, let's say that's around there. Then it comes down again. One more step. That's the
end of the buildings there. They do line up
along the edge here. It is hard again to see because this man
is standing there. But that's fine. That's rough enough. And they are around
about the same height. Maybe Bump that up
a little bit, okay? Now we want to start putting
some of these facades on. Let's start off
with these doors. Here it is. Again, going back
in perspective. Along the top of here, it matches to this height. Let's just take that back
in perspective again. This is the height
of the doors there. We have doors, but they have an outer door
that's been opened. Let's put in right about the
middle of that building. Actually, there's our first
door that's been opened. There's a little
window behind it, that's the double doors there. And then the leaf that opens, let's say, it just
goes all the way down. We know that doors have
hinges that go on to hold them together and keep them attached to the building.
That's our hinges. At the top and the bottom there, we can put in this window. These are the doors. There is
a window in this one here. The doors are glass doors, they have a thickness to them. And then they also have a
frame of glass inside here. That's the glass here. I'll
just shade that in for you. You can really see it
stand out there we go. You can shade this
in, or you can draw it and then color in. There we go. That's our windows
there and our door. And then above, we also have a window that
lines up with the door, let's say It lines up to here. Again, back in perspective one, line two, and
there's three there. Pop those in. They do
have shades on them, you can't actually
see the glass. So I'm just going to
draw a little bit of structure in there
to give it a value, the thickness, so we know
what it is and that's fine. Okay. There are also
some letters along here. This is a Bud shop. Let's pop that in as well. There we go. That's
rough enough? That's fine. Okay.
Moving further down, we want to add these two
windows and this door, and the sign for
Rost within here. The sign is sticking
out at an angle. It probably goes between
those two windows. We're going to just draw it straight as if it was on
the horizon right now. Let's just put that in really roughly and it goes
right over into the next building it hides
the next roof actually. Below that is the door. Again, back in perspective, we go because of the wall, you don't really see
two doors as such. You see it more like this thing, it's tucked behind
the structure. There we go, We'll
draw like that. Okay. Then we want to
add these windows. I think there's six windows, three at both sides.
We'll just pop them in. They're usually at
the same height as the door. There we go. And they come to a roundabout
here in perspective, obviously, because they're
going off in the distance. You really don't see them much. So I'm just going to put
them in as three lines right now. There we go. I'm going to try
and write roast. There we go. Then above, you've got
all these lights as well. Remember to put all
these details in. I'm just drawing them like
little dots right now and then circles as they
get bigger towards us. The more detail and mark making that you
can put into this, the better it becomes. It really becomes
more of a story, then give things a thickness and a value and they
become more alive. Okay, the last building here, we have quite a
lot going on here. Again, it's three windows. And the three windows, there's maybe some signage or menu or something on
the bottom windows above, and then there's
some seats outside. Again, going on the same lines, we'll draw the door in there. There's windows here,
windows that signage. Then the windows above. I'm really just making, just putting some lines in here to indicate what's going
on down the street. Now, this side does look
like there's more going on. We've put more into it because I've literally just
shaded in things. So I'm going to do the same on this side and then
come back to you. Okay, so that's looking
pretty good so far. It might still look
a little bit messy, but a great way to just kind of explain
what's happening in the drawing is just to
make sure that you have hatched in things
like glass windows, doors, add material
values wherever. You can. Also just make
it a bit more sketchy. The looser you leave
your drawings, the easier it is to be
more forgiving with them. It's much more
interesting then as well. I think we can, I literally just squiggling some lines here to show the locks on these
doors and things. But until you really look into what's going on
here, that looks fine. It's rough enough.
It's a hand sketch. The beauty of hand sketches is that they are very forgiving. That's absolutely fine for what we're trying
to do right now. I'm just going to
add a little bit of rough lines to indicate these steps that
have been walked down here and also these
lines of tracks from cars. There we go to pop some of
these lines in from here. Obviously, it's a
snowy environment. It is messy and covered in footprints
and tracks and whatever. Just adding a bit more
of that into there really tells the story and
brings it alive a little bit.
6. Add a person: Okay, so we have this
gentleman here and I'm going to just add another layer and put that right on the top. Just drag it to the top. We're going to try
and put him in. Okay, He is standing
around about here. He is halfway in line
with these doors here. Let's just say right here, maybe about the number three. Actually, he fits
within this space here. People generally,
they have a head, shoulders, body two legs, and then whatever they're
doing with their arms, let's just say shoulder
to elbow, wrist to head. I think he's trying to look
out whatever he's doing. He's carrying a bag as well, down to his feet there. Let's just say that's
the outline of a person. You don't want to draw him
just like a stick figure. Yeah. Because they have joints, They have feet, they have
ankles, they've got knees, they've got hips,
they've got a body, they have a neck, elbow
to an arm to a wrist. It's much more interesting if you actually, and
then their clothes. If you actually put
everything on this person, we're going to start
drawing him in. This is the top of his head, I think he probably has a woo, a hat with a big wintery jacket, maybe a rucksack he's taken, taking a picture on his phone. Okay, she, let's put
the head in first. Shoulders give him an
outline of a body. And then hips down to legs, knee leg round about
that got rocks. Then he's taking a photo. The jacket is probably
a lot bigger. Let's just add
that on like that. That is roughly
what it looks like. We can either color in
as a silhouette or do it again on that lighter layer
that we had for Windows. Absolutely. Up to you.
I'm just going to put them in as a
silhouette right now. Then it'll stand out
just like something else we've added into the
sketch. There we go. Just like you can add a few more people in
here if you want to as well. Just remember the eye line is all going to be on
the same horizon. Whether you put someone up here, the eye line is going
to be around here. Their shoulders, they're
going to be bigger, the closer they are
toward you and much smaller the further
they are away. Remember, wherever they
are on the ground line, they're going to be
standing on the ground line and their eyes are going to be on the eye line on
the horizon or thereabouts. That helps you decipher what height someone
is going to be. I'm just going to keep
this one person in for now and that's my sketch.
7. Let's add color: We're going to add some color to the drawing because
sometimes people don't really like this architectural sketch
just adding no color. Let's add another layer. We're going to, this
time, put the layer underneath all of our drawings and just above our picture, we're going to use the
picture as a reference. With procreate, you don't need any colored
pens or anything. The beauty of it is you
can just touch the color, select whichever color and
it'll show you up here. You can lighten it within here. I'm going to take maybe
a marker pen this time. I'm just going to work some
color into these buildings. It's not going to be
neat. I'm literally just going to go over where
the outlines are. Just put some color
into those spaces. Yes, it does look
like a mess right now and it does look a lot
darker than the buildings, maybe look like in real life. That is fine for now
for what we're doing. The other thing with marker
pen, if you lift it up, it will go darker because
it's like a second layer on. If you were to go and put darkness another
layer into that, it would add in some shade, which is good because
up here it is darker. So you want to add some shade underneath the eaves and so on. If you do it lighter,
it will appear lighter. We can add some of
that in some detail. This is darker in here. I'm just making it
really obvious right now where the shadow
is and so on. That one is darker as well. All the way down to the eaves, it's all shadow underneath here. We'll pop that in a little
bit underneath here as well. Then over on this side, there's shadow shadow underneath
the eaves of the roof. Pop that in really
roughly at the moment. A shadow underneath here
that will do for now. At the moment, it
looks like a mess. It looks like blobs
of color and it's probably too dark for what
we actually want to see. Again, we just go
back into our layer, reduce the opacity down. You can see it's looking a little bit
like the drawing now. Now, I quite like to
bring them right down in my architectural
sketches because I like the sketch
to come through. But that's absolutely
up to you for this. I'm going to just make it about the same as the picture
above. There we go. Now, of course, you can draw into this more or
less if you like. You can use the actual
picture as reference. Let's put some water in. Just pop that in there. There's these
beautiful mountains, snowy mountains in
the background. You can start putting some
of that in there as well, really just indicating that there's something going
on in the background. That's all you're doing here. Bring some light gray into
the ground here just to show the footprints that there's
been some activity here. It just grounds. The drawing as well
leads you into the drawing a little
bit darker down here. These areas, I'm not
trying to replicate this, I'm just indicating that
something is going on. Something has been
happening around here. Okay, let's do the fence as well because we know this is wood. You can start indicating some lines to show the
character of the wood. The doors on the side and the window frames over here. Let's just check
the color of this. We can add some shadow
in this as well. It adds a bit more detail
there because you're not replicating exactly
what the colors are and the doors are
made of and so on. But you're adding
a little bit to the drawing to communicate
what's going on. Okay. Within the sky, I'm just going to go to blue
and murky blue, snowy color. And then increase the
size a little bit bigger. And then just take
this and literally just do a wiggle down here. And that is our drawing.
8. Well done, don't forget to show your drawing: I really hope that you
enjoyed this drawing. If you followed along and
did your own drawing, please make sure
that you share it in the project gallery
so I can see it and everyone else can as
well and encourage each other in your urban sketching. I'll see you in the next one.
Sonia Nicolson, Mum | Architect | Entrepreneur
