Sketching Europe: Create Beautiful Travel Memories Through Art

1. Introduction : Hi, this is Timothy, an engineer, artist, and art educator, sharing art tutorials and personal teachings to a online. In this class, we are going to explore Europe through sketching from the charming effects of France to the colorful tulip fields of Netherlands, the historic beauty of Greece, the architecture at cuisine of Italy, and the magical light center in of Iceland. You'll learn how to create your own travel sketch pages using simple artechniqs like composition, color harmony, architecture drawing, and food illustration, all inspired by the culture and beauty of each country. Whether you're a beginner or an experienced artist, this class will help you capture your favorite places and foods in a personal, creative way. So grab your sketchbook. Let's take a visual trip across Europe and turn travel memories into beautiful works of art. 2. Art Materials required : Here we are just going to get ready with the supplies that we are going to create for this Europe series, art sketch series. So the art supplies that are required is like for watercolor paper, I'm just going to use ans and Brand 300 GSM Watercolor paper. So this is like AFI size. I'm going to use this one. So it's like a cold pressed one and has a good grains, and the paper quality is super great to start for the series. So I'm just going to use this and next is going to be the paints. For paints, I'm using my Himi brand watercolor half pan set paints. So this set has with a swatch card and palette on the side. So here we can just mix up with the paints, and it comes along with a brush. So the mob brush is super amazing, and we can just go with that for making little flat washes and details too. So this paint palette is really very great. So we can just go with this and you will be ing with a pencil to sketch and few brushes. So these brushes are from Brusto brand, and brush ice, it goes with a flat and round thing. So for round, I'm using number eight and the linear brush. So this three are the one I'm just going to use for the whole painting. So yeah, and a little bit of napkins for just wiping out the brushes and two bowls of water. So one is going to be for a clear just cleaning up the brush and the other one for just wetting up, again, a second round of cleaning of the brush. Excess is going to be with the spray bottle to reactivate the paints. So one, these are the things we are going to use for our class and just have it very ready with you so we can start easily. And I'll be meeting you in the next session to learn with the techniques and selection of how we can just start up with our Europe art tour. So I'll meet you there by 3. Episode 1 - France ?? Sketch Part 1: Welcome to the very first episode of our Europe art series. So here I have just picked up with five different countries, and in this five lights, the first one is going to be with France. And here, as we discussed in the previous episode, we need to just after picking up a country for our tour. So we have to just make an analysis of, like, what is famous it is for and what we can do on there. So it should be like a visual tour with our art, so that fills purse with emotion for the viewer's eye. So we need to just feed them every happy the productions and whatever we can with our art and painting skills. So as discussed before, here are like, we have to just come up with the favorite things. So it can be like even our favorites and the major most top visited places and foods to eat, the culture. So it can be anything. And we need to just pick at least, like depends on the paper size and creativity we have in, we might have just made with a mind map on how we can just pick a fix with a pix and where to just put up in the paper. So as we have just A five sheet with us, and let's make a simple and beautiful illustration of the tour, I have just picked up like top five or six. Maybe it should be at least five. So if possible, if you just want to make with some six or seven, even that's fine. No more than that because we should not put up so many things around here on the paper. Even that will not be that great. So I have just in France picked up a little few things, and they're going to be province, the lavender forms, the sunflower fields. So in case of sunflower feels, like, I'm just going to make a form for lavenders and not a form for the sunflowers. So just going to make with two or three flowers to represent the things that's famous for in France. And next is going to be croissant, Eiffel, and macarons, and cafe. So the culture, maybe like with a dress code that's popular for. So I'm just going to put up here with only these things. And get ready with your pencil so we can just start making like how we have to arrange on paper. So that's going to be the composition of the art. So composition in the sense as seen before, it's going to be arrangement of all the elements in the paper. So that should be completely with a good focus to a VSI. So it should just move it should be like a virtual tour for the VS I just starting from anywhere. So each element should not be missed. Everything should be on focus to the V side. That's going to be like arrangement of elements. That's very important. And let's check on that. Now just placing all the elements with a composition to fill the paper and not leaving so many free spaces around, and it should not be even very clumsy. So I'm just going to start with a split of eifll on the very middle here because this middle place just focuses the major attraction. So here, this is going to be like a best store is what stew, so that I'm just going to place it on this side. And for the baguet I'm just going to place it on the side. So all the bread items, the croissant on here and the cafe on this place, and maybe with the farms the colorful elements on the other side here. So this side goes mostly with a little browns and this mostly with the colors this the firm the field, everything macaron so everything goes very colorful on this area. So I'm just going to make a contrast composition with the colors too. So, yeah, we can start with a very thin line, linear line. So just here exactly in the very center, we can just make a straight line. This straight line is enough. So this place is going to be for Eifel. And here with this place is going to be for the croissant. So that should not be on the other side. The croissant should not face to the other side, so it should be just focused inner to the paper. So I'm just going to place this and French girl style on this place. So because the width on here for Eifel it's going to be a little broader comparing the top, so I'm just going to place the girl on here and Baghet on here. So the macrons will be on the top here and the sunflowers in the vase. And this area is completely going to be for Provence, the farm, the lavender farm. So this is going to be a basic composition for making all the elements appear in the paper of France. And for title, I'm just going to leave this space on here. We may just make with a cali laff. That's completely with our interest and the flags each country's respective flag should be it's important and it attracts, like, the most beauty thing. So we can just place it on the place here or on the corner here. So this is going to be the composition, and let's start making with a picture. Starting with the croissant on here, I have images selected. So in case, if you want to just after completing this episode for assignment projects, if you want to make with the same frances and, uh, you can just go with some different elements like the familiar things that's not taught in the lesson. You can just select go through self with some different things and put it on over the paper. Now for the croissant, I'm just going to make it like starting it horizontal this way, and it goes little triangle in the middle for the roaster part. So this way, it's going to be like this and from the middle, it has got so many layers. So in the very start, you should not make it with bold high pressure values that will be very hard for erasing after completing action the sketch because we will be like making with the paints, so that feels a little hard to be careful with the sketch. And next is going to be a little low in height, starting from here. So just with this tour, we're not going to only have a knowledge on the France or any other country, but we'll be learning so many things with colors, and we're just througing with different things in different fields like with the food, the construction, architecture, everything, culture, colors, so many things. So it's, like, much knowledgeable, and we are just putting so many efforts and analyzing so many things to have much experience. So this is, like, I love creating these types. And it'll be useful if you're just traveling around if you want to sketch some memories around. So this is going to the croissant roasted part. The other side, it starts like from this place. And not only the sketching is much important. We need to just make with the colors. So colors play a major thing. We need to make it beautifully. But that's like a feast to the eyes. And here are so many crusted rose layers. That all highlights on the basic depths can be just given us details with the watercolor. Okay, so Croissant is completely done. And next is going to be with the EFL. So here, I'm not going to just focus on each and every single detail, but it should be with effortless detail. So I'll teach you how you can detail with effortless, and that looks very realistic. So this is just starting and ending point. Here, just we can maintain this place. So here we're going to start and end. And you can just in EFL, you can just split with stories like it goes with the first thing on this place. And the second thing with a little high on here, and third thing is the very last one so high on this place. So this are the levelings and now after splitting, you can just see how you can construct with all the steel thinking and the arcs in that. So it goes with so many cross on the sides for making with a steel, and this place is going to be like a stridline and you're going to just double it. Like this. And from there on the other level, you're going to just make the sketches this way. Now, over here, I'm just going to add up the other layer of the bar. And, yeah. So our first detailing of the story is ready. Next is going to be. Here we are just going to just make with the bottom layer, same as we did on the top. And we're going to connect that with the rectangles in the middle. It's going to be like this and in the center, just connect with the bars. So it just makes so sturdy adding this. Now, from here, I'm just going to connect this place to the base on this side. Same way from here to the other end, we are going to make from this place and on this side, from here, joining it to the base. Again, with the light pressure with the same width on both sides balancing. Now it's time to create an arc from here to here. You can just roughly make it in the R and check with a reference whether it work out. So I'm just going to make it a little top. On the other side view, it's going to be just below it. So this is how you can make this sketch easily. And on the top, just make with attachment of a rectangle, sorry, adjust line. And on the top, again, if you want to just make with the details, you can just go creating it with the splits. So each slit goes this way. And from here, you can just simply make a cross in each grid connecting the other side like a checks. Now we have to just go in the opposite diagonal way. But when we just make with inking process, it's going to be completely different and very clear. So this grid actually continues to the other side too. And here just going to section with three lines. Same way on here. Now, if you want to just make the same grid, you can expand from this place and join it from here. L. And the closer one is the base one is going to be so bigger. And one on here, it's with a shape reversed Same way on this side, just start from the bigger one, end with a smaller The one bigger on this side is going to be. Just split with the two inner boxes and leave the outer side little empty. Not much rectangular. And from here it's going to be with splits like this. Same way you can start from the middle line and building up the verticals, the diagonals finally. So this is the way you can build the complete eiffel tower. And the base only here, I have just made the guidance one. The rest of the tower is going to be built with a little faster effect. So you can just have a reference with this, practice it separately and put up along with me in the class. So it's going to be a little faster. Also, the other one, wherever you start on this side should be same to the other side. So that's important for making the sketch beautifully. And focus on all the details can create up in the air. So if you are a little very beginner in the sketching portion, you feel very hard stuck in sketching, you can just focus on my previous episode like you can draw everything effectively as a sketch. So that's a complete guy like how you can create it from scratch. And after that, you can just hit to this Europe Art. And I'm just going to create it again this way. Add it behind one to make it look like a three D, and for the second one, it's going to be making the same repeat in patterns, little lengthy on the top. Starts here, ends up here. So this should be inner to this. Splitting it in the center from this point through here. Same way as did here, we are going to make it on the top two. Here you can see just I have added with complete work of Eiffel. And you can just take your own time to make this in your own style. So next is going to be with adding of cafe to create this, it's not necessary that we need to add a complete hotel cafe style thing or some building thingy. It's not that necessary. So instead, I'm just going to adjust a little two chairs in the sky and a table in the center. So even that's fine and with the name of the cafe. So on these three is like my focus to add on. So I have an idea of adding a wooden chair on two sides and a table in the center. So that's going to be placed exactly on this place. So for that, I'm just going to make a table in the center here. Just this place is enough. And to that, in the bottom, I'm just going to add with the diamenson to make it like a three D. Extend for the stand in the very center. So we have to measure with the heights. This height for me is enough making with two parallel lines in the center. Next is going to be with adding of details. In the base, just add a little curve to the side this way. And to the base, I'm just going to expand with three different sections like this. O Yeah. So this is fine for me. I have made with a base, too. And next is going to be just making chairs on both sides. So starting on this area, so it's going to be with a side view of a chair. I'm just going to make a rhombus. So with a rhombus on here, just like this, we can make a rough sketch. This is fine. And next is going to be with the attachment on the top. This way. So the top, it's again, attached with the comfort here and on the sides for the legs of the chair, we can make it just equal to the base like this. So with the guidance line, we have to create it exactly like a look on the floor. So for making the legs, just draw with the center portion and from here, just at the other side. So that which connects like this and on the sides for the balance, I'm just going to add the wooden connections each side. So this wooden should be parallel to the above seat. This is how you can build a wheelchair. And the other side, it's going to be this side. So it's exactly very same to the length of this one. So I'm just taking with the angles for making the seater. And as soon as we have made with the angles, next is going to be with this. So it's from here, making up the line. Okay. So this three D effect will only just elevate the dimensions of art to the realisticness. So that's important to add exact three D work. And the behind one goes with the upper portion of the chair. So even that should be length to this till here, making with a U, and this side with a length on here like this to the base for the legs. So it's exactly with the floor. So it should be parallel again and adding the arcs. So this is like my idea of building with the chairs and table, so for the cafe. And next is going to be yeah, I just missed something. So if you want to add, with some different styles and if you have some different references and which look completely with other different unique style, you can just go put up with that pieces of chair and tables, furniture, everything. Or if you feel to add some kind of a little cross joint over here or some coffee thing on this side. So even that's fine. It's completely our choice and our grat. So feel free to work with your imagination. So next on the top, I'm just going to add up with a name. So just about here, a design like this. And on here. So it should be same. This way. And in the base just from here. So instead of adding with a building, so that's because we have a limited space here, and we need to we should not make it so clumsy with all the elements filling in, and even that may just overdo the work and look unpleasant. To make it very pleasant, I'm just going to add a simple detail. So this looks like okay and not that much heavy with a paper filled clumsy thing. And on the top here, just making with a spiral, So you can just make with a font. I'm not that good at the calligraph thing. So I'm just going with whatever beauty I can bring out. So if you're so good at lettering, just go with your own style. We are done. So it's a simple cafe built with just very easy and simple properties without buildings. And next is, we have to add up the other detail. Just the next element is going to be a baguet and that should be added near the croissant to make it like a family. So to just adjust the space and make a good composition, I'm just going to add up the buguet here on this place. So if you want to add in some different angles because this is going to be a diagonal way like this. And if you want to make some different angle, even that's fine. We can just go with some different angles. But it should not overlap over here. I'm just going to make it just below this. Like this. And on the top, we are going to just make the details with a curve. This is done, but it will be completely done only after making the coloring part because this is just a sketch and we need to add the details after the coloring is done. So we are just completed with four elements, and next is going to be with the other element addition. So I'll just continue in the next session. And if you have some different ideas, you can just put up with the compositions and I'll be continuing in the next session. 4. Episode 1 - France ?? Sketch Part 2: So here in this project, I'm just going to just complete with the other details, hope you might have understood with the sketching process with a reference. So I'm just going to here make a little faster work for the sketch alone. And next in the upcoming painting work, it's going to be completely detail detail. So this is how an illustration sketch of the Europe country is going to be. After putting up with all the four elements, next to add the remaining ones, I have just come selected with a province Lavender Farm, so I'm just going to put up it on this place exactly, starting with a firm house in the behind and Lavender farm in the front. So just you can start up with a little tiny thing on here. And just making up with the details. This much tiny thing is enough. And the other thing that I want to add up on is, like, we may have at least six or seven in our list to put up over the paper, but it's not necessary or condition that we have to draw everything because in some cases, we may do not have any place. So we should not compromise with the detailings of any element. So just to fulfill all our packet list, just putting up everything in the paper and filling up, making it look nasty. So that should not happen. Instead, we can just kip some one or two and make the detailings look like a pro. So that's the key thing. Just with the shapes, you can make it a little easier. And here and there, I'm just putting up with the fine varieties. So the farmhouse is completely done and next is going to be adding with a form. I'm just going to make an extension continuously like this. So it starts exactly from here. Slowly just moves to the other side this way. And the front one, it just goes a little smaller and extends closer. Same with the other one. It's like a meadow. I mean, it's not like that, but I'm just mentioning with the shape, the steeps, everything. So that's it. We are done with the fifth element, and next is macrons on this area. So it's just very simple. You're going to make with some details of biscuits like this using oval and dumping it up. You can make with different colorings. Just keep on stacking with the shapes. That's it for building up the macrons. So after finishing with the macron word next is I'm going to add up with a sunflowers on this right next to the IPL, and that's going to be starting from this place. Just making with a simple sketch like this. And on the top, it's going to be with a seed. Just add with the petals, adding all the details. So I'm just going a little faster here. And as this is a sketch, it can make it very easily with your reference. And the leaves finally. And here with the other flower. Here I have just completed with the second final element, sunflower and the very last is going to be a woman with France the style Parisian style. So I'm here just going to make use of this little space and make the work. So let's see. I'm splitting for the body. So the height is going to be like this much high. And the pants will be till here, the shirt area. So this is going to be a small portion of the neck, the face, and here with the Bret Hart, the woolen beret. Here, this area is going to be completely with the shirt space and the bottom with a pant on here, the bells. So it goes with a well structured clothing design and extends still here like this. On the other hand, in the coquet There'll be so many stripes on the top shot. I like this and just a little bit, we can extend with the pants. Here, very little bit. I'm just extending with the height. And just shoes are wearing. So yeah, we are almost done with everything. And this hand, it's a little bigger. I feel so I'm just going to reduce the size. This is fine. And we are completely done with the illustration of Paris. Sorry, France. Looking on the IPL, I just confused with the name. So we are just completed with the sketch illustration of France. So after making this sketch, it's like necessary. We have to colour it. And for that, I'm just going to use watercolor paints and get ready with your paints and we'll be just starting with a palette color palette, and we can make with a easy quick coloring work. So that's going to be very simple loose watercolor works. So meet you in the next colouring session Bye 5. Episode 1 - Painting Eiffel, Croissant : Welcome back to the coloring session of the first episode with France. So here with this sketch, I'm just going to remove the first epis like we have to think like what we are going to make. So here are fine liners. I have my fine liners from Brutro. So we are just going to, like, in some places, we can use this for making the inking works. So we need to just have a clarity that for some elements, are we going to use with this fine liners, then paint, or we're just going to paint without fine liners. So that should be with a clarity. And whatever the idea maybe what we are going to do is we need to just take our needed eraser. So with this, we can just shape or reform into any structure we need. So we can just go making with any shape. So with this, we need to tap all over slowly like this. Which removes the excess blackness all over, and you can just make all the painting works easily without the blackness disturbance. So this is why it's important to follow this step all over in each painting. So I'm slowly removing everything, but you should not remove completely because we may just get distracted by the outlines erased. So even that may mistake with the sketching process. So it's not appreciated to just erase each and everything. I'm just dapping over slowly like this. Okay, so this much I feel it's okay for now. And my idea is, like, for the IPL, I'm just going to take my 0.50 0.05 nip one, the needle one. So with that fine liner, I'm just going to make with inking process for the eFL and maybe with a little on the cafe, the chairs, the title, and for this woman. And for the flowers, I have idea like first, I'm just going to aplay colors for the food things or food and flour. I'm just going to apla colors first and then check with, whether it's attractive or we can just go inking after the color process. So this is a waterproof pen. So even if I apply with a sketch process and do coloring work will not fade anything or smudge anything. So it's like we can just have our freedom in working, and I'm just going to take my pen. So this is the 0.05. Can look at the nip how thin it is. This is how linear it's. And we are just going to make it with a sketch, the inking process slowly. I'll do a little faster work here. So as this is a simple inking process, you can make it on your own. For each details inside, I'm just going to work very carefully this way, adding each single triangle. So this is how I'm going to work. Here I have just completed with a fine liner pen or the inking process. And this is not only for EFL, I'm just going to proceed with the cafe and all the elements mostly. So I'm just going to avoid the food things just only for now and this form. So maybe later after coloring, I may add with the inking process, and yeah, you can just do the inking work. Now we have just completed with whichever it goes required outlining thing. So after making this, I'm just going to wet my brush. So here are our palette. So on the side, I have kept my palette open. So with this, we just want to focus on painting, starting with the croissant. So I have just taken my colors a little bit ready, taking to a bit. So I'm just swatching it all over very lightly. Like this. And after it's, like, wet, I'm just taking a bit of burnt talker. And with that, I'm just going to make it slowly over here. Mix with the burned tumble. This mix with the roasted part. Like this. Now on wet, I'm just applying a bit of pons and burnt ocher mixture. So to just make the croissant look crispier. I'm building the textures here. And with the tip of my brush, just extending with the textures again. On the opposite side here, I'm just making with the darkness, and the color should be blended to make it look realistic. Now, with a bit of burn timber, so this is how I mix for the breads. So we need to just focus on our color palette, the reference colors. So with all the reference color, I'm just taking it on the palette. So just mixing like whenever it's required, and we can just go over with making textures to bring the realisticness. So it's like recommended to make it with a different sized brushes for all the small little areas to be covered and for detailings that's important. The other one for sights. Like this. So this is how simply we can just build it. And finally, with the Earth lo, I'm just making the blending work a bit with that. So the colors, everything will get smudged and mixing a bit of ponsu to burn timber and burn talkker. Mixing all these three colors, again, taking a bit of burn timber and just going all over like this. Finally created all the details wherever needed. And that's it. So for highlights, I'm just taking a bit of white. So with this dapping here and there, so the water should not be over in the brush. Only the paint should be there. So without wet, I'm just taking the empty dry color. I'm tapping here and there for highlights. So this is how we can just select the colors and make for the food. In the same way with the same color palette, I have just covered for the other one Paget. And now it's going to be with the macrons, and that's a little colorful. So to create that, I'm just going to take my colors of the rose shade from the shades of rose and pyral crimson, magnesium violet and dioxine violet. So a little bits of all the colors with cool and won tones. So with all that, I'm just going to uplay the base. Swatching with a base stone. Next with the rose. Is a spiral crimson. And a single one with Magne violet. The other one just with the sky blue. Also this hidden one with the color it's bleeding. It's good to just take a little amount of water. So my brush is too moist. The colour bleeds and I'm going to replay the color after it's completely dry, removing the colors and filling with rose again. And this one place goes with the lightest shade of green. So these are basic swatches of the macrons. Colors are completely dry now, and over this, I'm just going to make with the dark estitone to bring out the original color effect like this. So in middle, if needed, we can just go with the gram and the color a little bit changes on here. So I'm taking a bit of Ponsiu mixture and adding it in the middle, just dabbing all over like this. Even this works. I'm just following it for the other yellow one. Taking a lighter version. And painting like this. So same way, I'm just going to make it for the blue, swings, greens, everything, and I'll show you the result. So I have just completed making with the dimensions I have just elevated with the colors. So we have to apply a lightest color in the basic. And on the top, I'm just added with a little bit of the darker versions of the same hue over it to bring out the realisticness. And yeah, that's it. So for this travel sketch, practice, so it's not that important to have to make it so realistic, very hyperrealistic. It's not that important because we are just going to make it a little faster as it's a travel sketch. So it's like a memory book creation, the collections of each location we are just moving on. Or if, like, without travel, and if you want to just work on with some different niche also, it's like, okay to go with at least a limited, like, a basic color knowledge is enough for making this. Now, after just completing with the food section, I'm just going to make with this furnitures and finally with our flowers and the fun thing. So I'm going with a light wash of the rows here for the chair, cushions. Just making a values of lighter to the darkest version with the same color. So we can also paint this way. So it's completely it's going to be a memory, and we can make it any way beautiful and try out so many things with the color. The wooden thing in the bottom goes with this earth tone. Just removing color only in the middle. And for the table, in contrast, I'm going to make it a little pale, so it's going to be a mixture of earth ocher ear yellow and white sheets, just painting it on the top. And the base is going to be with a pain spray base. And for the top, this bottle, I'm just going to use burnt ocher. And over it with a burnt tuger So this simple coloring is much enough for an illustration. And yeah, so this is like for IPL, I'm just going to use one single color that's pins gray. So you can just take a bit of pins gray on this much and dilute well. So the lighter areas are going to be with more diluted portions, and the darkness should be with a less diluted one. So it can colour that way. So with this pins gray, I'm just painting with a light wash all over the eifll I'm just focusing on one single side to make the dark area that's going to be on this side. So just adding a little bit of black to bring out the darkness. So here, I'm just going to make the shadow portion. I adding points gray again. Okay. So the front side is going to be a little filter with a pine gray, but the behind one here it's darker potion. I'm just going to make it with the less diluted portion of pin's gray. Same way on the other side. Next is going to be organ diluted area. Making the important portions only like a highlight with the dark tones. So it should be majorly with the blacks and pine spray. So this is how you can just bring out the realistness in your illustration. So it could be like uncolored too. So you can just make a flat wash of, like, a sky tone behind or some greeneries around. You can go with simple wash with that. Even that's fine. It depends completely on our idea and creativeness to make the coloring portion. So if that's going to be completely empty with just a sketch, it will not look that attractive. So it's good to at least hatch with a pen even that's, like, recommended. Now I'm just highlighting with my black for all the shadow potions. And again, with the pines gray just moving on over here. That's it. With this come here, yes, we have done. For just sunflower, we need a lemon low, cadmium low hue and earth low. So these are for petals. And for the greens, the stems and leaves, it's going to be with a yellow green, medium green, and a tree green. So I'm just going to pick up these colors. And for the seed area in the middle, it's going to be with a burnt tocar, sepia, and pine spray. So yeah, I'm just going to, again, make with a basic wash using my lemonlo And with the light cadmium mellow, it's going to be with the highlights. So I just a little colour dropped over the wet color, it spreads beautifully and that just makes with a beautiful blend, natural blend. So I love just dropping the colors this way, creating its own shade, flowing very freely. Now, just in the middle, I'm going to work with burn tumble. And dropping with a basic shade effect. And it's good to just remove in the middle section like this or just with a moist brush. I'm removing the colors and wiping it in the tissue. So this is the technique how you can remove the colors easily. Now with the sepia, I'm just taking and just dabbing it here and there, like this. Also around here. Now, you can see the outer colors, the previous basic colors, yellow is fading away. So because it's a little moist and diluted, so the colors are fading out. Now I'm just taking my cadmium mellow medium hue again in a good amount. So with this, and this is less moist to brush, I'm just making each petal glow bright. Okay, now next is going to be a mixture of orange and mixing that with the previous cadmium melo medium hue because we need to, I'm just going to add a bit of pons to this. So just in the separations, all this area, I'm just going to drop this color very lightly, only on the divisions of the petals. Now just creating with a base in the same way, taking my light green, putting up a base. So if you want to just go with a base color, even that's fine, or just making with the details is also like as illustration, we need to just work with a time constraint because this is a travel sketch, we cannot stay there for a long time. So with a minimal time, we need to practice making it a beautiful way. So yeah. Now, after the color is completely dried, I'm just taking my medium green and dropping on the side, so it mixes with the previous light green beautifully. I was making up all over. Now, over this, if it's like feeling to make with a pigment pen, just blending the color, even we can make that, or it's good to leave as it is with just the coloring. I'm mixing tree green again over the top. 6. Episode 1 - Painting Baret,Provence : Here done with the sunflower. Next is going to be with the farm, and the house here. So just applying a light wash of the mixture of rose and earth allow. So mixing different shades of color as per my interest, and I'm just going to make a study with the color. So it should be like this is not going to be a single element, and we're not going to focus only on this. So with contrast to all the elements, I'm just going to pick the color that should not be repeated always. So I have mixed these two colors. And now for the doors, again, it's going to be with a ponso and a brown mixture. So that is applied on here. And over in the sides for the trees, I'm just going to use with a tio green, a good amount of Taleo green all over the back portion. So these are the base colors supplied. And for the firm, the lavenders, I'm just picking my dioxine violet and the magnes violet. So with the dioxin violet, I'm just going all over in the front portion like this, making the huge loads of dark colours in the base making a flat wash. So this is again going to be a base tone. Now after that, I'm just taking my magnese violet to apply it on the top. And with the rose. So just making little droplets all over. Like this. So this spreads unblended with the previous dioxin violet. We need to leave a gap in between the series to show the form effect, the pathway effect. I'm just going like this. And again, continuing it like this. So this is the base layer. After it gets dried completely, I'm going to make the second wash over this with the details. And before this gets dry, what we can make is we can focus on the other element. So here, this style is going to be with a pant in black. So I'm just going to make a flat wash first. If you have some brush pin a black brush pen with a water based one, you can just use that or with a paint also you can use. That's our choice trying out with different mediums. So even the shoes, it goes with the black on the hairstyle The bag. Like this. Now, after the first wash, I'm just going to divide, just layer with a second wash. Okay. Now with this one on this side, just making it a little darker in value, distinguishing with light shadows. Same way on here. And for the shoes with a good amount of black, and for the bag. So almost for the clothes, it's done. Next is going to be with a face. So for the face, it's not going to be detail. I'm just taking a light wash of No hello. Spreading it all over for the skin tones and next a pure red for the peret here. Because L so that's it. And now the other element here worked is completely dry. So just focusing on that and taking up the remaining amounts of pyro grimson and dabbing all over, taking again a little bit of pyro grimson. So I'm just working with wet on dry. So when it reaches to the other end, it should be very linear and go linear. Now, just to the base, again, taking a bit of Magnes violet and coloring all over and dioxin violet. Dropping colors here and there so it could blend. Now this is looking little dull, just recoloring it. So just started with the highlights as a third layer and finished with the form house. So this is going to be the main coloring work illustration of France. Here you can see, like I have just made with the fine line of working on sunflower and from here and there with the macrons and this bucket and the croissant. So all over is like, it's done. So only one final thing is left, and I'm just going to make it after all the five episodes are done. And I'll just to make that one final thing the very last episode. And yeah, just after making this, we can switch onto the second episode that's going to be Italy. And I'll be meeting you there. Bye bye for now. 7. Episode 2- Italy ?? Sketch Part 1: Hello. Welcome back to second episode of Europe Sketch series. So in the second episode, we are going to just make with Italy. Basically here, selection with Italy goes with mostly the infrastructure. So it goes with many buildings. So that's going to be Closeum and pizza, the leaning tower of pizza, and canals. But in consideration with the canals, it's not going to be with the buildings around. It's going to be with a bridge and just a boat and water reflections. Only that I'm just going to make. And in the food side, it's going to be with a gelato pizza and pasta. So this is I have just made up selection, like all this eight and Italy without lemons is like not that good. So I have just put up with lemons and abspa. So all these es going to be in travel with this episode of sketch for Italy. And now the composition is very much important to put up on the paper. So in the previous episode for making France, I just put up with EFL in the very center here. And on this side and this side, I splitted up making the arrangements. So each and every element should be focused by the viewers side. Nothing should be missed. That's important for a composition, a best composition. Now, here in this episode, I have just selected two buildings, and in the food area, it's going to be three and one with Venice kennels and Scott vehicle and lemons. So this is going to be like lemons. And now we are just going to make an arrangement. So let's consider it's going to be with eight boxes. So I'm just splitting up in my mind as eight is four columns and just one line in the center, so that becomes two rows. So with this composition, I'm just going to start up with a leaning tower here. So let's just make a very simple sketch of the leaning tower. That's going to be completely with a linear pressure, not heavy pressure. You should not make it so dark. And just cutting up at this place, extending the top portion. So because from the base to the top, it's not same. I'm just putting up here. Like this. This place is going to be with a support area like this. So I think I have to end this up here. Okay. Now, next, it's going to be making with the story. The first one, it's maybe like here. The second one. So it goes with six ones. So the first, second, third, fourth, fifth and sixth, we have to make a partition on the corner. There's join. You can just put up with the curves. So this is it's not going to be berries right. I'm just going to make little details and modifications after the partitions. So now, next, it's going to be with a detailing process. The bottom one, it goes this way. So this is land portion. Earth area. And on the top here, it gets just a little reduction on each story. So if this floor, the first ground ways, it's started here and ends here. Let's consider or you can just make a bit wider in the base. The second one, it goes this way, just a bit in comparing the first one. This is a second one and third one is going to be little inner. Comparing the second. Now, the fourth level, a bit inner. So this is a little closer and I don't want that erasing it up. And before that, we need to add it two layers. Now, making again. The divider has to be little away. Then again. So this is fifth one and the final one, it's going to be here. Like this. So mostly the portions are done. The other one is not that perfect, so I'm just going to make a direction w. The top layer, it should be a little inner like this onions here. W? Here just making with each story has now got with the segments on pillars. So each should be you can easily make it making up with use. So that's going to be inverted use in H area. So here it going to starts like start like this way. All the measurements in between, it should be same. Like this. And here in the gap, just connect with a pillar. Some little lines in and this area with a doorway like this. As we have just done with the steps, same way. I'm just going to make it for all the remaining five. So yeah, I'll just make it with this one and you can try it on your own as a challenge. This is going to be the complete work of gleaning tower. So you can just make with a parallel lines just here with imaginary things. So imaginary the sense, it should be with a light pressure. That's called imaginary lines. So just create an imaginary line over here, just below each end. And with that as guidance, you're going to create use. So the front use, it's going to be a little broader comparing the ends, and you're going to just make a pillars using parallel to strike lines. So this is going to be the step for the whole building. And with this, the first element of Italy is completely done. And next, it's going to be with a second box. So in our visual, we just split it in mind like with eight boxes. So the top row with four elements and the bottom with four. So the second one, I'm just going to make with a lemon basket. I have two lemons and little leaves over that starting up from this place. So you can just for the space, which to just maintain with the space, you can just grow with a single lemon and limited leaves or two lemons with a small size and lesser amount of leaves. So that's our choice, and we need to think it before we apply. So the previous one that I applied was a little bigger, and that may just spoil spaces for these two elements on here. So I'm just going to make it with lesser space. So also, I'm just going to create with a stem portion and leaves it can be with a basic simple two or three. This is enough, and we are done with the second element. So thirdly, it's going to be with pizza. So that's on here, and I'm just going to make it smaller because the fourth one is going to be the Roman structure plosium. So for making pizza, it's with a simple circle on here. So it's a circle but not that perfect one because the dough may be not very proper and in a perfect circle shape. So to so the realisticness, we have to just make little bends here and there. We can make the rest portions around. This is going to be with improper circle, maybe with dashed connections. And so base portion is going to be with cheese. So these are cheeses. And the mint leaves will be over on the top. So we need to add it a little later after making all the cheese pies. The remaining portions around, it's going to be completely red. Or if you are interested in creating some different favorites of pizza with like on the go, you can just go with any flavor of pizza. So as cheese is special, I'm putting up with that. And here with a mint lease on different directions to decorate the toppings. That's it. We are done with the third element, and the fourth one here it's going to be with a colosseum. The fourth element is going to be very simple because if you are very clear with the technique used here, it's going to be the same, but the shape alone it changes. So this is made with two slanting straight lines. And here it's going to be, again, lines on both ends like this. On the other side here it's going to be from this let's make it with a little bigger length, and this is the base earth, the ground portion. And here it's going to be only smaller in height, comparing the other side. Look at the lens different. And it goes with a breakage in the center here. So the first breakage, let's just make it with an imaginary line again like this. Now, we need to split with four elements, partitions. So from here to here, it's going to be the first floor, the base ground, the first one, the second, and finally, this is going to be the third. So exactly opposite to that. This area just misses this building on here. So we need to just build one this base completen and the first one and the second, this much. Now we have to make up arc connecting both the ends, so it should be from here and it stops here. Then just below this, on the other side, it goes with the connection So we can just make the breakage effect. And here you are just going to make it with a parallel line. And in this side, it's going to be little in a lower area. Now, just from this place, you're going to just make a connection again with a line. So these two are like a pair, and this is a single strand of line. And from here, just make a little rectangles with equal spaces, distances. Now we have to just make a pillar, as we did for leaning toward this way. Now, the open way should be like this, I inverted U again. So even that should you can draw a single easy parallel line, and to that top, you can complete it. So every portion looks same and similar. It gets narrow when it reaches the end. That's it. So this is the base ground, and we did that very beautifully. Now, the rest area on here, it goes with a slanting thingy this side. And again, here you can just make you need to show the distance with this and this And again, a little breakage on this place with the second story. Just continue with the same pattern, so it's not that completely visible. The second one, the third starting one. Now the other side is completely very little. You cannot see the whole making only with the inverted use open way. That's it. So bit, you can just increase with the length here. And the first level is done. So in the same way, I'm just going to make the outlines on all the areas, and the inner patterns is going to be a repetition of this technique. So from here, just make a strong line, and from this place, you are just going to connect it till here. The inner portion it stops on this place. Building parallel lines as we did before. Again on here. So it ends further front. This is the end part of the building. Gal. Just make with the broken parts and make a slanting line on the top, show all the brake effects wherever necessary. And if you have a reference, you can just download your reference with whatever you feel easy or you can just follow me. That's your choice. So that's it. And now the task is like we have to make this technique on all the three leftovers. And in this area, it's going to be stopping on this place. The structure is completely different. So you can better make a parallel line on here. And with this support, you can just build up the openings. And the very final layer of this site is going to be even here you are just going to make with a doorway. So here and there goes with rectangles and some places with the inverted use. So this three, you can just take a challenge and complete it with the help. That's how we tried with the technique here, apply the same on all the three. And the last one alone, it goes a little different. The other two is same as here. So it goes with rectangles. And if you have just the reference, you can just try with a reference or I'll show you after the work is done, and you can just pause the video and proceed the work. 8. Episode 2- Italy ?? Sketch Part 2: Now we are done with the colosseum, the complete structure. And if you want to just go with my style, you can just pause the video and just complete the picture and proceed to the next element. Or if you're interested in just making with R reference, you can just go with that. The fifth one is going to be completing the second row. So here I'm just going to make with a pasta. So you have to again make with a circle for the plate. Just here, make with a circle. And over here, just proceed with making curves. So each curve like it can go randomly this way. And it can be overlapped in any different directions. If you feel little hard making this, you can just segment. So this is going to be one segment and the other segment on this side, so it can be in any direction. Same way, I'm just going to make it a little faster with the same technique. Just be focused in where you are just going to create it. Just add little leaves and tomato here and there. That's it. So the pasta lament is done, and this can be made realistic only with coloring. So I have just made with only the basic sketch, adding the toppings over, and we can make it colorful after painting. Sixth element is going to be with a gondola canals, so nkinals after all the Pi, next is going to be with a gondPenikinas. So I'm just going to ad that with a perspective. So it's going to be a one point perspective. So basically, it just goes with a bridge. Let's consider a bridge this way. And on the top, it just goes with a triangle shape. Then just elevate. Add with that lines. And here with other set of lines connecting the edges, We can little make it flat. Area than necessary. We can just separate the behind portions with little detail less buildings and here with a controller. And for making the buildings, it's just going to make it the straight line. And so this actually goes the building portion goes with two point perspective. We can build with any style and add a bit of top portions, the roof area. Like this. After you have to add with little tiny windows. Everything should be parallel. Same way on this side for the other building. Now next is going to be with a water area and we can just make it like this. So here in this portion, it's going to be with a condola that I'm just going to start it from this place with a good height ending here with a curve. And from this place goes the behind portion. Now, just erasing up the unmounted and we are done. Now the second last is going to be with a gelato. So gelato is easier, if you want to create just single one piece, even that's fine or just going to make with two different colours is also fine. I'm here just going to create one single piece. And the other one on top, go with imperfect lines and a rifle adhere. So over this, you can just break with lines, make a grid. So if you want to make it a closed line, just make sure you have to create both sides. That's it. Now, the very final thing is going to, I missed one thing. You have to create the crosses. Yeah, done. And the next thing, it's going to be. So you have to make a flat area for the road. So consider this as a road. And here it's just going to start at the center portion like this. Just have a reference or you can follow me. With the seater area on here. And the behind area for the second eater. Just make with the cuboids to show the realisticness. And next, this is going to be with a handle So this tire portion alone goes a little away from the road, and that's fine because we need the exact proportions. So we can just erase and redraw with a road surface again if needed. And here with a stand. The engines. So you don't want to worry to make it very realistic and perfect details. You have to be careful with the shapes alone. So we need to just put up with a measurement for the front and the back tire. So here we can just make the road surface and erase the previous one. So from this line, you can build up the tire. And I feel like this goes a little up comparing this. So you can just reduce the engine on here. And complete with the tires. That's it. We are done. Here goes with the light. So completely done with the Italy sketch. Next up, with the painting, so I'll be meeting you there. Bye. 9. Episode 2 - Painting Leaning Tower,Lemons: Welcome back to the second painting episode of Italy in Europe series. So here I have just made with two sketches, ink sketches, and that's going to be with the leaning tower and Closeum. So this rest things are like, I'm just going to make it a little later after coloring. And yeah, so just discussed in the previous class before, for here, I'm just going to start up making with the leaning tower. And as we did for that Eifel, I have just picked up only the pine gray and mixed up all over with a little wash. But here it's a little whitish. Also, the shadow potions are going to be filled with a gray tone. So just to make that, I'm taking a little bit of gray. So here with a lighter potion, I'm just going to shade onely on here with a light wash. And next, it's going to be with the shadow potions inner to the pindars. So the most leftmost is going to be more grayish comparing this side. And same way here for the pillars, making little embost the rest is going to be blended a little bit with water to the other side. Just here and there, inside is filled with a pine spray. Now, as this is a waterproof, you don't want to worry about how it's going to smelge or not. So it's free of thinking about all that. So I recommend to use all the quality pens or fi liners, like a smudge of one. And after it's a little bit dry, I'm just going to make a lighter wash of earth hello. So with this earth hello, I'm going to make to the base from the base like this Just a dual tone. Finish. That's it. Now, next is going to be juicy lemon. And for this much of details and the coloring wash is enough. And if you want to work a little more detail with the coloring process, you can just add a bit of blacks. Let me show you that with a little bit of blacks. As this is just a travel sketch series, I'm not just focusing that much with the coloring so realistically. So on the top here, you can just make light washes of black. And even for the dos, you can just make with a little details here and there. So all this can be done. And the embost area here on each story can be painted with black, adding higher consistency. Like this. Okay, so next, it's going to be painted with a lemon. For making lemons, it's necessary to have lemonlo and cadiumlo medium hue. So I'm just taking colours ready in palette. So with the light wash, I'm just taking up with lemon lo. Making a lighter wash of lemon low. So with cadmium low medium hue, I'm adding it on the corners like this. So with a thick consistency of paint. Just only on the corners around. Same way to the other side here. So just with the previous cadmium medium hue, I'm just adding a little bit of orange mix and just making that color only to the very side of the lemon. Same way at here. Now it's time to mix that again with the camiu mellow medium hue to the previous set like this, and we need to blend that with the water. Same way on here. I'm taking my lemon love just to come around. Like this, blending with the previous colors and leaving just a bit in the middle for highlight. Even on this place, I'm washing it with a lemon low. And to lift up the color for making highlight, you can just go with a wet brush lifting up like this and wiping in the tissue. Just a simple lift is enough. Now, to make with a stem, I'm just taking burnt ocher and a lighter wash on here. And sepia. So with sepia, I can just go on making on the corner like this. And next, it's going to be with a leaf, just making it simple. I'm taking my medium green, making a light wash of that green without disturbing stem and lemons. On all areas. The other side with the light green. Even over this, I'm just going to make a wash of light green. So with that, again, building up with the veins and the center portions like this. And it's done. So next it's going to be with a pizza. Here for making pizza, I'm just I have just chosen my color palette so you can see that's going to be Earth yellow light cadmium. Or yellow hue, and it's going to be once you red, olive that is tree green or olive green, whatever, and the light is cherry of green, so it can be leaf green, too. So I have just picked up this color. And finally, for making the roasted parts on the sides here edges, I'll I'll be later going with the colors the shades of dawn. It could be with a burnt, burnt ocher or sepia, so it's going to be around that shades. Now, for making the base layer, I'm just going to pick up my earth alone with a light wash and just going to make it all around like this. Very slowly because we need to bring out the realisticness that that could make the viewers mouth watering. That's important. We need to make them tempt with our art. That's like bringing out emotions on seeing anything. So that could be done with building up the colors, giving value with the colors. So after making with a base, a good base. Now, next is with a lighter wash of orange. And to that, you need to be careful because there are so many cheeses floating over this thing and so carefully just drawing up around all the leaves, making up a crop work here and there. So you have to use your tip of the brush. And again just dipping cropping here. Now, after making this wash, I'm taking my light leaf green, just going all over here. Now, over this, I'm just taking my tree green. Now with a mixture of pon siu and a bit of red, mixing both colours, taking good amount of ponsu. So it should be tempting juicy thing. I'm adding to that first, I'm building up with the second layer here. Now, after applying the second layer, you can see the transition like how it just went out with making the darkest thing from the lightest. Now it's not yet done. What I'm going to do is to make the cheese just flowing all over. I'm just taking a light bit of the yellow, just a very light wash and applying it here and there to make it flavorful and colorful. So just a light wash of yellows around And after applying with the yellows, it's necessary. We need to blend that with water, the moist brush, clean up the brush of paint. And with a white space of the paper, we need to blend out like this. Again, taking a bit of yellows. Okay, now, is it done? No, it's not. Now, next it's going to be with bits of yellow, sorry, earth yellow, just dabbing around here and there to just bring out the fluffiness of the pizza, the outer thing. We need to go out around like this from the edge. So it should be down from the outer side, and the dark I think consistency of paint should not be just near to this inner portion. So I'm just carefully adding it only on the outer area, and we need to blend with the moist brush all around to the inner side like this. Without disturbing the red and oranges because when water gets added, just met up with a yellow, it gets completely mixed up and starting with a flow and blends on their own way. So you should not make the water contact with the unrequired color. Now, it's a little bit moist over here and not dry. Now, I'm just going to add a bit of burnt tumber and mixing it together with a sepia. So firstly, just adding with the roaster parts here and there like this. Just a bits. And if you feel little not that oaky, we can just mix a bit of cadmium low medium hue to the burnt tumber to make it match with the color tone. So you can just go with this mix. Adding tiny droplets. Now, we need to add a bit so this area is a little like it looks ruster. I'm removing that color alone, making it look flat. Now to this, I'm taking a bit of sepia and adding very tiny to the bigger droplets of the details. Now, in this middle portion, I feel a lack of yellow. So here, I'm taking a bit of cadmium mellow medium hue, just with a thick consistency, not watery. I'm just going all around at this place, blending with the roasted thin. This works super cool. Now it's time to add the very last layer. So with a tree green, I'm just taking a good amount of tree green. And removing excess water from the brush with a damp tissue. Just with one, the paint can add details over here. The mint leaves. And with a very final touch, I'm just taking a lighter mix of Ponsio again here. So to the ponsu, I'm going to take a very lighter mixture of cadmium yellow medium hue and just mixing them together, going all over on the places. And, yep, we are done. Now, on the side, it's completely dry with a little bit of burnt timber. I'm adding details here and there. Also, burnt ocher for the lightest portion. That's it. So let's move on to the fourth element. For making the colosseum, I'm just going to make a light wash with just burnt umber here, all over. Over this for the other wash, I'm taking lemon low and applying all over on this side. Blending with a base color, it automatically just goes blends, and you're just making it spread all over. Don't worry about the doors and anything. And this side is a little bit dark portion, showing the depth Now, after making the vase, I'm taking the dark brown. So you can just go with sepia or burnt umber. So with my dark brown, I'm just going to shade everywhere inside this doorway. It's better to shade it after the thing is dry in the doorway area because it may spread if it's watery and moist. Okay. Keep it simple in painting, too. No worries with how it's going to enjoy the process and make with the painting. Now with the same brown, I'm making it here on the top. Just I can add with the details. And with burnt ocher, so far, I used burnt thumble. Now with the burnt cher, I'm going with a lighter wash for the detailings here. This much detailing is okay for me to go with Closeum A next is going to be the other element. It's pasta. 10. Episode 2 - Painting Canals, Gelato : Here after making the colosseum, I'm going to paint with pcatini M triciana. Now, for making this, I'm just taking my paints gray and making it all around for the plate, just the plate. All around here with a light wash. Now, for making the spaghetti, I'm just going to take my cadmium mellow medium hue. So this colour suits well. So with this just going to completely make with the shapes. For making the tomato slices and the leaves, we can add it a little later. So just randomly, I'm going all around, making at the shape of spaghetti like this. Now, this is the base color, but we need to just elevate it like a realistic thing. To make it, I'm just taking a bit of light camimello and to that, I'm adding a bit of earth low and a bit of orange altogether. So with this mixture, I'm going to make it the shadow portions, the inner ones. So this should be made with the tip of brush. And again, taking my Earth going all around. So the deep inner portions are little blended with the burnt timber and Earth low mix for the shadow portions, I'm providing it little with the darker colors. Now to this, I'm taking a bit of cadmium mellow medium hue again and going all over with the lemon low mix. Now to this, after it's completely dry, we can add up with the shadow portions once more with the same color combination that's cadmium medium hue mix and the burnt umber both mix. So now I'm just going to add with the toppings with a light green on here for the leaves. And over that, it's going to be with breads for tomato. So instead of taking the direct bread, the tomato goes with kind of orange shade, so you can just take vermilion or ponsio for it. So here I'm using with the ponsiu Now, on this after all the colors are completely dry, we can just make the cheese effect by adding with a white highlighted brand. So I'll show you after it's completely dry. Until that, we can just go with the second element on the second row using earth allow for making the light wash, the basic first layer. And over here, we can just take a bit of red or pyral crimson to make with the roofs Now, to this in the corners with a dry brush, I'm adding I'm just going to add with the strokes. So this you can make directly with the illustrator pen, the fine liner pen or just go with this with good amount of sepia, making it for Windows. I'm just made it with a very simple thing. And for the bridge, I'm just taking pines gray with a lighter wash. Just reminding the gondola. Over this, I'm going to apply fine liner pen, so just making only the washes to the base. I'm adding a bit depth with a black So let the colors completely dry. Now, adding a bit of just light green washes on the sides. Over to this, I'm taking the blues to the base portion, I'm adding a good amount of thick consistency of black. Here to the base int of the boat, I'm applying a bit of pins gray for the car, just removing the pines gray on both sides with red just going over there. So let the colors spread. I'm just going to add the inking process at the very last and we'll saw the result of that later. Next is going to be the seventh element. As I said before, after the pasta it's completely dry, I have my white highlighter pen, and with that, I'm just going to add a bit of cheese, the grated all over here and there. For the gelato, I'm just going to apply a lighter version of the lemon low all over like this. Now, just to that, I'm adding a bit of cadmium yellow medium hue and just adding textures here and there. Just a little bit of texture. And if you are interested to paint with some different flavors, you can just go with that and arth yellow with a very base with a mixture of cadmium yellow medium hue. Like this. And that's it. It's simple done. And for the wafo, I'm picking a lighter version of earth allow and just painting it all over. So this color is going to be made in the base version also. Now let the colors dry and we can make the dimension with a mixture of burnt amber and earth low mixture. So till that, I'm just going to focus on the other element spa. So it again goes with a basic wash of lemonlo and cadmium low here and there. So with the cadmium low just behind, I'm adding it for the color difference and even this portion with the cadmium melow and with the earth low on the base and sides to the interior. Now finally, with a bit of orange and yellow mix, just a bit of orange and pons and a bit of dn timber. I'm going to apply it over for the seeds paints gray, adding it over here. Completely make it easy with colors actually. It's like a well known one. So no need to worry with the color palette here. And with a pint spray just with a light portion applying it on this place. And, yep. So finally, I'm going to add the fine liner thing over here and red for the light just getting back to the cone, and the gelato is like for wafl, I'm going to make a mixture of earth orcher and burn timber, both a mix, removing excess water from the brush and make it damp. To that, you can add a bit of burn timber to burn timber and burn torcer. So in middle, I'm just adding a bit of like detailings like this, making it a crispier look, giving it a crispier look. So even we can just build up in the verticals. And finally, in the base here, just adding up it, you're done. So I'll just show the final result after applying the fine liners. So this is the final output of Italy, and I have just applied more areas with fine liners, as you can see, for the spa, gelato, and the Venice kennel things. So even for past the plate, the surrounded area, I'm just added with that. And yeah, so yet, we need to add up the names for each element and flag at the last. So that task can be done at last, and I'll show you the final result after, like, making all the five episodes, how that's going to be. And now next we can meet up in the next session of making Netherland episode. Bye for now. 11. Episode 3 - The Netherlands ?? Sketch Part 1: Welcome back to the third episode of Sketching Europe. So here I have come up with Netherlands. So why? Because it's a little colorful. I feel it's very colorful with the tulip gardens, kennel houses and the cheese rolls. Everything looks very colorful. So I have just come up with that. And we're going to put up with a composition as that's much important and brings peace to the eyes of viewers. And we are just going to me with seven elements for Netherlands. So it's going to be windmill, wooden clocks, cycles. Why? Because? So culture of Netherlands is basically cycles. Nobody you can see there with cycle. So I'm just going to put up with that and kennel houses and cheese rolls. So like two people carrying cheese, and the other one is like wafs. So only this is going to be for Netherlands episode. And I'm just back with my watercolor sheet and sencil. So how I'm just going to position all the elements over the paper here is like assigning of all the elements. So this area it's going to be with million tulip form. And here I have planned to put up with the wafles and here with the wooden clocks because this is a little bigger and heavy to fill the space. But what I'm just going to do is partition like one bigger thing on here and other heavy things on these two sides, and the middle portion goes with little smaller elements. So wooden blocks here, the wafles here, and the waist portion is with a cycle, and the person scarring shes is going to be on this side, so it needs a horizontal space. And on the top, it goes with a row of houses, and this is going to be vertical. So the split is like this way and a circle in middle. So you can consider like a circle or a rectangle, even that's perfect. And we're not going to arrange it exactly in the same. And let's see. After completing this portion, I'm just going to allocate this two. I'm just going to complete with these two portions, then focus on the middle. So this is my simple positioning of all the elements to make it a good composition. So yeah, let's get started with windmill and tulip forms. And I'm not going to make that heavy and little hard to draw. So we're going to make it a little easier. So here starting a little on the top, or even in this space, I'm just going to make a split with the horizontal line. So this is like splitting up it here. And from this place with a perspective, I'm just going to split up for the form. That would be fine. So just from this place. And you're going to make with a high slanting lines this way ends here because we need space for making the blades for fan on the height. So it basically goes with a dome shape on the top, like this. And even in this side, it's going to be with two slanting lines facing downwards, and you can just make it this way, I have just mistakenly just made with the semicircle on here, just connect all the three same. And from this place, just start with making the shape of Dom like this. And from here on the top, it's going to be with a plate starting here. So each should be of same length, and I'm stopping it here. And the other one just with a starting point on this side, like this. And you can make a measurement with this to this. Putting up again. Same way on the other side. But it's a little behind, and I'm just going to make only half otion that's exactly opposite to this. I and inner portions are going to get with the grids. So I can split two lines in the middle and just make with verticals or horizontals depending on the direction of blades with equal spaces, and just repeat for the remaining two. Just put up with little rectangles here and there to make up ventilations, just a tiny one. So this much detailing is more than enough. And if you want to, like, add even a little tiny details, like adding up with a layer behind like that. So that's your choice you can make with the reference that you have. And I'm just going a little simple for here. And after completing this, we need to extend up with a form. So just you can leave a small space, like around to make the greens. And after this, I'm just going to start up with a points. So we can start from the corner like this. From this point for better perspective. Leave little gaps in between. This is the starting pot, and this is going to be the ending portion. So this shows the depth of the farm, and you can see the distance it's like if we are just watching from this portion, it's going to be a little further and that it's going to be started with a windmill. So to show the depth, I have chosen with a perspective, and yeah, we can just jump onto the second element to the other corner. Here I'm just going to split up with a space in the middle here. So this half on the top is for the houses and the bottom is for cheese. So just start it from this place in the middle. So here with a rectangle. And after this right line, it should go little pyramid shape on the top, then straight. Again, you can just come back in the same direction, drawing parallel. Now, next, it's going to be with the other house. It's a little bit high comparing the previous one. And here it goes shorter So erasing all the unnecessaries. The next one on this side. So here I'm just going to elevate a complete rectangle this way. And on the top, it's going to be with a semicircle shape. So both sides should be equal. And the rest is going to be of same structure. But here, you can just add with little changes on the top and continue the series. Now for the space making with the windows and doors here with the elements here, I'm just going to put up with three column sections. So consider like this house is going to be split like this. So the line should be imaginary and on each column, so I'm just going to attach a horizontal line to make it this way. So it keeps on changing with each house, not of same distance, everything. So now, I'm just going to make it the extensions with a slight difference, as the tunnel houses are a series thing. So it's going to be a little similar. On the top, it's going to be with the other thing. Now, after making this, split up with the vertical thing. Like this. Now into this, we can just start building up with squares and rectangles to make it for windows and doors. So in the base here, it's going to be with the doorway. On the other side, it's going to be same like this. So in some houses, you can just put up with only the rectangles without the arc format. For the last house, I'm just going to put up with two Window Tingy on this side. So for this house, I'm just going to build up with the windows in each grid. So starting from here, extend, leave a little space on the top. At grid. Same way on the other side. So it should start and end perfectly. And it's in the middle, it's going to be a little lengthier, broader. Your pencil should be very pointed to achieve all the details. The details cannot be with that clarity, so we need to have it very sharp. Now, on the top, it's going to be with a window of a different style that's without grids. So it's going to be with one in the center. That's it. So here, if you want to add details, you can. So same way, I'm just going to put for all the houses, and you can just watch the video and add all the sketching details. This is how the final output looks of the houses. And in the base, I'm just going to make the third element of cheese carriers. So it's just two persons and cheese rolls in the middle. And let's see how to make it. So the starting and ending point should be parallel to the houses on the top, so it starts here and ends to the end of the page. And now it's going to be like we need to leave a little space for a man on here, the other end man on this place. So the middle portion here it's going to be with a carrier J it should be with a little g here for the borrow. And this center portion, it's a little thicker. And the end it's not that much. It should go linear. So this is how it's drawn. And to the other side, I'm just going to build little later after completing all the chile in the middle. And before that, we can just draw like two persons. Also, we need to just measure up the height. So it's going to be till this place. Same for the other man on the opposite. Okay, now from here, I'm just going to build up a little rectangle for the body. And from here for the hands, they're in a swing motion. So we need to show up that motion perfectly just drawing up the fingers, but that's not detail. So they have attached to the parros and the other one. So this is important to show the realisticness. And on the top here it goes with a collar and other hand in the swing. We need to just build up with a face. You can just make it a little flatter. And the area here is going to be covered with the hearts. So this just goes with the identification of teams. So each team has some different colors, I think. And if you were to just build up the nose, you can add a little extended triangle to the face, the flat area. Now to build up the legs, it's like from this place. So one leg is like on the floor. The other one just little high. So you can just build this way. And shoes maybe like it's hidden. C just make it with half sides. And the other leg on here, it's little in the swing, front. So it should be almost equal. This is fine. I'm the same way, I'm just going to build up for the other person. We need to calculate the distance of the floor, so the road surface. So it starts like here to here. So this is for assumption, I have made it and we can erase it later. This guy is exactly on here with a leg. So even the hip measurement is important, this shoulder thinghat This is shoulder, hat, the hip. That's it. Okay. So from here, I'm just going to make it. The other one on the front. So this is the left one. On the right side one, it's on that side. So it takes a little time to build up the motions. This, you can just build up the shoes Now, here for the face, I'm just going to build up a flat tingi on here with a jaw line and for the hat. So we need to build up it a little high here. We don't need to focus much with the head or that because it's covered with a hat, and just this is going to be like a silo with less details. And hands in motion should be like from here. So these are the fingers. So you can just go with linear person, a lean one, and a little white one. Even he just hangs up with a support system to this on the other hand, that's enough. So if you want to add a little bow, just make it. And the other side of the barrow, it should be drawn after making the cheese wheels. The roll it starts with a curve this way. Same way in the other one. So I have just stacked up with the cheese rolls, and the other side is going to be here. Just a little will be visible. That's it. So for, like, we are done. Now, just reminding three things, here, you can just erase all the necessaries. 12. Episode 3 - The Netherlands ?? Sketch Part 2: Now to build up the two pay fills, I'm just going to pick it up with three different flavors and two packets. So here I'm just going to add this way. So that's an wondrnTufll. And from here, you have to build up the top. So it goes with a waffle in the center, fully packed, a bigger size like this. So now I'm just going to add up with the toppings on one side. So let's consider with a peanut one that's completely chocolate tea. So you have to just put up with all the small tiny details and even that with a lighter pressure. I'll add with the grits and the other one, it's going to be before that, we need to complete the package. It goes with other triangle here. The next one, it's little slanted built like this. It's a bigger one contains two straw peples. The first one I'm just going to start it here. Let's build with a size equal to this. I'm just going to reduce the size. This much is fine. And the other ones a little behind to the previous one. Now we need to just slap. Here, I'm just going to partition to add strawberries. And again with the grids. And the next side, again, it goes with a little topping of nuts. So we need to partition it again. The second asilman cycle is going to be on here. You can just draw all the motor parts with a reference. And the very final one is going to be with wooden cloths, just facing with a complete view on its sideways. So I'm just going to draw that way. So it's going to be here starting up with line on the base portion behind it goes with a little high, the heel area. So it can add all the details. So if you are just going to make some different dingy with other designs and color, you can just go with that selection. Here is the very final view of the third episode in Europe series Netherlands. And if you have some remaining spaces and want to add with some interested elements, you can just replace these or you can add it too. And that's it. So I'll be meeting you in the colouring session. So coloring is going to be a little colourful and you're going to learn more with the color theory. And yeah, let's meet up there, bye bye. 13. Episode 3 - Painting Tulip fields: Welcome back again to the third episode of Painting Europe Series. Netherlands. So here we have just made with a basic sketch, and I have just inked over with a fine liner. And to paint, I have just little color palette, and that's going to be with burnt timber, burn tucker, sepia. So all the brown sheets are going to be filled up for windmills. And for the non houses here, I'm just going to make with something colorful, and the cheese carriers are going to be a little bit of yellow and bluish. So these are like a major color palette I'm going to use. So here for the cheese and this blue, it's going to be like kind of a shades with a yellow that's like cadmium mellow medium hue, and it's lemina low. So I'm just going orally now and you can just have the colors. Just check with the colors you have. And when we just start begin we can just go with the color names, actual names. So other thing for the blue, it's going to be ultramarine. And for the wooden clocks, I'm going to go with yellow shades and strew wafles again, with a light shade of the blue that's could be a Prussian blue and a little watch of Prussian blue. And for the wafless going to be with a brown shades. So this is a basic glance of the colors we need to have and to start, I'm just going to take my mop brush again. So just wet it and activate the burnt ocher here. So with this shade of burnt sienna, I'm just taking it a bit, and we need to make a flat wash over here, just only for the windmill, the boy. So I'm just making a light color shade. So this is going to be for the whole structure of this building. And at this place, it's going to be kind of a dark shade of the brown. So even here, I'm going to use we're going to paint it like this? And to make with the darker shades, I'm going to use sepia. So this is the sepia tone. And with this, I'm going to make it on the sides. So all this can be filled very preciously defined within the exact object shape, we can fill it. Same way just going for all the other two sites, making it a little faster. Here, we're just going to bring about a little light shadow effect. So I'm picking up again with the sepia. So with this, I'm just going to paint it only for this area. Just be cautious because we need to make with a shadow parts. This is going to be the dark side. And we need to blend leaving the windows all the gaps because we need to fill that with a lighter version of the brown. Now, even for the other side, I'm just going to take the top here. It's again going to be with the sepia. So with this, I'm just going to make a shape with a dark gist shade of brown, leaving a little gap in between and just flowing it over. This way. Now, it's going to be with a lighter version. So to make a lighter version, I'm just going to clean my brush. So after cleaning up, I'm just going to change the color to burnt umber. So this is my burnt umber. And with this, yeah, it's good. And a bit of earth occur. Sorry earth yellow, mixing both the colors. So with this, I'm going to paint the middle area, also mixing with a Sapia bit tween This effect is fine. I'm just blending with the previous sepia. Now, the other side is going to be like with a cleaned brush, just take a little amount of earth, just make a mixture and go to the sides this way to complete the building. And after it's completely dry, we can just go make with the windows effect. So we need a little thick consistency paint for making that. I'm just going to allow it to dry. And meanwhile, I'm just going to take a bit of black so this is like the consistency again, not diluted one. I'm just removing the excess water from my brush with a tamp tissue. So with a black, you can just make it on here. Also on this place, giving it an old look. So here, my colors, it's like bleeder. So to correct it, I'm just taking off the excess color, wiping down my tissue. Perfect. So next is going to be like drying session for this, and by the time we can just paint with the tulip feel. So this is going to be colorful. And here I have just chosen with our colors. Like, I'm just going to activate my rose. So just taking a bit of rose this way. And next it's going to be upright, low. So let's go with a lemon low shade. This one. So these are going to be like a basic regular shades for making the base layer and above to make it more detailed and colorful, look at pop. We need to add a little brighter shades to the previous shades. So these are the lighter versions. Annet is going to be with cadmium orange hue. So just taking it. So on this side, here, I'm just going to paint a little base shape with the light cadmium orange hue, one this much. Just wash the brush. And with the rose going all over in the center to make it more colorful, So in between, I'm just going to add a bit of muddy colors with earth tones and the bits of greens for the grass effects. So it can just take a bit of to green. So with that making on the sides only with the teal green. And again, for the alternating area, So with all the gaps here, I'm just filling with the greens. So in between in the middle, just leaving it completely green, I'm going to take a bit of sepia or burn timber, any tune is fine to make the earth surface, the mud colors, and more of the green to make it on this area. Here in the middle just going with the lemon yellow because yellow is more attractive color. So I'm just giving a large space for yellow here for Netherlands all over because even for the wooden locks, I'm just going to use the yellow cheese. So all are going to be a little with yellow tones. Say just alternative colors should be painted. And after making this, I'm just going to take a bit of red. Even here with yellow. So on the sides on both the sides, it's going to be with orange. Now, here the colors are a little dry, and I'm going to take a bit of darker version. So with this, you can just go with a piral crimson. So with that, I'm going to make little shapes of tulip, just a random curves, just converging at one angle at the top. Like this, just little here, it goes a little clustered because the faraway objects are not that clearly visible. So here you need not to worry with anything, leaving little rose gaps in between and filling the other spaces. And in the middle space here, we need to just bring a lighter length with a curve of tulip petals to make a defined shape. We're only building with the rose or pyral crimson, the torquesashade, of the basic color and just going along with the shapes. So just keep it next to each other without leaving long gaps. So this builds up the proper order of the growth of two lips. Little faster with the video because this is going to be the repetitive process for all the lands. So I'm just going to make it only for this region, and the other will be with a darker shades corresponding to the basic colored light. So I'll just show you after all the firm areas, it's completely done. So it can be, not in the same region, just growing in the same direction. It should be completely in all the sides. On the sides just on here, very near to the flowers, I'm just going to make with the grass effects like this with tale of green. So when it reaches to the end, it just reduces with a shape definition and appears just green. And even I'm just going to make that detail. It's going to be in the opposite direction. And with the Sepia just adding here and there, Same way, I'm just going to add a little bit of cadmium yellow medium hue over this lemon low for all the yellow shades. And for this, red, I'm just going to use pyral crimson over here. And for the oranges, it's going to be pons. Or if you don't have pons, you can just go with the shades of vermilion, even that s's better. And that's it. So we need to keep it a little simple and so this is like, focusing part here. So I'm just giving one little details over there. And after completing all this, we are just going to move on making the white effects here. 14. Episode 3 - Painting Stroopwaffles, Clogs: Here you can see, I have just made the complete tulip form with the highest value of that basic color. So as I have done here with the previous reference, like making with the basic of the line rose color and over that, I have just went through with a Pyl crimson and the rose mix to make it a bit darker and just build up the higher values and definition. Same way, I have just added to everything, every colors. Now, even for the fan here, I have just made with the burn sienna color. So with that, I have just added all the details using the tip of my brush. And next is like, we need to just go for all the gaps here. To make it, I just add with the white color. So you can just take a bit of white colour, a thick consistency white. And with that, I'm just going to play it on this place. Everywhere. If it's very light, no worries. We can just go with a different shade of medium. So it can be with watercolor whites or you can take a white gel pen or something with a gouache. Any whites is fine, but we need to make it look whiter. That's it. So after the previous layer is dry, I'm applying the second layer to make it more bright. Completely done with this first element. And next one, it's going to be with a spifs. For making the wrapper here, I'm just going to use Prussian blue. So that's like a little base layer of the Prussian blue, wetting it and go on all over this place. We need to just patiently make it with only the front side of the wrapper and just adding a bit of other color to the other wrapper. And after it's completely dry, we can just make the second layer. And here just adding the dark shade. To paint waffles, it's like, we need to just take a bit of burnt ocher here. So I'm just taking a bit of burnt ocher and to that, I'm taking a little mixture of orange that is cadmium orange hue. Just a bit of cadmium orange hue. And this shade is fine. And to that, I'm taking a little bit of cadmium yellow medium hue. So mixing all the three together and just applying the base layer Oly on this side, because the other side, it goes with the toppings, and we need to just paint with the details for strawberries and nuts. So I'm just going with the base finish. We need to just make it for all the three. The other one. So this has little diluted mount and not a thicker consistency and let it dry. Before that, I'm just going to make the previous applied here, this layer is a bit dry, with a dry brush, so I'm taking again with a prescient blue. So just a little amount of prescient blue. And to that, I'm adding the shadow details over here to differentiate both the ripers just slowly. And we need to just wipe out and blended with the previous color like this. That's it. Again, taking just a bit increased tone of pression playing again. So this differentiates with a shadow, and we need to slowly with a damp brush. Mixing up both the colors, and that's it. So now it's like a little portion of the previous wafers is completely dry. Now to the other end, I'm going to add a kind of chocolate topping over, so you can just take a bit of burned tamber. So to the burn timber, I'm taking burnt ocher, mixing both together. Also a bit of sepia to make a thick chocolate paste, add a bit of water to that. So with this, I'm using my tip of the brush to just slowly move on over like this. Because the other side, it's going to be filled with the empty spaces or going to be with the strawberries. So I'm just leaving all that space for making that color. Same way. So this is going to be peanut stuffing, with the same base, adding it all over. And the remaining whites are going to be filled with a lighter shade of the brown for peanuts, only the chocolate base is filled with a darkest of brown. And the next one even it's going to be the same peanut stuff, taking the chocolate base of burn timber and sepia burn talker mix, all the three together. Now with this just filling again over here, Now, after making it, I'm just going to take earth o. So with the earth low and just a bit of the previous chocolate color and burnt ocher, little increased value of burnt ocher. So we need a little damp brush, more a moist one. So just taking my tissue and wiping the extra water stuff below to make it look very pointy because we are going to add details over the wafles here like this for the roasted part. On the opposites. Just add it for all the three. Just took my ponso for making the strawberry base. Can make it like a cut pieces of it. So over that, we're just going to add the details and let it dry. So before that to make with the nuts, the other two are nuts. So I'm taking a lighter version of the earth lo. So just we can have a earth low mix on this side. So to that, I'm adding, like, a bit of but just a bit and more amount of also a bit of cadmium low medium hue. So mixing all the three together, and it becomes a little darker version. And so with that, I'm just going to add it over here, like dots for the nuts. Now, with a base read, I'm just going to add it on the sides for making it little higher in value and differentiate with the other strawberries. Now, to show the difference in value, I'm just taking a bit of sepia, just a sepia and going all over in the middle of the nuts. So it becomes like a chocolate and the shadow of nuts over the sauce, chocolate paste. Dripping it here and there. Same way just making very lighter potion with the sepia loom below here and there. That's it. So here just with a simple effect of making with the colours, adding with the food details. I have just completed for the stropefls and next is going to be with the wooden clocks here and that's with the yellow base. We can just do that. Just taking my lemon love to make it. And before that, the pencil color is, like, it's a little brighter, and I need to erase that with kneaded eraser or a regular eraser, even anything is fine. So this is quite simple. We can just leave the base completely lemon and low, making a quick wash. Now to this, I'm taking a bit of cadmium miller medium hue. So with that color, we need to just add the transition of colors. So I'm just weighing here and a bit differentiable on this side. And with a damp brush, again, we need to just blend the colors. To the other shoe, repeating again the same process, starting it dark to the very next of the previous shoe and blending with the previous color with a damp brush as we did before, again taking a bit of cadmium mellow medium hue, adding to the behind side. That's it. So just leaving little white with the inner side and to differentiate, I'm just taking just, like, we bit of pines gray and adding to the corner of the shoes, the inner corner. Same way to the other one. Just a bit. This is enough. And now we need to just make with the details over this top. So here I'm just choosing the red. So with just red and a damp brush, I'm just going to add with the details on this side, just going like a swirls starting from the center. Slowly very focused. That's it. And it's done. Same way. We can just add a dot all around. Same way to the other side. Now with just black, I'm taking again, with a damp brush and a good amount of thick consistency of the black and making it over the shoes. So this can be done with either paints or we can just go with a fine liners. Okay. Comes with three elements successfully and just going to smash this. So for making the canal houses, I'm just going to pick like the warm shades of the colors. It's going to be with a red red shade for two houses and upon se. So it's kind of orange shade. You can go with vermilion or just orange, even that shade is fine and a blue. So also a lightest version of the brown, or you can just go with some kind of yellow. It depends on our interest. So these are my colors. So starting with the red, just leaving all the windows and the glasses I'm making this a bit faster. It goes with a just red. That's it. Now, for the windows here, I'm just going to wash my brush. So with that, taking sky blue. So with sky blue, I'm just going to make with a lighter version and apply it all over for all the glasses, for all the buildings. Same way. I'm just going to apply it for the rest four buildings with different parts of colors. And so with this reference and with this learning, you can just with your favorite colors, apply for all the remaining buildings and just submit the project work and be checking and giving you review. So after completing this all the building details coloring works, I'll show you up. 15. Episode 3 - Painting Cheese carriers : So lastly, we are just going to make with cycle. So because it's like culture there, everyone has a bicycle. So we can just paint it, and it can be with any color, you can just take off your favorites. So I'm just going with the sky blue. So just with the sky blue, we can activate the color, give a good amount of that color. And as I have just done with a fine liners already, so I need to just focus one day on making the paint just flow into the exact thing like this. Use your tip of the brush. Same with just filling in every side. For the basket, I just leave it completely with a fine is one. And for the car and hand baar, you can just hold for the hand holding place, this area, I'm just going to add a bit of darker blue so it can use paler blue here. And even for the seeds, it would be with a pine spray and a blue mix. It's going to be completely a monochrome one like this. And for the tires, you can just make with a black fine liner. It could be with 0.8 nib. Even that could be fine. So that's it with a cycle and just missed one place filling up here. That's it. With this 0.8, as I said, I'm just adding up for the tires slowly. Cheese carrier, the bars could be painted with the ultramarine blue. So I have that ready and activated. And same way, just painting for the other side with good amount of color, so the pigments get For the belts, I'm just going to go with blacks and before that for the hats. So here, again, I'm just going to use the ultramarine blue. So these are uniforms to identify easily. Same way on here. And for the face, I'm just going to use a lighter version of Earth low, a lighter version of it. For the face and fingers, the skin tone could be this, just a lighter one. Or you could just go with some mix of a light version of yellow that could be like cool yellow and red mix, tints of both could make kind of a little fair skin tone, or you can just go with any color mix. And next, it's going to be with a shoe. I'm just going to take my black and paint in there for the bells in the shoes. Same with just making on the other side and even for the bows. So I missed something in Barrows, activating ultramarine again and you need to paint it to the base here. Now, just taking cadmium mellow and lamello mix for cheese rolls. Put the cadmium Mello, painting it on the sides here. With a lemon and love on the top. Then finally, I'm just taking my pines gray, just a bit of pines gray and adding it to the shadow cushions on here. On the top over. Same way on the other person. Just like this, only the shadows. And even for the bells. I'm just going with a very lighter shade of pine spray. And that's it. We are done with the presents. And next is very final tint to the edges here. Hope you like this, and we are completely done with learning so many color theory and light and shadows, like how you could blend the colors. And after your completion with everything, just feel free to the project session assignment area so that I could review and give the improvements feedback. Hope you like this session, and I'll be meeting you in the very last session of painting episode of Europe. So that's going to be Iceland, and I'll be meeting you in there. Bye. 16. Iceland painting 1: You see several elements over, and we just practice making this sketches in the previous episode. Now, we're just going to have our color palette. So this is going to be with a food illustration, it's going to be with soup, and it's a famous lamb soup. And next is going to be with a yogurt. So it's scare yogurt. And this is with all nature things. So it's like waterfall. We will be going with mostly a shade of a dark shade of the greens. So I can just have olive ready, olive or sap green. An Any kind of that will be very fine for it. And this is going to be with bright shades of greens and yellow blue mixes for making northern lights. And obviously, for this too, it's like, for the puffin and the balkans going to be with a pin gray black, and little shades of orange, a little bright orange for puffin. So this are going to be the major sage that required for our coloring palette. Now with this, I'm just going to start up with soup, the lamb soup here, and just we can go with that. So for this soup over, I'm just going to add a very lighter shade of the tree green to this one just a very light wash. So it should be like more of diluted thing with water and lesser paint. This way, I'm just making it spread all over like this. Now, over this, I'm just going to after it's completely dry, I'm going to put up with some veggies and the lamp pieces effect. So I need to let this dry completely. And meanwhile, I'm just going to paint around the bowl. Just for that, you can take up the ultramari blue or some kind of prussian blue, any Othelo blue. So kind of these shades would be fine to make it and just going on the sides, the very side. No. Now before it gets dry, I'm going to focus on this second element, painting with a pine spray and pons. So for pon siu, with that color, I'm just going to use it over for the spoon handle. So yeah, let's activate with a pon siu and go over exactly on this place. Mining place, it just goes with a light shade of the golden effect and to make it, I'm using earth a lob like this, even on here. So this is pine spray, and to this, I'm just activating with white and mixing colors together with just a tint. And to this, I'm just going to make with e shadow eft for the curd here, the yogurt here, just like this with tiny dots. This much is enough. Next, it's going to be with the bottle here in. And even for this, I'm just going to renew a little paint only on the sides, slowly just painting with color leftover. You can slowly wash off the brush and here the love here, just add the lo and mixing up the gray, the pine gram, adding it on the top. And the remaining is going to be completely just white blending up with the previous color here. And that's it to this, just a tiny drop of the gray added to the base. For this, I'm just going to take a bit of sub green again, the tree green again and adding it with a gray mixture. So it produces kind of different shade. So with that just applying it over the top of lead here, the top inner to this, just adding shadow below the spoon. That's it for the other side. And even this dry. So mostly the curd thing, it's completely sorry, the yogurt thing is completely dried. And even if it's more drier, I'm just going to add the illustrated inks. So I'm just going to take my fine diners and apply it all over the element to make it look pop. Now, here for just building up with the Aurora Northn lights, I'm just going to take just black and gray. So with this gray mix, applying it all over the slots for mountain everywhere. Now, let it dry and we're just going to make with a mix of h blue, just like separate. It's going to be alternatives or Tal blue, and it's yellow green. So it's going to be a repetition of these two colours for making arth and lights. Starting with the yellow green. Just moving on here. And with a sequence, I'm just tapping it on here. Just keep it simple. Same way, painting it for the other missing out things. So with a little zigzags, I'm just making it blow like this. In the same way on this place. Now with a halo blue, I'm just going like in the middles like this. And even if the color bleeds, that's happy, and it should bleed perfectly merging with the previous color. Balancing the space, just moving on like this. Just a good thick consistency of paint. For this series, I'm going it's a little faster more because you have just learned in the previous episodes for coloring three different countries of Europe. And in this, it's going to be your turn trying it on your own knowledge. So just choosing your color palette and just painting very easy and flow along with me. So that's why I'm just making it a little faster. And there is going to be an assignment for the course completion, and it's going to be interesting. So I'll just explain about that in the upcoming episode. So that's it. We are done with the northern lights. And after it's completely dry, I'm just going to add a bit of green over the tree green over and layer it so it becomes quite bright. And we are done with three lemons. Hop. The previous soap is completely dry, and over that, I'm just going to make a the carrot lamb steps over. So with this bit of orange juice, I'm just going to add like carrots. So it's like some dipped. So only the half portion of carrot will be visible, and some is like a complete one is visible. Need to paint it in that way. And finally, I'm just going to add some potatoes, mince, mint please, and the corianders. So to make everything, firstly, I'm just going to pick up cadmium mell medium hue. So with that, just mixing up with the burn tumber to produce a lighter shade. So with this color, I'm just cleaning up my brush, taking just white, and adding to this, just cleaning up again, wiping in the tissue this way to the white with the white mixing up together, taking a bit of yellow, mixing up very well. Now, with this a little mount of lemon lo again and with a burnt timber this colour is for making the lemon sorry potatoes just randomly adding it on all over places. It could be with a cube shape or some square or rectangle. So with a hard edge, I'm just going with these random shapes and just dabbing here and there for making it like just in the soup effect. And with just again, yellows mixing up with a white To this, I'm just going to take the medium green. So medium green on here, cleaning up excess water from my brush to avoid the bleeding, and now just adding the colors like this all over. I'm adding again with little pieces of coriander leaves here and there. So we can just mix a bit of yellow green to this, mixture to make it lighter version, diluting it, cleaning up the brush, just with this color. Blending well produces kind of parrot that we don't need. So now with a thick consistency of just yellow green, I'm making up on all over, like dabbing just a little drops. So you have to just remove the excess water from the brush. So the drops alone, it just doesn't spread over the paper. And this spreading and bleeding thing depends completely over the paper. Now, again with the medium green and Talo green like this. And it's done. Now here we are completely done with all the three elements and just fill it with a four, and we're going to start up making with a volcano puffin and tough houses finally with a a four. 17. Iceland painting 2: Fourth element volcano is to be painted with a pine spray. So just adding a base layer of pines gray over here. So I'm just going to leave a bit here and there, like this. Like this to make it for the lava coming out of the mountain and the rest in the base space, I'm just going to add the pine spray all over and paint completely. So here just taking the consistency of the paint. Just done with the grays. And over the top here, I'm just going to add a mixture of cadmium orange. So with that orange, I'm just going to make it the sides like this. So this is going to be like easy illustration of a volcano this. And if a bit you can add a bit of vermilion for the darker shade if needed. So I'm just going only with the cadmium orange. Yes. And to this in the middle, I'm going to make it with a lemonlo shade. So just washing off my brush and taking lemonlo in the middle slowly just moving on. And that's it. It's done. Just taking a bit of pine gray and making on the top here like a patens and that's it. With this fourth element, it's completely done. And it is going to be the puffin. Now here to paint puffin, I have just taken black, and with that, I'm just going to make it over on the back side for the feathers this way to the puffin and same way just extending this painting work all over. Same way you can paint for all over the body. So this should be a slow process. Now to cover the face, we need to use our tip of the brush and slowly just moving all over like this. We need to fill it on this place. And for the eyes, just focusing only on this place. And a bit wherever required, just filling only on that places. Now, a very light wash with a gray. So when this wash is enough, and so with this, just painting on here, only in the side, allowing the colors to blend with a black on same day on here, So with a just wet brush painting on for the face with the pine gray. And for the food, I'm just taking, again, the orange, so it should be brighter than cadmium orange, taking thick consistency of paint, and just moving all over for the peak. And just a bit near for the eyes. And for the foot. So here, wherever required, after all the colors are dried up, we can just apply a beautiful white, a thin layer of white to make it so, like, highlighted. And the puffin coloring work is completely done. So after I'm just going to apply for here, the nail should be painted with just black, and I'll be doing that process a little later. Annex is going to be with a turf houses here. Okay, here for this turf house, I'm just taking pine spray, good amount of pin spray and painting for this house front face. As we did for the volcano. Dos painting all over one with this fine spray, making it a little faster. And onely just make a difference. I'm here adding little black just under this roof. So here, even on the top, it just goes only with a pine spray. Hot here. Now, just again the black. So taking good amount of black to paint in. Also inner to this. Now to make with stones on the sides here, we can just take a bit of the brown shades tones of pinsray and earth low and just giving it on this place. Mixing two varieties of earth tones. So you can just randomly go with Sepia or any other color to make a stone effect. I'm just going with the leftover colors of this palette or again, you can just go with some kind of browns here and there. The other one, it's going to be with gray. Just a bit of gray tone mix. And the other one with the sepia little on the sides with the gray. Here you can see the rest spaces on the site I have completed making with the stones, and next is going to be over the grasses. And for that, I'm picking a sap green. So with that just giving the base, can just go with the first layer of the green. Like this. And dab it over to make the grass effect. Just with the tip of the brush, adding, like, fungus here and there, also the grasses. Same way on the other side, the same green. So you can see all this by the countryside. Nice land. And here, the blackness is very lesser in amount. So I'm just picking up again with a black and going over here to make it more darker to differentiate with the pines gray. Or if you have some acrylic markers also, that's fine to make with the paint on this place. So that's it, we're done. And again, with the same black, I'm just going to make with strikes like this just making the wood effect of house. That's it. Making the last element is so easier. Like, you can just take your sap green again, a tree green, just paint it on this area to make the valley. And next is going to be on this side, other side of the valley. And next is going to be with thalo green. I'm just going to apply a little amount of base like this, just a base and mixing it with a medium green. And here and there with the Saphia. So over all this after applying, I'm just going to use my tree green again and blend all the colors with the same base. So to make that activating tree green, just going all over with this same color. Taking a little bit of pines gray. And tree green, a bit of yellow green, too. That's it. Now, for making the fall here, just activate again with the pines gray. And to that I'm taking the light blue. So slowly just moving on here. Without a plane, everything everywhere with just blue can go strokes here and there with the tip of the brush randomly with hands and just blend, again, with a lighter wash of the gray in middle and blend with water, water. In same way, one in the middle only goes with good amount of gray tone. So this is like transparency of water. And again, just taking the leftover blues. So it's completely done. Here. So I hope you all loved painting this, and fifth is going to be a great project for you, and I'll be just revealing it there. So meet you there. And also, I'm just going to add little changes in here, but it's not going to be with the paints, but it's going to be with the fine liners, and I'm just going to add, like, names just below the paintings. So it could be like more beautiful. Also, the flags on the side. So I'll just make it and show it in the next episode for all the previous three lessons, including this score. So me too there. Bye bye. 18. Episode 5 - Greece ?? : This is the very last final series of the European travel sketch. I have just made up with the Greece. So here you can see the compositions. I have picked up six elements with olives, chicken, cayos, Greek salad, and Athens. So Santorini. And all these are going to be like my picks and I have just made a sketch of this, and accordingly, I'm just going to make a good coloring work. So I have just previously colored and showing this up to you because, like, this project, here you are just going to create your own favorite country. It could be anything from Europe or anywhere else. So that is like you are just going to consider as a challenge and take it as a task. You can search for the places, pick up the elements, apply the composition, all the techniques we learned, put up the color theory, light shadows, everything, and just upload in the sermon sessions. This is going to be the fifth task, and you're going to create it on your own. So I'm waiting for all your uploads, and that's it. You are done with all the fi series. 19. Thanks for Watching: Beautifully, we have just completed all the five episodes of making travel sketch with Europe series. So I said before, I'm just going to add a bit of changes in the picture. So this is not going to be with just a painting, we are going to make with some fonts and the flag. So here I have just come up making with the flags of each country. So here you can see with my acrylic marker, I have just made with a France flag. So simply I just made with a sketch basically and just painted it over with the exact colors you can see, like for all the elements, croissant, book bucket, macarons, everything. I have just given the name no. And this is not just with the names. If you're interested to add with the details or history of it, like for the province, the lavender forms, if you add little details, you can just give little details about it, fonts. So that could be a great memory to make a travel sketch. Same way. I have just made it for Italy. Here you can see everything. And this looks a little more beautiful than leaving it empty without any names. And next is going to be for the Netherlands. I have searched with all the names, and this was so informative and I enjoyed the process of creating. I hope you would do the same. And even when you travel, everybody can just carry out a small travel sketchbook and just make memories with that. This is for Iceland. And finally, this is for the Greece. I so much enjoyed painting the salad and chicken guys here. So that's it. Hope you all enjoyed this series really lot. And if you're done with all the projects episodes, you can feel free to summit in the assignment area so that I could review everything. Also just drop your feedback on how you felt with the session, and I'll just review all the feedbacks. I'm so eager to watch all your drawings, too. So whenever you travel next, I, um, I hope you will apply all the lessons like learned for the color theory, composition, and the sketch basics. So you will apply everything and make it a beautiful memory of the travel sketch with this episode. And I'll be coming with a great episode in the upcoming classes. I'll be meeting you there. Bye bye.