Urban Sketching Basics - Trees, Bushes, Hedges, Flowers and Greenery

1. Introduction: In this class what we're going to do, we're going to explore the bigger picture of trees or flowers or bushes. And what do we mean by that? The more you walk around urban scenes, the more that you walk around anywhere, the more that you'll notice that there's lots of plants there's lots of trees there's lots of greenery. They're beautiful and they're really things that we want to catch in our scene. But you might feel stuck. Certainly I, in the past have felt stuck when I'm gone from trying to draw buildings, to try to draw these very natural and loose and flowing structures. The reason for me is I get stuck in the detail. When you look at a tree, you might suddenly zoom in and your mind and think about trying to sketch every little plant's leaf, every little flower, every little petal. But we don't need to do that. In this class, I'm going to show you my version of sketching trees. I'm going to show you how to see the bigger picture, the bigger picture of shapes, textures, and colors. To make it really easy to get these trees on your scene, to get this bush, this greenery, these flowers into any scene that you want to add them to. My name is Toby. My name is Toby Urban Sketch, on Instagram, YouTube, and of course here on Skill-share. My style of art is loose. It's about being free and having fun with our processes, worrying less about the finished result. But because we're confident and we enjoy ourselves more often than not actually, we produce something we're really proud of. With that in mind, simplicity, simplifying, creating the effect of a scene rather than worrying about the details. That's what I'm all about and that is what this class is all about as well. We're going to spend several different lessons just going through this idea. You will produce all sorts of quick bushes, trees and flowers in ink and then in watercolor to really just see how easy it can be to make effective, pretty beautiful trees that you can add into any scene. From there, we will of course do a final project. The final project I'm going to do is a scene with a house in it. But it's not about the house, is all about the bushes. There's a bush, there's a tree that has lovely leaves falling in front of us, there's lots of flowers. From that, we can just practice all these techniques that we're learning. I'd love you to join in with me. If you do, please do leave a project in the class projects and resources. You can also leave a review by clicking "Review", I'd review underneath. As well as check out what other people have thought of the class to see if it really is something which you want to come along and enjoy and join in with. Fundamentally, what you can do is join me in this class and just gain a heap of confidence that you can do it. You can take anything and add a heap of greenery, a lot of flowers and feel happy and confident doing it and enjoy the process and enjoy the results at the end as well. 2. Supplies: Firstly, we're just going to have a really quick look at the kind of supplies you might want. I'm not going to bore you too much with this introduction. But the key message I want to get here is that these are not a list of absolute must-haves. This is what I'm using, but you can use what you've got, and any pen, and any pencil, and a piece of paper. I'm sure you'll still get a lot out of this class. But with that, let's have a little look at what indeed I am using. These supplies, everything that you could possibly need. Now remember, things are flexible. This is what I'm using, but it's not what you have to use. It's just ideas. You can make do and you can switch up a few different items, change the paper, change the pen, and still you have a lot of fun doing all the different parts of this class. What am I using? Well, I'm using my Moleskine watercolor sketch book. These have got watercolor paper and which gives you a lovely texture, not just to draw, and also, of course, for watercolors. If you don't have watercolor sketch book, you can use watercolor paper. You can also use normal sketching paper. Just be aware that you won't be able to use quite as much water without the paper buckling. Now, I've also got a couple of clips I'll be using. This is really useful when we're using watercolors, just to keep the pages controlled and stop them buckling as well. Next I've got my pen. This is a TWSBI Diamond 580. It's got an extra fine nib and within it, it's got a platinum carbon, well, I think, which I use from this bottle. This is waterproofing. That's the only important bit here, that you need something with waterproofing. That could be a fine liner. It could be a fountain pen. It could even be a ballpoint pen. Just as long as it's waterproof, then you'll be able to do all the techniques that we're using today. Next, of course, I've got my watercolors. I'll list my full set of watercolors at the bottom in the project resources and project explanation tab. I've got 14 colors here, but we'll be focusing on the greens. In my different sketches, I'm going to be using my three different greens here. But also, instead of that, you could mix it with green. There's a separate little section, a separate little lesson, where I'll show you these three greens, tell you what they are. But I'll also show you how to use blue, yellow, brown to mix a huge variety of greens. No need to have a load of greens in your palette. You can also just use simple primary colors and a brown and have a huge amount of fun as well. With my watercolors, I'm using two brushes, a size six round brush for more concentrated deep pigment and then a quite large size two mop brush. That's similar to a size of a 12-14 round brush, to do the initial loose colors. Then just the tiny bits we always forget. I've got a pot of water, which you can see. It's lovely and green after all the paintings. Start off if you can with some clean water. Makes life much easier. I've been painting today, so I've got lots of green in there. Then just something as simple as a little tissue or a towel. You might need that just to control the water a couple of times. But that is everything. In fact that is more than everything. You don't need all of this. One brush, any pen, some paper, a couple of colors, and you'll be good to go. Have fun and experiment sketching greenery, sketching trees, bushes, and all of the like. 3. The Project: So what is our project for this class? Well, I've got two options here, really. Firstly, what I'm going to be doing is I'm going to be producing a sketch which is all about the trees, the bushes, and the flowers. If you'd like to join him with me, then the last few lessons in this whole class, they're all about that specific sketch, and you can find in the class projects and resources, the reference photo that I'll be using. You could also find your own photo and join in and create a lovely class project, all of your own based on a scene around you. What I'd ask is just that that sketch is all about the greenery. So there might be a house in it, but the reason you want to sketch it is because there's some pretty flowers and because there's a big bush or something like that. What we want to do with our project is show how much confidence we've gained in adding loose, fun, and expressive trees, greenery, bushes, and flowers into our themes with no first, just thinking about the bigger picture. When you've done your project, what would be amazing is if you can share it in the class gallery. Now to do that, all you need to do is click "Class Projects & Resources" below the video here, and then you'll find a button saying "Create Project". From there, you just upload your photo, quick snap on your phone, and perhaps even type a couple of sentences about how it went and your thoughts and ideas or any questions you might have. If you want to share your project and I'll be sure to come back, leave a comment and answer those questions. So for both of us, it becomes worthwhile, really fun way of connecting and just enjoying creating and sharing the artistic processes. 4. Trees - The Bigger Picture: The bigger picture, that's what this lesson, in fact, that's what this whole class is all about. What do we mean by the bigger picture? Well, look, when we're walking around in urban scenes, or, of course, out in the countryside, there's rows of trees, rows greenery everywhere. But we normally don't look too closely, we normally don't get stuck in until we start thinking, how are we going to draw it? How are we going to paint it? How are we going to sketch it? What can happen at that point is we start imagining ourselves zoomed in, we start imagining the individual leaves of an oak tree, the individual petals of a daffodil, and suddenly, trying to get these enormous beautiful shapes on our page becomes really scary, really challenging, way too much to do, and if it doesn't happen or we just get stressed out. Now, instead, what I'm going to suggest here is we think about the bigger picture, the bigger picture of the shape and the bigger picture of the textures. Now, that is what this class is all about. By the end of this video, you'll have a lot more confidence in grabbing that onto your page with quick, simple strokes, and be able to tackle all sorts of different trees, all sorts of different textures without much fuss. The first thing we want to be aware of is the bigger picture. What is the bigger picture? The bigger picture is shapes. Now, when we draw a house, for example, what do we do? We don't draw every brick, we draw perhaps a square, perhaps a triangle and we've already got a house, no matter how wonky our shapes are, it's still a house. Then we start adding in little details, a couple of windows and a door, all of these things just being shapes. Immediately, people recognize what this is. This is the same for trees, there's nothing clever about trees. What happens is we get into our minds that trees got a certain types of leaves, they've got these fascinating textures, and we imagine ourselves up close to them whilst actually drawing them from 100 meters away, and when we're 100 meters away, even if we are 20 or 30 meters away, or even 10 meters away, what can we actually see? Well, really we can see the shape, we can see a little bit of texture, and we can see light and shadow. Let's take a look at, for example, this, oak. What is an oak? Well, an oak is a lovely tree with a very characteristic and lovely shape. In this case, it's like a flattened, wobbly circle, this was it's more of an ellipse or an oval. What we have to do is capture that basic shape, and then underneath, we got the shape, again, of the trunk. All we're doing is really simple shapes, and we get the idea of our oak tree. You can see as well that I've started to imply the texture, just a little bit with the outline. We don't have to do that, but this is a nice way of just adding a little bit more character, adding something else to our initial sketch and it is part of the bigger picture. When we see a shape, normally that shape has a bit of texture. Even a wall of our house might have a little wrinkly, wobbly field, and that is part of the bigger picture, is part of what we can see from a long way away. The same counts for all sorts of trees. You might have a [inaudible]. Again, that's basically just a triangle, isn't it? Again, with a very rough outline, so we're thinking bigger picture, we're thinking shape, we're thinking that broad idea of texture as well. Again, it's got a shape at the bottom which is a stem. Not a stem, it's a trunk, of course, not a stem, and we can keep doing this for all sorts of different trees. It gets interesting when we move to trees which have got more different shapes in them. An ash tree often has big spaces in it, for example. Now, we have a bigger shape, which is something like a big circle. That big circle is broken up, and within it, we have little shapes which are already part of that bigger picture. We've got that shapes, that initial aspect of texture, and then with just these simple, simple lines, we're already forming quite effective trees; effective trees which would fit in our sketches, in our landscapes and look like trees. My initial challenge to you is just find a few photos or sit in your garden and get these shapes. See if you can form the key shapes, the key broad textures, and just be happy that already, with a few simple lines, you are drawing and sketching trees. 5. Trees - Texture and Shadow: Now we're going to move on and we're going to take a closer look. But whilst really still keeping that bigger picture in mind. What are we going to do? We're going to look at how to turn this interesting shape into something 3D and with increasing and useful and visually fascinating texture. Texture, which explains not just the shape, not just the fact that it's 3D, but also tells us a little bit more about the tree. Now having nailed the bigger picture and being nice and competent with the idea of shape and that initial texture, we can actually move even further into texture whilst adding some shadow as well, and shadow is important because shadow gives us the 3D shape. These are 2D shapes, circles, triangles, circles, 3D shapes or 3D structures are spheres, or they are cylinders, or they are cones. That's really what these trees are. How do you get that idea of something being 3D? Well, it's 3D shadows. For example, if we just do little doodle in the corner of our page here, something really simple. This time we do maybe a cube, maybe we do a sphere, and how do we make these things actually a cube and a sphere? Well, it's by adding in some shadow. If we just added in shadows like this, with really simple hatching. Suddenly, what we've got is no longer just a flattened 3D object. Well, we can enhance it even further by adding in underneath a shadow on the ground. Now our objects aren't just on their own, they've got interaction with the ground, the light and the darkness, it's interacting with the ground to give it a 3D presence. Now, the interesting thing is our shadow, which gives us that 3D shape, doesn't have to be simple hatching, it can also enhance the texture. If we take our house, for example, where we could actually use little brick-like marks, and we could do more brick marks where we want the shadow. If the shadow is all up here, we can do more brick marks, and then where it's really light at the bottom of the house. Say we do fewer brick marks. We can combine that with a bit of hatching if we want. That combined effect just gives us a really clear idea of not just that this is a house lit from the top according a lot of shadow underneath the roof here, but also that it's made of red bricks like this little modern bricks. We can take this idea and move it into our oak. This is where we do start thinking about the leaves. Not sketching every leaf, but in general, what do the leaves feel like? Of course, oak leaves, have got that really wobbly big feel. If I do a really dodgy example of an oak leaf, it's got that shape. What we do is we imagine that we replicate that with our own lines whilst creating that shadow. If we treat in the oak trees are a big sphere, we want most of the shadow under here. I'm going to do some wiggly, wobbly lines, just little flicks. Not even pretending to draw leaves. What I'm doing is I'm suggesting leave and I'm taking my inspiration from the texture of the leaf that we've drawn up here. We can just do a few in the light areas, but down here where it's dark, especially at the very bottom, it's very dark, we do a lot more. This way, even just a few marks, but we most definitely got a tree. Now, don't forget, the trunk has texture as well. That give me that architecture we can just get again through the same idea. Just doing little flicks, little marks to suggest the texture. Look, is a tree, but now it's a 3D tree. It's not just this flat image. What about here where we've got pine needles perhaps. Well, sometimes you've got a lowland, it's got more, I think is a drooping leaves, very short and very firm, very close to pine needles in many ways in their texture, there are all these short linear structures. Again, we take that idea, and we use that for our texture. That texture will build up and it become the shadow that we want. Notice I'm just doing slightly different marks for this tree compared to this. These are little sharp short angular marks. Now, I'm not even pretending that I'm drawing the leaves or the pine needles or whatever else this evergreen style tree might be, what I am doing is taking inspiration from them. We can move along here and again, an ash tree you don't cite good, it's got stringy tiny little leaves to the net, and they build up into long areas. I say long areas, it fills up along a stem like this. That's what I'm trying to suggest. How are we going to do that? Well, why don't we do loopy little longer wobbles. Now we've got lots of shapes to consider, because we got these three shapes all interacting with one another. But again, just taking the idea of these leaves, this long wobbling structures, and before long, just putting these little marks to suggest them not only has a texture built up but our shape and our idea of 3D realism is also very simply building up. Don't forget, I left the trunk out here too, that's very naughty, I left the trunk out here. Then we can just come back and even the branches in here can get a little bit of that textual mark. Now we have these 3D structures. The last bit, of course, is this idea of shadow. How do we do that? Well, we work out where the light's coming from. Let's say the light's coming from here, which is why this is all bright. We just cost down a simple trunk, and then we can just do some really simple hatching to suggest. Just where that light might be cost down by the outline of our tree. We could do the same over here. It's like doing a reflection, a really loose reflection. You're coming down. Whereas this one going to fall, how's this one going to fall, how's this one going to fall? Now we've got all of these objects connected with the ground. Last little tip which might be helpful, is actually to connect them even more with the ground here. You see how the trunks don't really have an ending. Well, you can just give them a little touch of grass in the front. We're going along like this. They'll touch with grass, maybe a little bush or something to the side. That just instead of having this unnatural hard line like I've got here with my oak tree. Do you see how this little touch of grass, a little touch or texture, just gives us something more fun, more realistic than this very flattened, illustrative feel. There you go. That is Step 2 of our easy method for drawing trees. What I suggest now is you go back to the sketches you did from the last lesson and find out those textures you can add, find the little bits of fun you can add to make them more texture filled more 3D. 6. How to Mix Greens: Not sure that I should do a little extra lesson here. Little extra bonus because what I do is I cheat. In my palette, I've got three different green colors and that makes life very easy for me, but they are definitely what in the art world we can call lazy colors. Lazy because green is so easy to mix. Now, if you aren't lazy like me, you might not have a lot of greens in your palette. What you might want to do is learn to mix the greens confidently and easily from the blues and yellows and browns that you have in your palette. That's what this lesson is all about. Just because you don't have the greens that I have in my palette, doesn't mean that you can't continue with this class. No, it just means you're better than me. It means that you're not lazy. Let's have a look at how being not lazy can actually give you so much more flexibility in how you can create and craft different greens and textures and have fun just using simple mixing. It's time for a little note on mixing greens. What I'm going to be doing in my sketches, I'm going to be using three different greens. I've got here green gold, which is a really bright yellow-y green, hence the name green gold, and cascade green, which is a green which has a lovely texture to it, and it splits into different tones and different hues. Lastly, I'm going to be using green apatite, which is this deep theme, very granulating green color, olive green or the deep sap green. These are lazy colors. Apart from the textures perhaps, there's no good reason why you need to have lots of different greens. Instead, a very sensible thing to do is to mix greens. To mix greens, what do we need? We need a blue. For example, I've got a cobalt blue here. I've got a phthalo blue green shade. The phthalo blue comes in green or yellow shade. Phthalo blue-green shade here. Now let us got a couple of yellow, so I've got a hansa yellow medium, and I've got a quinacridone gold. Now using different greens and different blues in different proportions, you can make all sorts of different greens. If I let you just take a cobalt blue and spread it across my page here, then I can come in with some of this hansa yellow. We can mix this on the page. We can mix on the page and we can see all the different kinds of greens we can get. Obviously going from very yellow to quite bright to much more blue and muted. If we just change one of those colors, if we take the cobalt again, but we change that to the quinacridone gold, we get very different selection of greens through blues, through this goldie color. We can see the green team will subtle, and it's more brownie as we move towards the quinacridone gold. But there are still a vast range of different things that we can achieve. I'll do another example. If we take our phthalo blue, you can see that's much more vivid than the cobalt blue. Then I mix my yellow with it. We get really punchy, bright, and vivid greens. Even with just a blue and a yellow, you can achieve such a vast range of different greens that there isn't a need to cheat. Now the last thing I'd add is to actually be able to mix in a brown or just another murky color. I've got a sepia here. If we mix that in with our mix, we end up with those more muted greens like we can end up something close to this rather than so vivid. If I take, let's take my phthalo blue on the page, my hansa yellow, look at this punchy vivid green we've got. But then as soon as I start adding in a bit of sepia, look how it mutes that green down, look how it pushes it into the background. It becomes more something like this. There's no need to mix on the page. You can also mix in the palette to feel more confident. You could just take a bit of blue here, now you can take a bit of yellow, and then literally just mix them together and see where you end up. I want this green here. Then you can get a nice block of a simple green. You can learn to mix on the page where you can do a combination of both. But my suggestion is to have a play with your palette. See how the different blues, the different yellows, the different browns interact to give you different greens. You'll find just really these little changes. You can get such a huge array of different greens. I'm just going to keep going. One last little demonstration of different colors. This is all just using my same two colors along with that brown. It's just using these top two, the cobalt blue and the hansa yellow in different proportions. But you can get such an amazing array of different greens just remixing. Have a go, have a play. If you have some greens in your palette, brilliant, you can also apply the same ideas to them. You can add yellow to green, you can add blue to green, add brown to green, but have a play because painting greenery is one of these things where we think of green, but actually there's a million greens out there. When we're comfortable playing with our greens, we'll be really comfortable having a lot of fun and sketching scenes with green, greenery, trees, bushes, plants, and flowers in them. 7. Trees - Adding Colour: Now it's time to have a look at color. How can we use a little bit of color to just enhance what we've done so far to enhance our ink work. In one of the previous lessons, we looked at how to use different greens or how to mix different greens or use individual greens. In this video, I'll be using my pre-made greens out of the packet greens, which were in my palette. But you didn't have to do that. The exact colors aren't important. If you have enjoyment or a necessity to mix greens, then that's what you do for this lesson and you won't be any either worse off of it. In fact, as I said in the previous lesson, actually mixing our greens is a really good habit to get into. So we've done our ink sketching of arteries, and now it's time to have a bit of fun with our watercolors. I'm going to suggest the watercolors come in two and possibly three stages when we're thinking about simple trees. So what are the stages? Well, the first is a really nice loose and light wash, and you're just choosing a basic color which fits the vine, fits the feel of the tree you're going for. So for example, for my oak tree, I'm going to use a nice muted green. This is a green genuine apatite. You could equally use something like sap green. You can mix the green with a yellow and a blue, and just mix together yellow, blue, brown to get a nice tone that you might find in a tree. But I also like having my cheap greens in my palette, which just let me really quickly splash on some green when I've got a tree or two in my scene. How do I do it? Loads of water. I focus around the outside of the tree that keeps it fluid and it keeps the idea that you can see through trees which often you can, you can often see through into the background of the tree. I don't worry too much about keeping that color within the tree. You can if you want. But for me, trees are quite fluid. There are little leaves popping in and out, falsely trying to keep the color all within. Well, it's false, it doesn't look real to me. It looks like an illustration where it's getting that flowing feel the colors billowing out. That's what I love about trees. I then add in a little bit of color into our trunk. So let's try just a simple brown. I've got a sepia brown in my palette. So I'm going to use that. Again, just a really light touch of color, and the green and the brown are going to mix together. But that's fine. If you look at many trees, you'll see that actually there's a little green reflecting down onto the trunk. So you want those colors to blend and merge. It's more realistic, it's more fun, it's quicker to paint. For me, that's how I like to paint, at least. Now, whilst this dries, I'm just going to move on, and I just couldn't do a different green. I'm going to use this time a cascade green for my evergreen tree. Same thing, lots of loose color. I'm focusing it around the outside so I get some of these spaces on the inside. What can be fun to do is bring in a bit more of that pigment and just touch it in. Again, that creates texture and lets things feel fluid and like they're moving. We could use a different color for the trunk. Sometimes trunks are very dark, almost black. So what about a bit of moon glow just dragging down in there to give a different feel to our tree. Then lastly, you don't have to use green even, so if you could use any color. I'm going to stay fairly realistic and I'm going to use a bit of a yellow and that'll give us already a tunnel fail. Perhaps I'm going to use a blue, yellow and then mix it with a bit of quinacridone gold as well to get that golden yellow feel and often ash trees, do you feel a bit brighter. So maybe I'm vaguely staying in realistic territory here. Again, let's just change up the color of the trunk. Let's go for a violet trunk, perylene violet. Look, it's a bit bitten nonsensical, isn't it? In many ways, but actually, it works because what we've got is the shape, the structure, the light of the tree. Don't forget that shadow. If we just take a simple shadow color, we can pop that down there. So I've got a bit of moon glow, pop it down there, and pop that in here as well. Look that just connects the tree. What you might find in shadows as well is sometimes a bit of reflection of the color of the object. So a bit of green in the shadows, or in the case here, a little bit of blue-yellow coming down into that shadow. That again connects the shadow down. That's the first layer of color. So now I'm just going to let that dry and we'll come back to the second layer of color. As you can see, we're back and mostly dry. What do we do now? What do we do with our second layer of color? Well, we just add a bit more richness if we want. For background trees, this might be enough, but if they're closer to the foreground, we might literally just want to take the same colors again and just enrich a few areas. This helps to further enhance the idea of shape and of texture. So even using a really big brush like this, you can get in the idea of some leafy textures. Just move along our three different trees using our three different colors, and just adding in that extra bit of depth, that extra emphasis of darker shadows. Lastly onto my yellow gold area. If I just use a bit more of the gold this time, you get the idea. Where you'll notice is we've got lots of edges in this color. Do you see how all around there's lots of edges. So it's got lots of lines instead of just being a soft color, it got some line. So what we can do, we can actually come back, clean our brush off. We can come back and we can come in and just soften some of these edges, you see how that softening effect makes it feel more flowy, makes it feel more natural. Just the case of coming in, gently brushing in and just reducing the angularity of some of those edges. Not all of them because you got some of them in there, but just some of them, getting rid of that little angularity. A tiny bit more here. Same thing, just look how we can just soften that, make it more gentle and gradual. You get really quick. That is step number two for the leaves then of course we need to do little bit more on our trunks. If I just get my little sepia, we can do exactly the same thing. Enhancing a little bit more of each of these shadow colors, each of these shaded areas. This is perylene violet, almost using the wrong color there, ain't I? So a bit of perylene violet on this last set of branches and trunk. There you go. So now that is Step 2 completely done. I I said there's a bonus potential with Step 3. We'll do a little bit more about how to use different colors and things in the next lessons. But something I often like to do just to enhance it as a little Step 3 is to take my leaf colors and do a little splash. You can just do a little splash around. You can go in. Sometimes for me, that idea of these leaves, it can be little leaves floating around, floating away, just makes it again feel more natural. Now you don't want to do this every time, you don't want to do it loads. But sometimes it's a really lovely effect that you might really want to experiment and play with. Especially to get that feel of a fluid tree, to get that feel of leaves floating off and drifting into the wind. So there you go. That is our colors done for our bigger picture trees. We've added some texture, added some 3D, and now added some beautiful, lovely flowing colors. 8. Hedges and Bushes!: This lesson is all about hedges. Now hedges, what are they? They are dense, green, yellow, sometimes flowery, lovely little structures. Again, just like trees, we can get too stuck in. In this lesson, we're just going to look at how all the bigger picture or the color stuff that we've been talking about, applies just as well to bushes. When it comes to hedges and bushes, it might feel like we have to learn a whole new set of rules but you'll be very pleased today. Of course we don't. Bushes and hedges are very similar to tree. If we look at a couple of references, like we look at this one, and then we look at this one. What I hope you can notice is there's still shapes. There are still a bigger picture. They still got texture, and they still will a bit of color and shadow. The only difference is that they are lacking a trunk. All we need to do to draw different size of hedges is just think of our shape and remember that texture. We can have this as a lovely little bushy, small plants coming onto the bottom. Instead of drawing a trunk, we just connect it to the ground and at the ground, there's often a lot of shadows, so we can do a lot of that texture, that idea of the graphs coming up to start building the shadow. Then again, we can just inject some leaf-like shapes to create that shadow; to create that texture. Equally the same for a much longer, much bigger bush. Maybe this is a classic privet hedges which are very straight. What it can be quite nice to do is just bring it all across and just give these little suggestions of the shape coming down. It's all focusing on that texture very simply. Then underneath maybe we can even see a couple of little bricks. There's often little bricks at the bottom on there. Again, we just inject that feeling; that texture at the bottom. Without trying to be too clever, without trying to get stuck in the detail. You can see this line is not going to quite match up, but that's fine. We just introduce a little bit of randomness. Again these textures, these shapes which are forming the shadow. There's nothing different, nothing clever about bushes and hedges. They're just trees without legs [LAUGHTER] if you like, if we wouldn't really simplify all the way down. There you go, that would be all our ink work done for a couple of bushes and then we can do exactly the same processes to start injecting some life and some coloring. Let's just take, I'm going to use some cascade green over here just to do our first layer of color. Same idea, leaving a little bit of brightness in there. Let's use something different. Let's do some gold green, this is very light and bright green, look at that almost fluorescent. You see, I should have let the ink dry a little bit longer there but otherwise, I think this is working very nicely. Really it doesn't matter if some ink moves, it just providing a little bit more of that textual feeling. Then while waiting for these to dry, we can use a bit of our moonglow, create a bit of a shadow. I think that moonglow has been mixed with much sepia a bit, which is fine that's why it's got this kind of brownie color. I'm just going to continue that anyway. We can get that shadow coming down here at the base. I'm just going to let that dry and I'll come back to in a minute or two and we'll do the extra layer, the extra second layer of color. We're back, we're pretty much dry, not perfectly dry, but again, it doesn't matter. Actually when it's not perfectly dry, it helps the colors soften, which is a part of our process of course. What I'm going to do this time, just a little dab of this same cascade green and just leaving more of it down here, less of it up here so we've got light and dark. Now I can go along, I can do the same with our gold green. Again, I'm going to focus this in a textually minded way, so we get more of that shadow. Also, we're leaving little dabs to suggest texture, to suggest extra bits of shadow elsewhere. What we'll do then just dry off our brush and we come back in and we can soften a couple of these edges out. We can leave some of them hard. We don't have to soften everything, but we can leave some of them hard and just make sure we've done enough little bits to softening. Now some bit we might want to do for this is just as little extra. We set this as in brick, so we might want to just come in and just drop little bits of color down here. Just to suggest that there's bricks coming underneath. We might want to just come back in a bit more of a moonglow to enhance that, and let some of this color run down. We can actually dropping the color in. Look how we can pull down that green by connecting the shadow. Now we've got that green reflected shadow we were talking about with our trees before. If you want, you can add some splashes. Perhaps, this time I'll just leave them unsplashed to leave them nice and clean like this so you can see the different styles. With those very simple steps, you very easily could add this bush into any scene. 9. Flowers!: Now flowers. These guys, well they're beautiful, but in terms of sketching, sometimes they can feel a bit scary because they're so beautiful. Because the colors seem so important, because we know the shape of daffodil, we know the shape of a sunflower. We know what they're supposed to look like. That can lead us trying to sketch them or paint them exactly what they look like when actually that's just us taking too many steps too close and not looking as we talked about at the bigger picture. In this video, in this lesson, we're going to see what is the bigger picture of flowers. How can we actually sketch them without getting sucked in? Now flowers is where it starts to get quite fun, doesn't it? There's lots of extra colors and shapes and things to get involved with. Again, I just remind you to think about the bigger picture. It's very easy to walk up to some flowers and go look all these little petals, all these individual things going on. But again, if we step back, what do we see? We just see little flecks of color. Maybe a few shapes, but mostly it's about that mingling of bright colors. I'm going to suggest therefore, two different ways that you can approach flowers and I'm going to do two different examples. The first is, let's say we have a tree or a bush in flower. What do we have? We have our tree, which is a shape. Let's say it's one of those oak-like shapes almost a circle with some texture. Then we've got the trunk of course, which we'll just do that real simple shape and then we've got our little textures at the bottom as well to make it feel lined up. Then inside we've got our textures as well, between those oak-feeling leaves, just to build up the texture. But let's say it's also got flowers. For the sake of argument, we're going to make these red flowers just so they really stand out, which I know is not realistic for an oak. What we do is we can now just start also picking up some shapes of flower. These just little different shapes, maybe little squares or little triangles, just something different to these leaf shapes. We can just pick out a few more, maybe a couple here, maybe even a couple of which are just at the very edge, and we build around that. We get our leaf shapes as well. We don't do one or the other, we do both, but we pay attention to building it up gradually. Not overwhelming, not doing every flower. Just a few little shapes. Then what we do, the same processes. Let's come in with, let's use our gold green this time. I just mix it on my palette a little bit. What I'm going to do is come around and get the same idea. I'm going to leave some of these flower areas blank. Some of them are going to get covered with green because I'm not going to paint on every flower, but some of these little flower shapes, we're going to leave blank, leave white. Now, we're going to leave this to dry and then we'll come back to it. In the meantime, let's try a different scene on the right. What about a meadow filled with flowers, perhaps on a little hill. We've got maybe little heel up here, but let's just pop something fun on the top. Let's pop a little lighthouse on the top, for example. Just again, for the sake of argument to give us a scene to work with. Then what we've got is a meadow coming towards us like this. How can we get the sense of flowers throughout this meadow? Well, we can do a couple of things. Firstly, the same idea of little shapes, little dots, and as they get further away, they'll get smaller. Then as they closer, actually maybe we do draw a couple of suggestions of little flowers, even with little leaves, just little suggestions. Then we get the feel of the grass as well. Again, if this is a hill, then this is going to be in shadow at the bottom. Then as we get closer, couple more little flowers, maybe even a big flower poking its head out here. In the back, just a few more dots and flecks. From that, we've done the same thing as we've done with our brushes and our tree. We've built up the tone through little textural marks without overdoing it. Now let's do a different green again. We'll go back to our green apatite, and can we just gently providing some texture, painting over some of the flowers and painting around some of the others, especially the ones up close you might want to paint around because we've made these more like details, haven't we? Just enrich some of this green here to get some of that texture already going. What are we going to do? I'm going to let this one dry as well. I'll come back when my pages dry in just a couple of minutes. We are back in there nice and dry. What have we got? We've got these same ideas, but you just got some slightly different shapes and some slightly different white areas, specific kept white areas. With our red flowers in this tree, perhaps this is becoming more of a cherry blossom. It's the wrong shape for cherry blossom, but that's the red flower field I'm going for. What we're going to do? Well, we're just going to pop in these shapes, both the ones which are white and the ones which we've painted over. We're just going to pop little dots of red. We can find new shapes. We can also pop little dots of red where we haven't got shapes. A little bit's on the outside. But we don't do too much yet because we still got some green to add. Now we come back in with our green. I should've said notice I'm using a smaller brush now. The reason being this is more delicate work because we are trying to pick out not quite detailed, but suggestions of detail. With that really big watery brush that'd be very difficult. We'd lose a lot of the ability to have the definition. But we're doing exactly the same technique. What we might want to do is actually lose some of that definition. We might want to come in and let this red blend, because again, like with our shadows, when you have flowers, their lovely colors will reflect into the other parts of your image. Now with flowers, I do recommend getting in some splashing, so both without green, but also then with the flower color because we're after the bigger picture. The bigger picture is often these blending, bleeding mixed colors, and suddenly just having a lot of these random red blobs basically in your tree is giving you that complicated suggestion. Without it actually being complicated to do, we can come back in, enrich a couple of these shapes again. If we want, do a few little dobs and dumps, and there you go. How you do exactly the same thing here with our grass? Why don't we make these lovely little yellow flowers. Maybe they are daffodils, maybe they are dandelions or something like that. In fact, why do we have even more fun? Why don't we make them both some yellow and some nice blue? Because it really doesn't matter which colors we're going for. I'm going to just swap couple of bit of blue drops in a few places. Bit more yellow in the back here, and then we'll come back in with our green and find just a bit of that shadowy texture. Now with grass actually it's more about these linear textures, the grass tends to come along like this. Then you might want a few little flicks up and down just to suggest that big grass stalk, especially in a meadow, you might have big flicks with grass in the front like this. But mostly it's about that wavy up-and-down feel. Really been quite gentle with your color. Then that means we can come back a bit more of a bright color. Remember just a few splashes. Splashes, gone for the wrong color there, especially with that. Yellow is blush, lovely. Blue here. Now we've got this meadowy field, absolutely jam-packed with flowers. What we've done is we've got the bigger picture, the suggestion of flowers, rather than getting stuck drawing every little detail, which is way too challenging to do when we just simply sketching. 10. Step One - Shapes: We're on to our final project. In our final project, as ever, will be following a step-by-step process. Now, first Step 1, we're going to be focusing on those shapes and the shapes with texture. Everything we talked about in the first lesson, where we just talked about the bigger picture. That's exactly what we're doing, putting it all into practice for our final project. We're going to take everything we've learned and we're going to put it into practice. We're going to have fun with this little scene not getting lost in the detail, but still creating the effect of all these lovely bushes and trees and things going on. I'm going to start with my pen. Step 1 is all about those shapes. Also with trees, it's the texture of those shapes. With no further ado, let's start by just getting really loosely, really gently the idea of this house it. We just get the broad shapes, we can see it's basically a rectangle. Then underneath we've got these little roof, which is another couple of rectangles. We can't see it go all the way down because all the bushes, so don't bring the line all the way down. Just end your rectangle bit earlier. Same down here. This ends, doesn't it? Just cuts out behind some bushes. Then we can just see a little top of the roof coming along with some other little chimneys, which always nice little extras to add in. We just add in our lovely little chimneys really loosely. Bring that down. We can start adding a bit of a shadow even know just the shadows under the roof and things like that. Little window, another little window here. That's basically our house captured, isn't it? There's another window we can just see off to the edge. Now we start adding in the key bushes, the key bits we definitely want to include. What are they? Well, to some extent it's up to us to decide. I'm going to start with these ones in the foreground. We can match them up, we can line them up with our house. We just getting the idea remember. Look at this. This has got lots of very little leaves. We get those really funny little textures coming down. Then it meets the grass. Let's just get that idea of grass. Then you can see there's like a wall coming across here, which is something we practiced in our bush lesson. Just get that wall and the wall gets cut off again by this little bushy leafy feel. Then, we can simplify things. There's lots of bits and bobs going on here. But actually the most interesting next thing is this really pink flowery bush. Let's get this idea of this pink flowery bush. What is it? It's got these really big circular feeling flowers. Where does that go? Where does that finish on our house. It finishes here. It doesn't get as far as the apex of the roof, but gets very close. Then it dangles down over the grass as well. Rather than worrying about making a 3D object at the moment, we're making it into a silhouette which feels really odd. Feels very odd, doesn't it? Doesn't look like anything, but that's where the shadows come in. That's when we add the shadows and suddenly it will work. Don't rush, just take your time. We can see again, this little brick wall is still in existence back here. We can add that in and that connects us to our next couple of brushes. We've got this lovely little red one. We won't make too much of that. Then we've got this lovely green one. We also won't make too much of that. Why won't we make too much of that? Well, it's getting into the distance now, isn't it? As we go into the distance, it really is about the bigger picture is not about the details. We've already got these trees, leaves, bushes are rather which real focal points. Then we got a fence disappearing off into the distance as well. We can just make that disappear with some really loose lines. We've got a couple of trees and where do they come back to? Surprisingly close, aren't they? They got this droopy appearance, the one in the background. Let's just give it that droopy appearance with our texture. Then there's another tree which is in front of that, which is I can't actually tell what tree. I'm sure someone knows what tree, but it's got a slightly different texture. We'll just give it a different texture as well. Doesn't have a trunk. It disappears off to the edge of our image, so we'll just let it disappear off. I'm not going to include the leaves at the top. They're not really part of the context of the image. But I will include, is that the least shape of this tree but it's definitely in the distance. Look how loose and floppy and just gentle we can be and that will still be a tree when we're finished. Anything else you want to include? Well, why not put some of these little leaves coming in. This is where if you want, you can make it about the leaves. You can put this right in the foreground. These leaves are really in the foreground. It becomes less about the bigger picture and it's more about the texture of these leaves just coming in, coming across, and being right in front of lots of things. There you go. We've both got a lot of bigger picture stuff, but also focused down more on smaller things. That is it. That is the end of Step 1. In Step 2, we're going to add a bit more detail and a bit more texture. 11. Step Two - Shadow and Detail: Step 2 now, Step 2 is all about just adding that texture, that shadow, really making things feel 3D and just making them make that a little bit more sense altogether. Onto Step 2 now, so with our pen, we're just going to find some of these key lines and textures. I'm going to start again in the house. You can see behind here there's like a doorway that I didn't notice the first time. We'll add it in now. We can see these is lovely textured bits of wool versus some which have got that pebble dash from there. Let's get that suggestion of texture. We can continue that texture going on to the other wool as well. Otherwise this wool is rather big and blank. Just these few little marks, I hope you agree. Just take it from being blank to being interesting. But it's not the focal point. We don't want loads, just enough. You'll know it's enough only often when you've done too many. Always stop before you think you're done and just have a look and for me, that's plenty. It's looking fine. Then what else do we want to do? Just maybe enhance the texture of this roof a little bit just to suggest some of these roof tiles. Maybe pop in this TV aerial just to something extra. Now let's move to our real area of interest. Our real area of interest is these lovely bushes. Now what we can see here, it's got these yellow edges and then this green core. I'm going to use that green to suggest shadowing and go. Really, go for it. This is a right in the foreground, and it's got some really deep shadows. Under here we haven't drawn a tree, but there is shadow so we can just maybe just go to normal hatching. Now we've got more of these lovely flowers. Let's get these flowery, loopy structures coming down whilst also getting more shape into this. Just by finding the dark areas and adding more texture. Suddenly, you'll find that actually something which is a really weird outline become something which has got a real shape. Now it feels like it's an object which is trailing onto the ground, which is what we wanted it to be. In the background we worry less. We want this to be fainter. We're just going to do a really loose textural marks. Same here, probably a little bit more because it feels more important in some ways because it's providing a big contrast out to the side, but not much is needed. Then in this tree, just really gentle lines. Back here maybe nothing at all. Maybe just the bigger picture is all we need. Now a couple of last minute things to add in. We've got the idea of this grass coming forward. We can do that and we want to fit it with this perspective. We've got this very steep funny perspective going on. We do want to fit it with that. I probably haven't got this perspective perfect, I probably squished it a bit. That's fine. It's a sketch. It's about having fun and we're exploring the trees, not exploring perspective tonight. It's okay if it's not quite right. With the grass, that's just some little touches here. There are some little flowers and things on it. Why not take our learning from before and just do a couple of little flower marks. There's probably some daisies and some dandy lines in there. There you go. That is the end of Step 2. I can put my pen away and feel very happy that we've got a really fascinating sketch which already is all about this greenery, despite there being a big house in it, despite this being a potentially an urban sketch, certainly something I could have done just outside. This is all about these lovely bits of greenery. 12. Step Three - Loose Colour: Step 3, now we know that this is the way, it's got to be loose colors. We're going to be splashing on some lovely light loose colors, really starting to bring our theme to life. Time now for the fun, for adding in all that lovely color. Now, I'm going to start with loose colors. Steps 3, loose colors. I'm going to take my big brush. I'm going to find the different bits of green first. Going to ignore the house completely. Actually, you'll find if we make the house negative space, it's going to make all the greenery pop out so much better. We don't need to paint the house at all. Let's see at the end, if we still feel that way, maybe we'll add a little touch here or there. But we're going to start off with the ambition not to paint the house at all. I'm going to use the same three greens that I've been using through the rest. You can of course mix them. If you want to mix, then there's a little class about mixing, and this was a lesson about mixing in this class, so have a look at that, and you'll be able to do the same ideas just with a blue and a green and a brown. I'm going start with my lovely gold green. I'm going to put that on this lovely, do you see this? Very yellow areas in the front bush. I'm also going to use that in a couple of other places, in these distant trees, for example because I don't want my light green just be in one place. Even just dab it on to a couple of these leaves here. Then I'm going to start moving onto my deeper greens. I'm going to use my cascade green next. [NOISE] Still being very gentle and light with it. I'm going to blend that in. This is now a bush rather with lots of different tones going on. You're going to find some of these greens in here, so that these leaves are doing interesting things. Then I'm just going to just give it a general light wash through the rest of these areas just, again, to promote that idea of unity throughout. Notice, I've left this guy out, and the reason is this guy, it's got actually a lot more pink than green, isn't it? What we might want to do instead of starting with green, if you have a pink, then pink, otherwise, use a dilute red. I've got my red in there. I'm just going to make it nice and dilute. It's not going to be perfect, but I could mix it a little bit of that red and maybe a little bit of, I have got a violet here. It's a deep violet, but a little bit of that just to suggest it's not quite red. Then instead of adding the color to that, what I'm going to do is I'm going to add the green to the color. It's going to be more about the color and how it interacts with the green than the other way around. I hope that makes sense. It's just these little things with how you're thinking more than anything else, let's you encourage your watercolors to do what you want them to do. Next, a little bit of my appetite green, so this is more of a murky green. This would be the green you get if you start to add in a bit of brown and this is going to come into the grass. But I'm not going to just keep it in the grass, I'm going to let it blend into some of the bushes as well. Actually, it's not blending that well, so specifically I'm going to come back in, just soften it and push it around, and that will help it blend and move and merge into those other areas. This way, everything is connected rather than being lots of separate things, which will become more separate later. But rather than starting so separate, they're all starting connected. Couple of other touches, I think important to get a little bit of the idea of some shadows. Let's go back to this moon glow again. There is our path under this edge here. Again, letting these green blend and merge out. Then a bit of shadow coming under here, put in here, and I also like to just get a little bit of brown onto this fence, I think. Haven't got the brown there of course, we need to use it somewhere else just to balance out the image. That might be a nice way, just to touch in some more leaf-like shapes up here. There you go. That is Step 1, done really loose colors, leaving a lot of bits of white, letting the colors blend and merge. Now, we just need this to dry. We'll come in with Step 4, where we'll be adding in some deeper colors and more bold colors. 13. Step Four - Bold Colour: Now we're on to Step 4. Step 4 is where we take a little look at our colors and we enrich them, bolden them, maybe enhance some shadows here, and start adding in those very little flecks of line where we find flowers and bright leaves. So we're back for Step 4. What I've got now is my thinner brush. That's because we're going to be applying some rich attains. That's easier to do sometimes with a smaller brush. You can see it's mostly dry, but a few places aren't, and that's fine. I didn't want it necessarily totally dry because then everything becomes hard and new and layers rather than being a bit soft and interesting. I'm just going to work my way around the image again. I'm going to really enhance some of these light areas with punchy bits of green gold. This might be a more yellowy green, if you haven't got lots of different greens to play with, and that's fine. You don't need lots of different greens. Then I'm going to get this textual green in here as well. [inaudible] and create more than just a flat wash. Immediately I want to just come in with my green apatite. Getting in this idea of the grass underneath, the grass interacting with that tree. Remember, these lovely linear shapes we can use there as well. I'm going to keep moving up, down, up, down, just like I've done there. So bidders are lovely. Red to really promote some more of these flower shapes. I know that pink. If you have a bit of pink in your palette, by all means, use that, or you can even mix a bit of white gouache with your red to make it more pink. For me, I'm sketching, so I'm approximating, and it's okay to just do a best effort rather than something perfect. Going to take a bit more of my cascade green and just drop that in. This time I'm not going to blend it too much. I'm going to see what happens. I leave in a lot more red. So we've got that murky undertaking from the red and the green mixing, and now I want more red really shining through. So just leave lots of lovely areas of red instead of mixing, letting it blend too much. Now back to our murky green, our green apatite, a genuine green apatite, I should say. That's too strong, isn't it? But we can just come back in a little bit of water, and we can move it around. Soon enough it will be back to feeling part of the real image. I'm going to bring up all the way along now, all the way onto here, and come back. Before it's dried, just do a little bit of softening, if you remember. Just coming in and making sure there aren't too many little hard edges. Then what else we got today? We're coming up here, be good to use a bit more of a cascade green again, just to give this bush a bit more life, a bit more texture. That also brings it in front of these distant bushes, so somebody will feel like it's closer if the colors are richer. We could just use lots of little textural marks as well. Now, I do want a little bit of extra something in this background tree, and so I just do little gentle wash, just connect these two areas as well. The same, the last bit probably for now of green, it's just a more into this tree again, to bring it in front, the other one behind it. Remember to come back in. That's looking quite a hard edge, isn't it? So come back in, and soften. But now we've got all these bold colors coming forward at us, which is really great fun. I want some more shadows and more of my moon glow now, and we might have to do quite a bit of shadow work just to get things feeling like they're arranged in the right order. So lots of deep shadows under this bush, under this and in-between. Bush shadow here, and the same here. What we're doing is we're looking not just at the reference, we're also looking at our image and seeing, what does our image need? What is it missing that it needs to actually provide that shape and feel correct? That's like an artistic decision. It's not just one about what's real and what's going on in our reference or the front of it. It's also, how can I manipulate what's around to do the job I want it to do? Then we get to see, what else could we do at this stage to add a bit of life? Well, let's do a few of our splashes. A few of our flashes there. Then we can take a nice yellow for our plants or flowers in the grass. We could do a few splashes at the top here, [NOISE] and then we could, if we wanted, we could actually call this done as a lovely study of the greenery. But perhaps we'll lift our image just by applying something else to balance it. I wonder about adding in a bit of sky. So actually, what I'm going to do, so I'm going to come in and I'm going to use a very light blue. This is a cobalt blue, by the way. I'm just going to touch that blue around. That doesn't need to go everywhere. But what it can do is it can, again, just highlight our negative space. Our negative space, in this instance, is very much the house. Having established a nice blue sky, we can introduce reflections. So the windows can now have a little bit of blue, even the door could have a little bit of blue. Under the light reflections is often a bit of shadow reflecting from the across the street. Maybe just a little touch of shadow in our house as well. So it's still a negative space, but we're just defining it not as a 2D object now, but as actually as a 3D object. So it's got a bit more present, just three simple little touches. Still it's really a white block in there, but it's got more presence. Now last thing I think might be nice to do in this stage is just give ourselves these bricks. Just give them a box of presence by having a little bit of color. We can even use that little red just in our fence. I know our fence is brown. But actually, again, it unifies the idea. This red means it says over man-made structure. I said last thing didn't I? But actually, there's always another last thing to do. So what I want to do is just use all different greens and just really make something of these leaf-like shapes. These little leaves that we've got dangling in front of us. We might even bring in a few more. Even though we haven't inked them in, we can just bring in a few more leaf-like shapes. Touching in little last bits here and there as well. Making some little suggestion to the grass. There we go. That's the end of Step 4. Step 4, of course, being the bold colors. The last bit is to just provide those finishing touches. So I'm going to let this completely dry so we can come back in with our ink, maybe some more colors, maybe not, and see what we want to do just to enhance this lovely leucine a tiny bit more. 14. Step Five - Finishing Touches: Finally, we're almost done. Step five, step five, finishing touches or anything goes in many ways. What we're going to do, we're going to get our pen out, restructure our image a huge amount and then also just come in and find these brightest colors, there's boldest colors, there's most interesting touches which just need to be added to make us feel happy. Here we go, we're pretty much drawing. What we're going to do, just come back in for the final touches. I'm going to start again by redefining some shapes and what we can do now is we can go round our trees, our bushes where the color has decided to go because it's been loosened that means it will have moved around. But we can redefine these lovely shapes. We can redefine some of the textures inside as well, just to provide that little bit more shape uncertainty amongst a very loosen wobbly wash. Same with our little bricks, they can come back as well. Little bit more certainty about those. A little bit of a hatching, we can enhance these lovely flowers, we could even just extend in a few places. It's all the same principle. Again, just be careful not to overdo this step. But also don't be afraid of just experimenting, having a little bit of fun and seeing what happens. In a worst-case scenario, we might ruin our sketch, but then it's just a sketch and sketching is made for experimenting and having fun with. What I'm doing is I'm repeating a lot of these shapes we used before. I'm basing them just a lot more about what's happened on our page, so I'm reacting to the page. For example here we've got this little white gap in here so you can enhance that contrast by just coming in with a little line or just outlines where we've got light, where we got that texture in our graphs. We can enhance some of these man-made structures a bit more and also these lovely distinguishes. Now, as we get further back, we want to be careful not to overdo it because bold lines come forward and this is what we want to be the most interesting part of our sketch. We want to just hold off a lot more of the back than we do at the front. We might even want to just give this path another edge because, why not? We can just suggest something going on to the side of it. What else can we do? I think this tree is okay, this is okay, they're in the distance, we want them to stay in the distance. If I just enhanced this line, it will bring this bush forward in front of this tree and the same here, if we just go over this line, it's going to bring this tree forward in front of this one, which is what we want to happen. Again, we can just find these little edges of color and we can just do some little dribs and drabs around them. What else might we want to do? Well, look, let's make something of these lovely dabs of color over here as well. Now what we can do is we can really find all these shapes and outline them and then connect them. Just by doing that in a natural flowing pattern, we end up creating what feels like a tree coming in front of us. Even with these little ones that we added in at the last minute, if we just go around them, connect and create little clusters of leaves, notice how it just feels now even more like a tree is just dangling in front and it wasn't hard work, it was just little loose suggestion. Remember how we started? We're really loose suggestions of lines and we even made it loser just by little dabs of color. Now we can come back and we can bring that all together and we can end up with something really fun. Now, isn't much left to dig. I think there's one more thing I want to do with the pan. I do want to just make sure we've got this clear negative space structure, so we just come around and redefine our house and just being really clear that it really exists by giving it a nice bold outline. It's really there, we really haven't painted it. We have purposefully not painted it, so we can just get the key shapes there and that just provides a lot more structure in it. It shows we care about this house, but actually we're using it to push regional ac, your eyes get pushed from that into this lovely color, this lovely myriad of greens. Now, last but not least, tiny touches of color to just bring things to life. Now I'm going to use very thick paint. I'm actually going to be quite specific here. I want some of those yellow, we said they're probably dandelions in the end, but some of those yellow dandelions, I really want to stand out in the front and then maybe just mixed in with a bit of red and come in and get some really specific flowers here. Real specific dark touches, not necessarily dark, but it's highly saturated or strong bold tone of red. Again, that's just giving us the bigger picture, the effect of the flowers whilst also carrying a little bit about some specifics. Now we can maybe a couple more camping really careful not to overdo things. A little bit more enrichment of these little bricks, which just spreading that red around, the meaning of the red isn't just in one place and maybe just a few gentle splashes just going on into the edges here, just to fill up these areas, these little white areas and finish off my sketch. Here we go. Just going to put my name on it. This is a little scene, just a residential street from Sydney, so I'll put that on there as well and I'm done. What have we've got? We've got a scene, an urban sketch. We're virtually in one sketch which could easily be in an urban sketch outside, which is all about the trees. We've taken our normal techniques and we've focused them in on greenery instead of focusing them on the urban aspect. Might encourage you to do this as something different. As you walk around more and more, you'll actually notice how much, especially in the Northern Hemisphere in Britain in the moment everything is green and pretty and beautiful and you'll notice there are loads of lovely scenes like this which don't look like much, but are begging to be sketched. Have a bit of confidence. If you want to try this project, please do try this project or just try sketching your house, your back garden, or even just fill a page with some lovely little suggestions of trees. It's been a pleasure to sketch along with you. The last lesson in this class will be all about summarizing and the next steps we might want to take. Let's head over there now and see what we've got to say. 15. Summary and Next Steps: Thank you so much for getting all the way through the class [inaudible] It's been a real pleasure and I hope that we hit on those key learning points for you. The idea of the bigger picture, whether we're talking about the bigger picture of shapes, the bigger picture of texture, the bigger picture of color, we don't need more than that. Actually we can create fascinating trees, greenery, flowers, everything, just by thinking about the bigger picture and not getting too stressed, not getting to into the nitty-gritty. With that in mind, what can we do next? Well, I'd love you to join me on some more Skillshare classes. I've got my profile all organized all my classes, split into different sections depending on what you might be interested in. Of course, if you've enjoyed this class, please do share your project. You can do that by clicking the Project Resources tab and just clicking in that Create Project. I'd also love for you to leave me a review. Now if you've enjoyed the class, this is the most brilliant powerful way of sharing the class for the people who have given me feedback. Again to do that, what you do is go below the video, click on reviews, and just create review, add review. Now you can also find me on my website sketchloose.co.uk, urbansketch.co.uk, and of course, @tobyurbansketch on Instagram and YouTube. I'd love to connect with you there and see the art you're doing and also to go to share more regular updates about what's going on in this loose sketching, urban sketching world of mine. Anyway, without further ado, thank you so much for joining me and happy sketching.