Transcripts
1. Introduction: Hi everyone. My name is Toby. Toby
urban sketching. Thank you so much for
joining me in my class. This class isn't
about how to pick in urban sketching and what
are we going to do it? We're going to look at
a really simple process that takes you all the
way from zero to hero. In urban sketching, we don't need a huge
amount of equipment. The first thing I
wanted to show you is actually we can create really great with
just five things. In the supplies lessons, I'll talk you
through this sort of minimalist setup to
urban sketching. That means that things are
flexible and you'll always be able to have your
sketching supplies on hand. The project will be all about taking an
interesting image. I'm making it even more interesting on all pay
today I want to just give you a really simple tips
how to start your sketch. How to think about our colors, how to enrich on colors. There's nothing crazy,
nothing super clever. It's all really
approachable and designed to basically be fun and simple, but also something that you can build on and really enjoy. Now these skills aren't just things which
you can use at home. Now the whole of this
clocks is that although, yes, we're doing
virtual urban sketch today with a reference photos. And I've supplied actually
these techniques for exactly the same as the ones that
I will do in the world. But I'm on holiday
when it goes from three time when I'm
limping around at lunch, but I just wanted to sketch
something quickly and enjoy the world and enjoy
the day around me. If you want to join in, if you want to develop
your urban sketching and learn some new tips
and tricks for me. Then look no further. Let's get started with
some great fun sketching.
2. Sketching Tips: What I wanna do first
is just give you a few little tips about how
to think about sketching. What we've got to
remember we sketching isn't it is catching. It's not about producing
a totally perfect finish. Work on that. There's a few ways of
approaching it that I'd like to let you decide if
you want to enjoy, but it's certainly
the way that I enjoy sketching and
creating up with. Let's have a little look at these four key tips
which I think are central to the art of sketching and the art of
enjoying sketching. So tip number one is sketch
lots and it sounds silly, but it's important because
the more we sketch, not only do we
develop our skills, but we also start to understand what we enjoy and what we don't. But you'll start
to discover them. Style. You enjoy the equipment you're using and where
you'd like sketching. For me, that's been
a really important part of my journey. Part of sketching
loads is having simple supplies in this class and the supplies us
and you'll see that we're not using
very much at all. And that's how I sketch. I carry a minimalist setup. That means we can carry
it around everywhere. You can perhaps even have
a couple of that setup. So I've got a few pens in every
bag and maybe a couple of sketchbooks that I'm
using at anytime. And that means we can do loads
of sketching all the time, but that'll be over
complicating it. Tip number two is
keep things simple. So we're going to talk
about this in step one, especially it can be scary and maybe look at a really
complex building and I'm in the UK, so I might think of something like Big Ben and Westminster, literally hundreds of Windows. But actually, what we're trying to get
is the essence of this. And the essence is in its shapes and its key
features and in its field. And we can do that by
really simplifying things. And then once you got that, we can start building
up a little bit of detail and you
could keep going. And that's how the world's
greatest moral painters work. They keep going for
hours and hours now, we're not gonna do that
wherever and sketches, so we're going to do it quickly, but we're going to use the
same principle that you start simple and build
up as much as we want. But stomp simple. Following on from
that is Tip three. Tip three is mistake, so inaccuracies don't matter. This is the biggest
thing I always say. No mistakes rarely
do not matter. Yes, sometimes it's huge line across the middle of the page. Might feel like an awful thing, but I'm going to
show you in step on and throughout other
stages as well that I'm going to make
mistakes in this sketch, but it really doesn't matter. You know, actually if you've
noticed the beginning, I get the number of doors wrong and I draw some big loops
in the wrong place. But hopefully you're
in this class. So you saw my little
thumbnail sketch. I wish I could do
that. You know what? You can see that it's the attitude of not worrying
about the mistakes, just being gentle on yourself and understanding that mistakes
are part of being human. And tip number four is, you can make the world around, you can make the
senior right and make decisions about what you
see in front of you. So if you want to change the color of a
wall from orange to red, because you think
it looks better. That's great. If you want to add an extra
window who you want to make something shorter
or you want to move a tree slightly
to the left. That's great. It's your world and
it's your sketch. So experiment with making
creative decisions. Don't feel that because
this house is blue, it has to be that
exact shade of blue. Perhaps doesn't even
have to be blue at all. Perhaps you don't even
have to paint it at all. You can leave it white
and make the rest of the colors sing through and push that negative
space forward. So don't be drawn in to
doing what you want to do. Do what you want
to do, experiment, and make decisions
in your art so that you are in control and
you are being creative.
3. Supplies: So the supplies. Now this is a really
short lesson, but I wanted to give you
enough background information so you knew exactly
what you might need. So firstly, let's talk
about the sketchbook. Now this is a five in size or half letter size in
American sizing. And it's by the
company mole skin. Mole skin make
lovely sketch books which are not the cheapest, but a good quality, and that makes them
good value for money. They're also not
super expensive. This is a watercolor
sketch book. Paper weight is 220 g/m². That means it's a bit
thicker than normal. So it's got a lovely
watercolor texture to it. And you can see if
I flick through, the effect of this is to create really lovely textures
in our sketches. And I use it both for playing,
just splashing water, goes around to try
and work out when you colors for doing rarely
quick ink sketches, and also for longer and
more considered sketches. So this is the kind
of sketch book I suggest this size is
great for getting started. You don't need something
more than this. There's nothing bagel
clever you need beyond a nice
watercolor sketchbook. With that, I've got a couple of these clips, crocodile clips. We'll use those in sketching
just to hold the paper down. Especially useful if you are
choosing to sketch outside. Next week got my watercolors. Now, this is just a
very small world. Kinda got a little loop,
which is really great. If you are outside, you can pop your thumb
through like this. Then you can hold it. Being very convincing, drop
down, but you can hold it. And it means when you've
opened it up, it balances. You can get the colors out
and you can be agile with your painting and sketching equally sits down
here very nicely. And it holds a good
number of colors. Now you don't need
this many colors, but these are my favorite colors all going to be using today. Or four colors. We're going to be using
a blue, cobalt blue, a red scarlet lake, and a yellow hansa
yellow medium. Now these are the
three primary colors, neither quite old
primary colors. We're also going to be
using a dark color, so just a relatively
neutral color. Now I'm going to be using
something called moon glow. But you could use Payne's gray. You could use any other
gray or neutral tint, or you could even mix it. So if you have something
like an ultramarine blue and burnt umber, burnt sienna, you mix
those two colors, you'll get a nice dark color. So four colors. A little watercolor tin. With that, of course
we need a brush. So this is just a very
simple travel brush. The handle comes
off, goes on here. That means you can pop it in your pocket and it's not
going to get damaged. This is a size 12 and it's
around brush I'm really looking for is a nice point. This has got a good point here. And also a good size
to the belly of the brush because
that means it can carry plenty of water, which is important for
nice watercolor sketching. And beyond that, if you wanted, you could have a
couple of brushes. One which is about this size, maybe size ten or 12, and another which is
size four or six. And that would let you
do a few little details, but I'm just gonna be using one. Keep it really simple. Then moving on, I've
got my fine liner. Now these both happened
to be made by Staedtler. I'm not particularly
convert to any brand. I've got a few by Staedtler,
Winsor, Newton utopian. But I do think is important, is to have two different sizes. One small something, either
a 0.2 or 0.3 millimeter. That's what their sons. And then something quite bold, something between 0.5
and 0.8 millimeter. That will become
evident because we use this in step one and we'll use this in one of the
last stages of our sketch. Then it's the little things. So we just some tissue which is really useful for
watercolors sketching. I've got a pot of water here. But if I'm out and about, I'll carry a water bottle and just a little bit of software
like a little tough, but I like this, which
is obviously designed to have some nuts in or
some chopped up Apple. But equally you can
carry it around, take the lid off
pops and Motrin. And that is your
on-the-go water. Quite honestly, you need
nothing more than this. This is what I do 90%
of my sketching with. So with that, we'll start looking at our
really simple processes.
4. Final Project: This final project will be, of course, to create
your own sketch. Now, I'm retiring minds and this little sketch
book and it will look something like this. The reference photo
for our project today is in the class resources which you can find just here. If you have a look in the
class project description, you'll also see the steps
that I'm going to show you, the videos outlined really
clearly as a little reminder. And of course, the other thing, It's amazing if you can
share your projects, if you want to show you a party, just take a really simple
photo using your phone. Go on the screen here just below the video and click Create, cross Project, and then
just upload your photo. And that means that we can
have a chat about that. I can come give you some
encouragement or some feedback. And I make sure to
do that on all of the projects that anyone
taking my class submit. Now with that, let's get on to the lessons where we can
start doing some sketching, working on what we need
for our class itself.
5. Step One - Shapes: Step one, I've
called this shapes. What do I mean by shapes? Well, we're going to make that
very clear in this lesson. But essentially the whole world can be divided into shapes. But I don't want you
to think is, well, this is a complex building.
How do I sketch it? Instead? What we need to do is
look at it and go right, There's a rectangle
and a rectangle. And before you know it, just by building up these
really simple ideas of shapes, you'll see that
together will create a lovely little sketch
of this shop front. So stage one or
stage one is shapes, or more precisely it in shapes. I'm gonna be using
my sketchbook, my two little clips, my 0.3 or 0.2
millimeter fine liner. And my reference photo in the reference photo is
in the class resources. You can find it just here. If I pop this up on
the screen for you. So coming back to here, what are we doing in this stage? Well, we're setting the scene. We are finding those key shapes. So open up your sketch book. If you want to use some clips or a rubber band,
you can use that. And what we're doing is keeping our paper
controlled by doing that. And we're going to
just start sketching. And I'm going to, this is a
portrait reference photo, but I'm going to
sketch landscape because it's going to just be a lovely little simple
shop front sketch, which lets us play with vibrant colors and just
having fun with the image. Now, I said this is about
shapes and what do I mean? Well, let me guide you through that process so we'll
know what its shape is. A shape is a square or
rectangle or a triangle. Everything in front of us, everything we see, whether
it's a building, a human, a plant, is a shape or
a couple of shapes. So what is this building? Well, let's start at the roof. We've got the roof here. Just a little line. Then under it, what have we got? Well, we've got a rectangle, then we can draw the rectangle. Then under that we've
got another rectangle. Then under that,
what have we got? Basically we've got a
little rectangle again. Ready? What have we got? We've basically got a
building, haven't we? And yes, it's very simple. But we've been sketching 20 s so we can just divide everything
into really simple shapes. So let's keep going. Let's find some
more shapes. Now. The top, we've got a
very thin rectangle, and then we've got
this other rectangle. So we can just keep finding these things at
the side of the chimney. There's a tiny triangle and
that gives us a perspective. But we don't need to know
anything about perspective. Or we need to do
is find the shape. Little one here as well. Got a tiny line here. Sometimes there isn't a shape because it's such a fun thing. So we can just draw the line, but where, when thinking
about it, not as an area, we're thinking about
it as a basic concept. Then what else is there? So we've got all these
big shapes and in them, or you got it shapes,
small shapes. So let's find this, this shape here happens
to be a rectangle. Then it's got another
rectangle in it, hasn't it? And by drawing two rectangles, what we're actually not drawn
as the frame of the window. We don't need to think
about the frame. We think about the shapes. We can divide our
rectangle into two more. This one into three, this one into three. By magic, we've drawn a window, but we didn't need
to be complex. We didn't need to try and assume anything about the window. We just drew the shapes. We looked for shapes
and we drew them. Now something else
you'll notice as I just keep drawing
my little shapes. Rather than overusing the
word rectangular bit more. As I draw my shapes, you'll notice that my
lines are not straight. They're terribly on the street. And partly that's my style, but partly it's also, I think, a very good idea. Why is it a good idea? Because we are sketching. Sketching is quick. Drawing these loose
and wobbly lines is much quicker than trying to be really cautious, are really strict and string. We'll say by drawing these
Weebly wobbly lines, we're always thinking
about our line. We're always thinking, or where does it go next?
Where does it go next? What do we do? We never
trapped into thinking. I know exactly what's happening. Drawing a big line, then that line's wrong. And we've made a big mistake, which we can't correct equally because he's learned
to loosen wobbly. What happens if I
do make a mistake? Well, I could draw in
really silly lines. Maybe I went off over here and I just need to come back here. Try and draw some bricks. And I went off for a bit
wonky and maybe in the Sinai, I got the shape
completely wrong. But what's going to happen
with these loose lines? Because I'm doing them
loose and wobbly. These things don't matter. They initially look
like mistakes, but then in not very long and certainly as we
go through our stages, what's going to happen
is these mistakes are gonna turn into
texture and character. I really encourage you in
this first stage to be loose. Just let your lungs wobble. Have fun with them and don't stress about specifics,
just fine shapes. So I just find my last
few shapes and neat. The other key here
is not to overdo it. Now I've drawn a couple
of little bricks and here, here and here, these bricks are still shapes, but I only need to draw
a couple or none at all. We don't need to do anything because we
can always add later. Now this stage should
only take a few minutes. And we're setting the scene. We're setting the scene, getting an idea for what's going on. It's nice sometimes to talk a little bit
of the surrounding. So this is like a shop
front sketches and at a shop front scratch
straight on and it lets us be really cute with
the amount of detail and how vivid and
interesting we make it. But equally, we might
just want to give this idea of something
going on around it. It doesn't feel lonely in the middle of this big
page or this little page. What we do is we find the lines
coming out from the side. We don't need to be very clever
about where to put them. What we do is we just go look. This roof corresponds to being just under the
roof, redrawn here. So we draw a line
which comes up there. The next brief joins up almost exactly where
we've got this shape. So we just draw it in there. We could do this
little pipe which comes up just the learner. What are we doing? We're doing
comparative measurement. The bottom of the building is basically a level with the
bottom of our building. We could even just chest a
little bit of this doorway, which is just off the edge. And we can suggest this column
and the bottom of this, maybe even a little
bit of this sign. And we're just looking,
where does this sign line up with the sign that
we've already got? And there you go. That is it. That is step one
done so simply and easily. And by magic, we've got pretty convincing
little shop front. But all we've done is shakes. He just drawn a load of shapes. So next we're going to be
getting our watercolors out and thinking about how we take these shapes
and bring them to life. So let's get rid of
it and move on to that next section of our class.
6. Step Two - Loose Colours: Recall our shapes and now we're doing a
little bit of color, bringing it to life. Don't rush her head. Yeah, and by the
end of this lesson, it's not going to look amazing, but that's the case with
all watercolors sketching. It needs a bit of time. So just trust the process and do some nice, gentle colors. Let the water colors
do their thing. And soon enough, we'll
have an amazing sketch. So you just need the
watercolors out. And remember, we're just
gonna be using, I've got my, all my colors here, but
I'm just using blue, red, yellow, blue,
red, yellow and dark. Not important. I mentioned them in
the supplies lesson, and I'll say their
names as I use them. But it's really not important
to get exact colors. This is about having
three primary colors and something neutralizing
and dark and moody. So how are we going to use this? Well, what we're not going to do is treat this like
a paint by numbers. We've got lots of shapes and we've all done with paint by numbers I imagined as children. And where you fill
in each of these shapes and you go really bold. That's not what
we're gonna do. Now. We're going to be artists
and really loose. So get your color. They'll pull of it like this. Say quite a lot of water. You see how running that is. What we're doing. This is the
first layer of watercolor. It doesn't have to be perfect. We're going to be
painting really like these colors so we can always make it darker later
if that's what it needs. I'm going to use this blue. So the blue is a lovely
color for the sky, isn't it? But often shadows and dark colors feel a
bit blue as well. And there's lots of
shadows and murkiness. There's little murkiness
all the way under the roof. So let's put some
of that blue there. That feels scary, doesn't it? Because the image isn't blue? No, I completely agree
the image is not blue, but we don't have to stick
with exactly the image. We're only using four colors, so we're never going to
be doing this perfectly. What we're trying
to do is sketch this in a representative way. That is fun. That's pretty, that sort
of shows our experience of the day and also is practical
to do nice and quickly. Now you can imagine doing this as I am as a virtual urban
sketch, but equally, you could easily have your hello on your chair beside you, sat on a bench or
even on the floor. You can have this put on your on your lap and you can have your little pot of water
off to one side as well. This has gotta be
something which you can do nice and quickly out and about. Knoxville too stressed
by the prototype is loosening up with
your idea of color. What's next? Well, we've got this lovely sandstone,
you all haven't. We sort of pale
yellowy brown urine. So let's start with
the idea of yellow. And we just pop that in. Now this is primarily,
that's wrong, isn't it? But it's fine to be wrong. It's still a nice bright color. We can splash it on and
get some randomness in it. Now let's add the red cells, the red and orange. If we make it nice and watery, we can just mix on
the page and we can start just bringing that
color down and around. The other thing we could
do is leave white. You see some of this
wall is very bright. We didn't have to
paint everything. Watercolors are often best. When you haven't
painted anything, when you've left something
to the imagination. And we're not actually
going to go as far as creating Brown yet because
we're painting the lungs. There are murky
brands and things, but we've suggested those
with the blue and we'll come back later and we'll
paint some light. So the last thing we can do with this very short step is if we take some
more yellow and red, just get to a nice
yellowish color. Why didn't we just suggest
a bit of pavement? Mix that in with the blue
on the bottom of the page. We're starting to
piece together. Top to bottom are
lovely little sketch. I say last thing, But I
noticed now and you often notice as you look around with watercolor sketch,
you left something. So let's have a bit of color
onto our two chimneys. That is it, That is
the end of step two. This is painting a light. Now remember, watercolors are a stepwise process,
so don't rush. This looks like
nothing, doesn't it? But we have to have
faith to let it dry. I did the next layer
and then the next bit that actually
all come together, it's gonna look
great in the end. So don't rush, don't panic. Let this dry for about five or 10 min and then
see me in the next lesson, where we're sticking with
our colors but adding a bit more depth.
7. Step Three - Bold Colours: I asked you to trust
me in the last lesson, that although it's
just loosen life, soon enough, things
will start to come together and that's what's
going to happen here. So clean out your palette, dry off your brush, and we're going to do
another level to color. This time focusing
on making colors bolder and starting
some of those shadows, which will really bring
our sketch together. So step three, you can
see we are now trying. I've got exactly the same
things. I'm not ready. Can just pop art tissue there
so we're ready to use it. What are we doing now?
We are adding color, but instead of this
very light color, we're going to be enriching those tones and adding
a little bit of shadow. Remember, we haven't even
used a dark color yet. But this is where that's really going to
come into its own. So I'm gonna do the
same thing again. I'm actually going to leave
this guy because it's already a lovely
bright and blue color. But we're gonna be
working our way down and we're gonna be starting with that brown that
I promised you. So how do we get brown? Brown if we get a nice orange again? And we know how to
do that now with our lovely red and yellow mix. And remember, just got to make sure you get the
right proportions because I added way too much
red that a little bit more. That orange and brown is
orange, brown is orange. That's the, that's the secret. So if we get our dark color and we add that to our orange, look by magic, we
end up with brown. So there's our nice suddenly
neutral brown color. We want still a
bit of water here. And we're just going
to be finding some of these more shadowy, murky areas. And again, we're not
being too specific. We're not copying
the image so much being inspired by the image. We can see there where all
these lovely bits of shadow. And to be fair in some
of these shadows, a role so in the
windows, aren't we? So if we just take a bit
of a neutral color alone, we can start popping a
little bit of that idea of shadow into a Windows as well. With this murky color. If we just touch it, look, if we just touch it into our brown, instead of having a flat round, we suddenly have
this varied brown, which is much more in keeping with what it looks
like in the image. Now what I'm going
to do, I've washed my brush, dry it
off a little bit. Washing again, make sure
it's nice and clean. Little bit of water on that. I'm going to come in
and I'm just going to feather in the edges. Do you see how I'm just
touching it at the edges of that Moody brown. What that does is it
softens the watercolor. So instead of
having like a line, we've got this grant Chu softening that just makes
the color more interesting. Basically, it makes it less busy and it prevents
that overworked feeling. Now what I'd like to
do is come and find some rich oranges again, if we get the lovely mix here, we can also drop
that in because we got a little bit of a web page. We can start just dropping
in some of these oranges. So we've got this
richly colored wool, and remember, it doesn't
have to go everywhere. So leave some of that
previous wash behind. Leave some of this
white page as well. And again, we can come
back and clean up brush, couple of cycles of
water and tissue. We can soften that color in. Just like with the
previous Washington, just like with my lines, things are okay to
be wobbly and we believe we're not trying to
be clever and brilliant. We're trying to have fun and get a lovely image on our page. It's okay to be imprecise and just have a bit of
fun and experiment. That's exactly what I loved
to do in all of my sketching. So we can continue with a bit more shadow
in these windows. Notice how my shadows
aren't perfect. They're popping out
over the frames. We can come under and we can add this deep shadow here as well. And then we can start to
Bolden up what's going on down here and down there is it's pretty much a black, isn't it? So if we just use our dark, Let's see what that looks like. What you don't need
to do is immediately go from this blue to black. We can work in layers
and we're going to do a bit more watercolor
in another stage. So in this layer, are we trying to do is
deepen that tone and see what effect we get.
And what we can do. We can deepen that town
pretty much everywhere, except I'm going to leave some gaps in the
Windows. And why? Well, that'll be
evident. Very same. So if we just get that kind of idea of a black
frame everywhere, then in the doorway we can
add a bit more as well, getting that nice tone. Then look in the window. So in a Windows,
what have we got? We've got some
white reflections, we've got some red,
we've got some yellows. So what happens if we touch
in a bit of red here? And let's just say
there's a little bit of red in that window as well. What happens if we get a little bit rehear
laid next to that? Yellow up there, what happens if we get a little bit of
blue and touch that in? I didn't get any there,
such some blue in here. So now we've got
these highlights or even weeks we got
these highlights and reflections
going on Windows. So just going to again, just soft and some of that but
not blend and move around. It doesn't matter if
these colors bleed out and move around
into the other windows. Didn't realize I haven't
done this window yet. So we'll just do a little bit in that window. Well,
we do is here. And even now, I've, I've only
just realized looking at this that there's actually a
door and the door over here. But that's fine. I've I've unit with the dark and looking
at my filming lights, I've missed that there's
a second door over here, but it's okay to change things. So I'm not going to start again. I like this image. I like the shapes, it's
still recognizable. So I'm just going to have
a play with it. Change. I've made I've made the
change by accident. And I guess I like leaving
these mistakes and even when, let's pretend I did on purpose, or even when I do
them on purpose, never even when I accidentally
make these mistakes, I, I didn't like to refilled
things because in real life, I don't I just leave
these mistakes. I've made an assumption, but it still looks fine. My colors go wonky, but it still looks fine for you. I'm sure it'll be the same
if you still like it. It doesn't have to be right. It can be fun. And that's good enough. And this is certainly
fun and it's a nice, bright and interesting image. So let's leave it. Let's proceed
as if I've got it right. And this is the main
door to our property. And that is the end of this
stage. Now what have we got? We've got these shapes, we've got the light, we've
got some bolder colors. Next, we're gonna be actually popping the watercolors
away for a second and coming back to our
final touches of pen work.
8. Step Four - Bold Ink: Hopefully now you're starting to understand where we're going, which is of course, towards a really fun and
interesting sketch together. This lesson, we are
back to some pen. We're going to use the
bold pen if you've got a few only have one
pan, that's also fine. So just press a
little harder and you'll get bolder lines. What we're going to do is
recapture some shapes, bring a little bit more
structured back to our image. And again, you'll see
that this is where it just really starts to look at something
we can be proud of. So we're back for step four. And in this step, we're not going to
be using the nought 0.3 or 0.2 millimeter pen. Instead, we're going to be using our bold pen on 0.8
millimeter pen. What we want is for our
page to be touched dry. So you can see I can
touch it pretty much everywhere and I don't get
any color on my fingers. So that's how we
know that we can proceed with our
next layer of ink. Now what are we
gonna be doing here? Well, we're going to be finding
those important shapes, but not just those important
shapes also the ones which are watercolor is created. Some new shapes as well as
reinforcing old shapes. That sounds confusing,
don't worry. It will become obvious. Start with the
reinforcing old shapes. What we're gonna do, we're
gonna go round and be quiet, gentle because we've now
got quite bold marker. But we're going to find
those important shapes, basically the ones
we started off with. So we've got this big rectangle. Then we've got this
other little rectangle. We've got the door where I go wrong because it's
not the only door. And then we can start finding
these are the poll areas. So already we now recapturing, do you see how we've got
this yellow seeping up? But by creating bold line, what we're doing is we're
recapturing original shape. Now, also, remember how if
you look at the reference, all of this is very dark. So we can do that now. We can reinforce the
darkest areas with some simple linework to just by adding a bit more pen
in these dark areas. Suddenly we've got
that dark frame, but we haven't had to draw it. We just found shapes and modified things gradually,
the same inside. This is our doorway. So what we can do, we can do a little bit
of gentle hatching, just a little set of
vertical lines and that is enough to make
this area darker. And it feels like now there's an inside somewhere
that you can be going. Let's keep going around
with our shapes. So just draw our
little windows and we try and keep those light
window frames free of pen. So the opposite of what
we were doing down here, where we're trying
to make it dark now we're trying to keep it free. Up here again, we've
got our shapes, but perhaps we just
want a couple of marks because you get these
windows is a very fine. We don't want to overdo it. We can reinforce dark areas
with a little extra line. We can reinforce important areas with a little bit of extra line. And it's all about
moving around and not doing too much in one place. Find a little chimney again, this little one as well. This is already standing out so we don't
need to touch it. Now, we can find some of these shapes we made
with our colors. So you see where are
these little lines are? Nice soft feather
rings have gotten. We can start just inventing a few little brick shapes which sit alongside some
of these marks. Being really gentle,
not overdoing it. So a brick might be just a line, it might be a line and a cross. It might be a full brick. But what we don't want to do
is fill up this whole wall. We just want a few for me, that's already probably enough. And then what's the
last thing we can do? Well, not quite the last
couple of more things. So one important thing might be to have a bit of
fun in the window. So we got all the blues
and yellows and things. We could just, just that
they mean something by finding the edges of these shapes and
applying a little pen. Then a nice way to frame or
whole scene will be to find the edge of this shape
and do a double line. And now we've got the runway, so now we're looking
straight on it. I'm free now, that's
this stage over a really quick and simple bit of adding extra
bits of bold color. So in the last stage, we're gonna get our
watercolors out again. We might add a
little bit more pen and a couple of places, but we're just going to be
jumping around and looking at the last few finishing touches and which bits were
fun that we can have.
9. Step Five - Flourishes: So step five, the final step, and you might feel your image already looks finished
and that's great. You don't have to
add anymore. For me. Step five is about that
last little flourish. So we're gonna be doing
things like splashes. We're gonna be adding
extra darkness. We're going to be
just experimenting and seeing how we can add some pizzazz to are already
quite brilliant sketch. So we are ready for our
last it will stage. Now. We could call
this image done. In fact, it already looks
really interesting, but what we're going to do is a couple of little bowl touches. So what we need to be
really careful of this time is that we've got our tissue
and we're keeping our brush, the water on it,
nice and controlled. And it's going to be about this really bold touches perhaps, and really bold shadows. So nice way of
making bold shadows, blue and a dark color. So just take some
of that water out. Now we can really just
see how we can really get a dark shadow coming
on under here, under here, in here. I didn't there. And also in some of
these frames, well, we don't need to do is make
everything really dark, but just having a few
extra dark touches will just increase the contrast and the excitement
in this whole image. E.g. we might even want to do our edge of pavement
now that we've got this the curb edge,
what else can we do? Well, we can do some final
touches of other colors. So why don't we haven't got
any red yet in our building. So why don't we take
a nice bit of red and just create some red brick, some of these brick marks, we can add some red to maybe a little touch
into our chimney as well. If we think we don't like it. Well, because we paintings
still with a bit of water, we can remove it
just really gently. We'd never in watercolors on
as you go quickly enough, you'll never too
far down the line to not be able to come back and just remove some of that paint. Now, another thing I mentioned, a bit of fun, a bit of
randomness as well. So getting a nice
bit of paint here. Can you get your brush
nice and full of it? What you can do is
you can either hold your brush like this
and tap firmly. Or an easier way if we get
another brush is to tap your brush on
something hard and you can just do a few gentle taps. And this kind of
frames that you see, this element of randomness. But it also frames the
scene really nicely. What we can do, we can
get a little bit of dark and do the same down here. Onto the pavement as well. Maybe we want to
just live in up with a little bit of lovely blue
and that can go in the sky. Really gentle. Now we've got this texture, this is fun, this randomness, which is just adding something extra that
we can't control. Now, what is the absolute last little
touch that we want to do? Well, you might want to add some writing into
the sign. For me. I have all four handwriting. So what I like to
do is I like to do suggestions which are subtle. So I've got my black liner
and I'm not writing words. I'm doing shapes
which suggest words, which suggests the sign. Now for me, I then put
my signature here are my initials and I can
write the name here. So it's black orchid. This is in Stanford, which is a little village in the village town in
the East of England. Equally, you might want to write Black Hawk
had along there. If you trust your handwriting, you might even want to do it in a white fine line or
something like that, so it stands out from
the rest of the image. But with that sketches done. So let's move into the
last lesson where we'll do a little summary and a thank
you and we'll talk about the next steps that you can take in your sketching journey.
10. Thank you and summary: So here we go. This is my finished version, and I hope you've enjoyed
yours and what have we done? We've taken some very
simple Suppliers, very simple processes, but made something which looks absolutely fascinating,
really vibrant, pretty using just four colors in five really
clear, easy steps. Now these steps you
can apply to anything, so it doesn't matter how
complicated the scene. You can always find shapes. There's always liked to paint
and colors to make bolder. And then you can always
re-find as important shapes and re-evaluate things with a bold line before adding
on a special fund. So I suggest you
have a go with that, have a play and enjoy yourself. That won't be amazing if
you've enjoyed the class, leave me a review and
you can do that by going here on the screen. Just clicking leave a review. Also, I absolutely love seeing people's projects and
I make sure to come back either comments
or encouragement and some feedback if you'd like
it. You can leave a comment. You can leave a project by
going here on the screen. Again, just click it. Take a really quick photo with your with your phone doesn't have to be an amazing photo or a clever scan and
just upload it. Maybe write a couple of
sentences about your thoughts. Or even if you want to do a
series of progress photos, you can take a photo at
each stage of your journey. The next steps you
might want to take. Well, if you look at
my Skillshare profile, you can see that I've
arranged things. There's a Start Here section. You might want to explore
more of my style with a continuous line
drawings or you might want to move down and try, try bringing perspective into your sketches with some of
these perspective concepts. Whatever you do, it's been a pleasure
sketching along with you today and I hope you enjoy
your sketching career. And I hope to see
you again soon.
Toby Haseler, Urban Sketcher, Continuous Lines
