Transcripts
1. Introduction: Hello and welcome to this cause on urban sketching in black and white. My name is T0 and I've been to urban sketching full mod n ten years. So in this cause, you will learn how to create a simple value skilled, and apply what you have learned very quickly to your sketches, to MC. Sketches look better instantly even if it's just using black and white. And in the last tutorial, which is going to be a very hands-on tutorial. I will teach you how to sketch a Monty TOC, and again painted in black and white. The tools you will need are already listed in class description. Basically what you will need, essentially are a pan with waterproof ink, a bottle of ink. What gotta brush so they can ping with ink, ought to ink washes all what is soluble graphite. You will of course need a bottle of ink or what the soluble graphite. And lastly, what a collar paper. So I hope you enjoyed this lesson. First, I want to show you some of the sketches that I have drawn and disclaimer first, not all of the sketches were drawn on location, which is the premise of urban sketching, which is basically each one on location based on observation. But hopefully if through the sketches he will see how versatile it is when it comes to sketching and painting in black and white.
2. Examples of monotone sketches: In this lesson, I'm going to show you some of the sketches that I had drawn in black and white. Just to give you some ideas on that type of art you can create with just black and white ink washes and graphite. Now, drawing in black and white, it can be quite fun to. Let's take a look at a sketch which was drawn with only line out and compare it with one that has values or tunes at it. When you have a sketch that's only drawn with line art, sometimes it can look a bit boring. Monotone is, for this particular sketch dependent was used can only produce lines we have consistent with the lines here of the same thickness. So that also contributes to how monotone analyst is sketch looks. There are actually several drunk techniques you can use to make this sketch more interesting. And one is by varying the thickness of the lines. So for example, with people in the background, elements in the background, you can draw them with thinner lines. Or you can draw certain areas with more deed hill and some areas with less dQ. Or you can draw big and small elements. So here are the people they look like. They are kinda similar in sizes. Let's take a look at this sketch here. We have values or typhoons added. So here there is a lot more information. We get a lot more deaf like form. We also have some hint of light and shadow. In addition to using values, in this case is the use of grays and blacks to create light and shadow to create contrast. I have also used on the drawing techniques I mentioned earlier to make this sketch look more interesting. For example, there is this contrast of size. People in the foreground. They were drawn bigger compared to people in the background. There is this contrast of detail. People in the foreground, they were drawn with more details. People in the background drawn with last D20. So you can see the phase of people in the foreground, but not the phase off people in the background. And no, so I have used a thicker lines for elements that are in the foreground. And you see this beauty here in the background. That beauty was drawn with much thinner lines. And also, there are not a lot of details here because I tried to simplify this as much as possible because this building is actually quite far away background. For this sketch, I have also used several sheets of grazed who portray mod detail. So let me show you another sketch which has less Grace. In this case, I only used one gray, dark gray, black, and white of the paper. So when you use last graze, your sketch is going to look more style lice. When you use less grace. It's actually much faster for you to paint. When you use very limited values, you can actually sketch and paint really quickly. And here are some sketches that I drew on location. I want to use grays and black. If I remember correctly, I actually used the brush panel. We have great Inc. and other brush pen with black ink. So here you can see I have three on the back of this shirt. It can mean the lifestyles is coming from this direction because we see some highlights here at the top before this person may actually imply that shit is some color except white lines for this catch were drawn with a pen with waterproof ink, and then I applied ink wash over the lies. I have also introduced one color, in this case red color because I want people to look at the red colored chairs depending on the ink that you use, you may or may not be able to create that washers like this easily. So this is actually just diluted black ink. And this is the black ink. You can create some sought of redemption. Adding water or by applying gray over gray. This sketch was also drawn with pen and ink and with an ink wash applied over the lines. The ink that's used here is Sumi ink or Chinese ink. Sumi ink or Chinese ink is heavily payment is so it can create beautiful granulation and texture like this. This is white wash applied over the ink wash when the wash has dried. I've also added color to make this sketch and look a bit more interesting. So all is, is, is diluted Sumi ink. And the lines here, this word drawn with white gel pen. I can also use the white gel pen to create little dots like this to create additional texture. So this is concentrated in ink, is very versatile. You can add water to dilute it to you produce creates like this or even light rays like this. Or if you use them straight from the bottle, you can get lack the moral values you have with your sketched a more grays you use, the more realistic your sketch willed, and a less values you used and more stylize your sketch will look. This is another sketch, pinto IT with Sumi ink. When we draw and paint with black and white and gray is what we're concerned with is to capture the light and shadow and to get the contrast right. And to make your sketch look more interesting, more fun, it really comes down to, to play off light and dark. So for example, here we have light against dark, we have black against white. Here it's white against black, black against gray here it's white against grace. So it's display our light against dark, dark against light debt makes a sketch look really interesting. So even if your sketch has no colors, if you get the values right, your sketch kinda Duke, as good as any color Fu, sketch or painting. Once you are more familiar with applying values to your sketches, you can move on to exploring colors. So for example, here, you can explore by adding just one single color to your black and white sketch. Or you can use other costs for tonal studies. When we do tonal studies, the color actually doesn't really matter because you can do it homo studies with all sorts of colors. The best colours for tonal studies would be those colors were are you can achieve not like really dark intensity when you paint with concentrated paint. So even though this is not black ink or diluted black ink, you can still use these color for tonal studies and details here, they were added with white gel pen. So this is concentrated paint and this is diluted paint. And for this particular colour, so delighted January anion has this very beautiful granulation. If you're someone who prefers a more stylized look, then you can use ink that doing regulation like this, getting your values and your tunes right is actually very important. Because if your sketch in black and white doesn't look good, adding colors is not going to help make your sketch look better. So you should really concentrate on your basic drawing skills. And then the next step would be to concentrate on doing tonal studies to improve your black and white and mono tone US sketches. And after you are confident, after you're more familiar with creating contrast, with capturing light and shadow. And you can go on to exploring using maybe watercolor to explore column mixing and using Carlos, I do enjoy drawing and painting in black and white because with limitation, sometimes it forces you to be more creative. Alright, so in the next lesson, I'm going to teach you the basics of creating a value sketch.
3. Tools and supplies: Welcome to this first lesson where I show you all the different art supplies you can use to create black and white art. I have already grouped this applies into different categories. These are inks, markers, graph fight. We have brush pans, pans depends and brushes, paint in tubes and paint in pans. And this is for washing brushes. There is a huge variety of black inks of their anti-market. Now before you buy any bottle ink, make sure to read the description to find out that Tuesday our meant to be used with the inks because some of these things stay can only be used. We have very specific tools. This is rotary ink available in big and small bottles, or this ink is meant for refilling technical pants. You can see the opening here. It's tapered, it's quite small. That's because you're mad to squeeze the ink into the ink cartridge here. So this ink is not meant for use with brushes and depends. I mean, you can use this ink with brushes and tip pen if you squeeze to ink out into a palette. But if you don't finish the ink, you may have to ink or harc finds some way to keep the ink so they can reuse it and next time. So this is not that convenient when it comes to using with brushes and depends if you want to use deep pans and Russia's get an ink bottle with a latch opening so that you can keep your pen or brush in it. Now when you open an ink bottle, look at the area around opening to see if there are any fiscal particles. If you see crusty particles or solid ink, a minister ink can solidify and it says that hub things you do not want to use in fountain pens because they will clock and damage off on him pen. Generally speaking, if there is no mention of whether or not you can use to ink with fountain pens. Do not use the ink with fountain pens. Sometimes the information may be available on the labels. Sometimes you have to go to the manufacturer's website to find out. So this two are actually India inks. They are heavily pigment it, so don't use them in a fountain pens. And this particular portal comes with an eye dropper that allows you to take all the ink easily. But the opening here, it's small, so this is not meant for use with Depends am brushes. You have to take out the ink using the eyedropper. This bottle of insulin New tunnel liquid India ink is made with Chinese ink stick. So the ink can actually produce very beautiful food textures. This casual has painted using that ink. This is the type of texture you can create using that ink, that Chinese ink when is diluted. And this is how it looks when it's concentrated. And this is the type of look you can expect with most black inks. It's easier to create flat washes like this when the ink is diluted and you don't see a lot of texture. So different inks for different effects. Notice two bottles are for use with fountain pens. There is, however, no mention of fountain pen on the label. So you have to find out that information from the website. And this is how a typical fountain pen will look like. It has a metal nib usually comes with either an ink cartridge, which is disposable or of refillable ink converter like this. If you want to use things with the water-based mediator, for example, you want to draw with your phone and pan and then apply an ink wash over the lines. Make sure you choose what approve fountain pen inks nowadays too, but those are made by Newton's Inc. And they are waterproof inks, mid fall fountain pens. I also like to use them to refill my brush pens because the inflow is really good. Now this bottle has black ink and this scree ink. So I didn't have to dilute that black ink to create green. I just buy a bottle of ink which is more convenient. Next, let's look at brush pens. Now these are really convenient for painting because they have Inc. insight cartridge here. So this particular one has great Inc. I have filled it with new dilemmas. Ink when it rent off ink. And this one has black ink. And there are different brands or brush pens out there, but they all look the same. The ones that I recommend would be the pen tower color brush pens because they can hold a lot of income versus does handheld pocket brush pen, which has such a small ink cartridge. And it's difficult to refute this because they don't have Inc. converters for you do re few inks. Brush pens allow you to work like really quickly. So you can finish quick sketch like this and immediately color it with a brush pen. You don't have to Paul ink out of the bottle. You just apply ink onto the pitch straight away. So this is the new Dulles Lexington great, Inc.. I use these to create shadow effects because this is gray and this is lack ink. So I have new diverse blip who've black ink in it. Sometimes I have rotary ink in it as well. Rotary Inc. also flows really nicely. So with gray and black, you can create a very quick sketches that have really good contrasts straightaway. And these are really portable, so you can just bring a pan. And have two of this brush pens and you can have a very minimal setup when you are sketching outdoors. Mix we have depends. Now these are not as convenient compared to fountain pens or disposable pens. The main reason why I won me one to use a pen like this is for the flex nips. So with this particular pen, you can press down harder to get thicker lines. Or you can just draw with really thin lines. But it's rather inconvenient because he had to keep reloading the ink. And when do you use depends. When I'm at home, I don't use this outdoors. You can also use brushes with ink. Now if you want to use brush with ink, I would recommend you dedicate one project for black ink. Don't mix your black ink brush with watercolor brushes because some of these things, they are payments that they are going to make your brush hair very hot when the, try, the advantage of using a brush like this is you can cover large areas fairly quickly, much faster compared to using a brush pen. Actually, Be sure to wash your brush pen immediately after you no longer used him. So as to remove the ink from the bristles? Sometimes I were washed. It is under a running tab and also used IS brush to clean the brush more thoroughly. You can also create black and white art using markers. These are alcohol-based markers, which means if you apply the marker on paper, sometimes the ink me actually soak through the paper. Markers are very convenient because they are very portable and ink dries very quickly. Bert markers are more expensive. They do run off Inc, rather weakly. And macros are not as flexible compared to using inks that you can do it for each grade that you want. You actually have to buy a specific green marker. Markers can be refilled, but the ink refuse more expensive compare to bottle earrings, I used to use a lot of markers, but I switched to using bottle earrings because I found out I can see a lot of money. Speaking of saving money, pencils are very affordable. So this is a graphite pencil that you can use for drawing and also for shading. And you can use this with water media as well. So you can use ink, overt pencils. So a pencil it's reverse at all. And this pencil that I'm drawing with right now, this is the crate Doc how neural tensile and this is, obeys charcoal. The difference between this and graphite pencil is you can run your finger on it and it, it's less likely to use much. Whereas on the graph fight against see smudges fairly easily. So I actually prefer to use the oil-based charcoal because I liked my work to be cleaner. And also when I accidentally run my finger on today, pencil, it is less likely to use much. Mechanical pencils are good too. They are very convenient because you don't have to sharper and dem. But the limitation is only produced lines with this single with, so these are not good for shading obviously, but they are great for like hatching. You can also get water soluble pencils. So this particular one can be dissolved when you add water to it. And what a soluble pencils are available in sticks like this as well. This is a dirty word, graffiti tone. Again, you can draw distant one is nice because you can actually use this to shape more easily. You can cover a large area more easily. And again, when you add water, it will dissolve. The nice thing about this particular, what does soluble graphite years. You can actually have your brush on the graphite to dissolve it here and then apply the graphite onto your sketch. Now, here it seems like the graphite is quite light, so you actually have to spend some time to dissolve the fight to get the intensity. Or you can use water-soluble graphite powder like this one does mean by art grav. So you just have to add some water to CUDA graphite and you can pick up a lot more paint compared to you dissolving the, what they're soluble. Pencil. See how easily it is to paint with this and how easy it is to get this very dark value. Sometimes it would be easier to just use watercolor paints. So these are what I call appends. Just add water to it and you can paint. So this looks really dark. And you can get some sort of gradation as well. Watercolour paint is available in tubes like this are used hoops mostly at home. But for pens like this, I can use them outdoors because they are easier to bring around. If you have a watercolor palette, you can actually squeeze that paint inside this tube into a pen and include this into your watercolor pellet so that you can do quick tonal or value studies. When you. Two, if you want to use what a color, these are some of the colors that I recommend. So I have graphite gray here. Now we've refined gray you will not be able to get lack, even if you apply multiple layers of graphite gray. If you want something really dark that you can also dilute. Consider using pins gree or PDZ blue-gray. The brand here is Daniel Smith. You can use out of brands of costs with pins grey, you can get that wash very easily. And when the PNG is concentrated, it's very close to black. So they'll like genuine, it's not black, but it has this very beautiful Cranor lesion. And if you want a very textured look that you can get with Chinese ink that you saw earlier. Use. Luna black from Daniel Smith or mass black froms thinker. You can go with other brands of cars, just make sure the pavement is.ppk 11 because that's the pigment they will give you, the beautiful granulation. The last artist supply I want to show you is white paint and white gel pen and is what? Correction fluid pen. So you can use this supplies to create highlights or maybe do some corrections or even add details I usually used is white pen or white wash. If I need to cover a large area, and I would use a brush to do that. So let me just dissolve some of the paint here. You can use a watercolor brush for this. Remember earlier I said you should use a dedicated brush just for black ink. Yeah, keep that brush for black. But for y, you can actually use watercolor brush. So I can use this to pinned shapes. For tiny details of our drawing a thin lines. You can use a white gel pen. This one that I'm using, this is pen towel K 10, it, which can draw thin line. Sometimes if the line is not that clear, you may have to actually go over it a second time. It's actually quite fun to draw with mixed media. So the lines were drawn with this marker. I can use fountain pen or ink pens to draw the lines as well. This was colored with Kopi marker. This was colored with the color pen and this is why Japan, this is what wash. So mixing and matching a cranky few of very different look. And he's also very fun to mix and match different materials. So just while creating black and white art, there are so many supplies you can choose from. And the main reason why there are so many different supplies is because each one of them has their own advantages and disadvantages. So my recommendation would be to get the supply or two's folder type of look that u1 to create or for your what flips. So for example, if you are drawing, sketching or painting indoors, you can use any supply here. But if you are sketching out those, Danny, it would be good to have more portable options. In the next lesson, we are going to draw and paint a something more detailed competitor cut and drawings here. So I'll see you in the next lesson.
4. How to create a value scale: In this lesson, I'm going to teach you how to paint a very simple value skill and use this to paint over your sketches really quickly. I'm also going to show you the differences between different values skills and also talk about a very common mistakes that beginners make him when it comes to creating black and white House sketches. So this is going to be a very hands on lesson. Let's get started. Let's start by creating a value scale or value chat. And then we'll use these values to paint over some sketches that we are going to draw. So this is very simple for value chart. We have white, light gray, darker gray, and we have black and design washes here. They will create it using the same ink just at days was diluted and this was painted over two times. Here are the tools and supplies you will need for this lesson. Let's start by drawing four boxes here. Next, I'm going to extract some ink out from the bottle. I'm using my blunted need ON strange because I prefer to use this compare to using the eyedropper. I have two drops off ink here. I'll maybe let's hit an autotrophs because we may be using a lot of income later on. Alright, so first thing I wanna do is to paint with black ink. So this is very black, very nice. So now we have two values. We have white and we have black, Nix. I'm going to add a little bit of ink here to this well here. And I'm going to use the eyedropper to add some clean water here. If this looks really black, you may have to add more water. Okay. You can add more water and if it's, if the ink becomes too light, you can add more ink later on. Oops, that's why you need to have the tissue on this side. Okay, let's test this first on this paper. Ok, so this is definitely too dark, even though I add a tiny bit of ink, still too dark. And also it is because there are still black ink here. So what I wanna do is to maybe you just wash off the ink in this cup of water. By the way, I've two cups of water, one for Washington brushed yada for clean water. So I probably need a lot more water here, right? So now let's see what we get here. So this is a nice light ray color, very nice. We are going to paint. The same ink wash for this value S, well, and when it's dry and later on, we are going to add another layer on top of this to make it darker. Because this is transparent, we can add multiple layers to make the wash darker and darker to create different values. The adding of multiple layers is caught layering or glaze zinc. Now you can actually mix a much darker wash just by adding more ink, but it's easier to use glazing techniques rather than makes a darker wash like this. Let me just test this again. So this seems to be darker compared to disk. But I'm gonna show you why glazing works better compared to mixing another great later on. Okay, so this seems dry. That's paint and Natalie year. So once I add a second layer, you can see this becomes much darker but still lighter competitive lack. So if I want to make this darker, I can do so by adding a bit more ink here. Basically, what we are trying to achieve here is to create values that look visibly different compared to each other. Using what we have just learned, We are now going to quickly sketch this whole vehicle and painted using the value skill. You can download a reference photo of this Hoyt from the video description or the class notes. So let me just quickly sketched a vehicle. Now don't worry too much about getting an accurate sketch because we are not trying to recreate the vehicle that accurately. So the things we need to draw with peta windows, the lights in front, the wheel. And there is this circle and a circle within the circle as gift a wills some thickness and yeah, so that's about it. So here's drawn this four sketches really quickly. By the way, if you want to learn how to draw from observation, you can check out my other art cause on drawing based on observation. For the first sketch, we are going to use two values, just black and white. Okay, so I'm using my watercolor brush. I'm going to paint all the things that are supposed to be black. So I had forgotten to draw and draw out a window here. So that's maybe at LAC by leaving a little bit of white here. To show that we do on this side. I can use black for this window as well, and black for the wheels. And here and the bottom of the vehicle, it's quite dark, so I just want to add some shadows here. Now for the side of the vehicle because we're only working with black and white for the RE1. I'm just going to use black to represent it, green. And here, another black. There are 45 arms squares here. So let me just add a little details here. And maybe for the lights will have ID lag, even though in real-world it's supposed to be white. So as you can see, this is a very simple two value sketch. Sketch looks very stylized because of the very strong contrast for the second sketch, let's use three values. Gill. So we have y, we have is gray. You can have it light gray or dark gray or meet gray. Just try different variation to see what works for you. And we will have, lack as well. For this sketch, I'm going to paint everything that has value except for the shadow side of the vehicle. So I'm going to paint the green with gray and Dan for the darker areas that blacks are, we'll be painting with black. So let's paint everything that has value with Ray, except for the shadow side of the vehicle. I'm still leaving the White here so that I can see the side of the window. Later on when the sketch is dry, we will pain lack. So this is now dry. We can use black paint over. The black areas are going to be black. I'm also going to shadow the LIGO using the same lacked that I used to pinned at the wheels. We will compare the four different sketches later on. So let's move on to the next sketch where we will use a for value scale. So here we have black, we're going to have light gray, light gray. And this is agree. This looks a bit too dark. So sometimes it's handy to have this around. Why can't make some corrections? So when Walsh looks dark, light does. Actually when it's dry. Kinda appear to be lighter. This two values look quite seminal now. But when it's dry and this should look lighter for this fault value sketch, our first few steps is going to be similarity to three value sketch. So same thing, we are going to paint everything that has a value with this light ray. And this time I'm going to paint over their shadow side of the vehicle. So when you paint over the shadows site immediately you can get a sense of the light and shadow and a form of a vehicle. So once again, I went to wait for this to dry before adding the second washed a darker ray. You can actually paint a several sketches at the same time while waiting for your earliest sketches to write. So while I wait for this to dry, let me talk about a very common mistake that beginners make when it comes to value studies or painting with values. And the very common mistake is not using enough contrast. So for example, let's say if you were to paint a vehicle like this, for example, using only a meat gray or light gray. So I'm going to paint in this towel, Sorry, are pinned. Areas painted the same areas, but this time using just gray. So you can see the difference very obviously. The first sketch has a lot of impact because the light and shadowed contrast, It's very obvious here. A CDS catch, it appears to be very washed out because there is no contrast. So the main thing to know when it comes to sketchy with value skill is contrast. How to create contrast and pressure. You have an idea which one looks better. So this Catch, IT looks really washed up. Now, to improve this sketch, you can't add one more value. So this is basically this sketch except with black at it. So now this sketch, it actually looks better compared to this sketch. Actually better may not be the correct description. Painting with only black and white is actually A-star ice or painting with gray skills or opinion with values. It's another style. Let's get back to the full value sketch. So another economistic is not having distinct values. So here you can see these two values. They look very similar because this third of value, it's not dark enough. So in this case, I may actually want to paint over. Glaze over with another layer to make this darker. You are not going to be able to make this lighter because it's a really painted on the paper, but you can actually make this darker. So it's important to start with a light wash first. Because if you start with a darker wash, you cannot make it lighter. So we'll start with a lighter wash. first. And if it's not dark enough, then add another layer on top. So this is now dry. Let's add another layer. So remember, contrast is very important. So what I'm trying to do here is to add another layer so that contrast between the second, third value is visibly different. Now for the side of the vehicle here, we are going to pay the green. There's long rectangle here with another layer and the bottom as well with an adult layer, I am not painting over the wheels because later on I'll just paint over the wheels. We have lack so once again, we have to wait for this to dry before we can paint the third layer. Because if you are to paint with black right now and wash is still wet, the ink is going to blend two areas, going to move to areas where you don't want the ink to move to. So we need to make sure that the ink is dry before we can paint the last layer. So this is now dried. We can now add the fault value which is black. So I'm going to pinned a wheels with lack almost painted middle part there we should be left. Ray. That's some shadows beneath now, the shadows can be dark grey or can be black. But usually it's like almost black. And I can add contrast to the lights here. And I can add some blacks here. I'm going to leave a little bit of gray because I can see some highlights. The site window here we'll be lack. Now. Remember, five squares here. I can paint the five squares with this darker gray, but I can also append five squares with black. And now we have to wait for this to dry again. So a lot of time is actually spent waiting for the ink to dry. When you're sketching out on location, it may actually drive faster or slower depending on where they're. So here using a boy can get quite sunny, in which case, the ink. Dry faster but sometimes it can get very few meet as well, in which case, the angle dry slower, making it much slower for you to complete the sketch. From what I can see here. To meet values, they are still quite similar. So you can see the contrast between this shadow side versus this part which is supposed to be green. If you look at the reference photo, the contrast between this and this should be much stronger. So here the contrast is not debt straw. So later on when this is drying, I'm going to add another layer over the darker gray to make it much darker so that I can get to contrast. This is now drive so I can paint another layer to increase the contrast between these two values. I also noticed that the light source is coming from this direction, but the front of the vehicle and side of the vehicle, they are using the same values, so there is no indication where the light source is coming from when you look at the front here. So I'm going to paint one layer here, like this. And I'm going to maybe add a bit more into it just to make this wash darker. And this bottom part as well. The front of the vehicle has some Rails, so I can't draw those grills using a white gel pen. It's easier to draw with a white gel pen than to leave up those white lines. So the contrast here, not that obvious. So I may have to go over the lines a second time to make the white more obvious to increase their contrast. On the side here, I can use white gel pen to add details. Now if I had painted this with gray, the contrast between white and gray, it's not gonna be as strong compared to the contrast between black and white. So this is how a four values sketch looks. We have Y, we have this light grey, darker gray, and we have back. So here's a comparison of the different sketches with ink washes. So these two sketches here, the 23 values sketches, they still look pretty style lies. And this one, we have four sketches. A looks a bit more realistic, more values you use, the more information you will be able to convey. So for example, with only two values like this, or even three values, it's difficult for me to show you the shadow. But with four values, I can actually paint an additional a year just to show you where the light source is coming from. But I wasn't able to do that with only two or three values. So more values you use, the more information you will be able to convey. Painting with black and white and we've values is really a play of contrast of positive versus negative shaped painting. So for example, here I have the grills white, agains gray. Here. I can actually have the grills black against white. And you can see a contrast here. It's very striking, very strong. And in this sketch, I can have black agains grayed. Typically when we are drawing or painting, it's an additive process. Silver example where we're drawing with pen and ink. We are adding black lines onto the white of the paper. When we are painting, we are adding colors, or in this case, graze onto the white of the paper when we are painting, we should also think of the subtractive process like what are things that we shouldn't be pin thing, what are things that we should cut out? So for example, here you see I have cut out this bright ship here when I paint it to lag. And here this is also so-called subtractive Because I am basically adding white to the paper again because it was PDA with brace. So I went to it to be white. So it's this additive and subtractive process that's going to make your sketch look more interesting. So this is just a lesson to get you familiar with painting your sketches using the value skill, you can actually challenge yourself by using even more value is compared to what I have here, which are just four values. All right, before I go on, let me give you two big, like Ferrari important tips, advice. So the most common beginner mistake is albinos. They don't use strong values, in which case it's going to make your sketches look very washed up, look incomplete. So don't be afraid to use really strong values, really dot value. So when you are painting, always think about contrast. And a second tape is when you're painting, always be comparing values like is does lighter or darker compared to the other value? If it's darker than you can paint over with another layer. If it's lighter, you can just leave it as it is. So always be comparing different values. And the more you practice, the better you will get. Generally speaking, the more values you use, the more realistic your sketch will look at the mall values you use, the more time you need to actually span to paint. So usually for me, I just worked with usually four or five values. Alright, see you guys in the next lesson.
5. How to think in black and white: In this lesson, I'm going to teach you how to think in black and white when we view our beautiful colorful will around us. And we are gonna do that by looking at some reference photos that I have provided. So at the end of this lesson, I'm also going to give you some exercises to practice to work with so that you can get a better understanding of the concepts that are mentioned in this lesson. All this photos were originally shot in color. I have converted all of them to black and white, just to let you see the difference between the color version versus the black and white version. So let's take a look at this first photo. When I'm working in black and white. The things I look up forward be light and shadow, and also values. When I'm sketching on-location as much as possible, I will pick a location where I can see very obvious light and shadow, preferably cast shadow. So with this particular scene, we see some cast shadows on this side of the building, on the left side of the building because the light source is coming from this direction, we can also see some casts, a shadow on the ground caused by the motorbikes and the writers and vehicles. If you take a close look at the tree here, on the left side, it's dark, it's close to black and on the right side is lit by sunlight, soy slightly lighter. So when we are painting this scene in black and white, we need to spot the whites burst like where are the whites, where the highlights so we can see the cloud here. It's white and disclosure is interesting because it's white and it fits into dusts, guy. So it's, it has a very soft pitch here. We have the white steep o here. And we have some designs here on the Cathedral, which is why some of the vehicles here white as well. So all these areas that are white, mass be left white on the paper. You shouldn't paint over the white. For the sky. You can see this is not particularly blue, but it's still some blue. Generally speaking, for skies, it's going to be a mid value in this case, this is not that blue. It's not damn fibers, so it's probably going to be a light value. So when we compared a white steeple against the sky, we can see this very obvious contrast. So this is light or white, and this is slightly darker, so we need to paint it with one value. And if we take a look at the site Office Depot here you can see this shadow site. It's darker compared to the sky. This is lighter competitive Skype, but this is darker competitors guys. So here we are actually working with three values. White, we have a meat grey, and we have a darker gray when we move down to the bottom here. Now, this area is white, so this area, it has a color and This color is very obviously different compared to this area which is y. So we are going to be painting this with one layer of gray. And if you compare this shadow side to this, which we are going to pin with one day of gray. We need to overlay that later, later on. So for this cathedral, We will be working with white gray, one value for this area, and a darker gray for the shadow side and for the really dark areas like this areas here, it's going to be black. So that's like fall of values. So when I look at a scene like this, I will always be comparing, is this lighter versus the element that is beside or is it darker? So you see here, we have white versus gray, so-called grey, when we translate to black and white and gray will be lighter competitor trees here. And this is actually so dark Dan you can paint it with black. So you can actually pin disk with black even though leaves are green, but we can actually append it with black because the contrast is too strong here. And this will be black as well. So it is a black and this would be dark gray. So just go around a scene and just keep comparing like this is wide, this is grid, this is black, this is darker, this is lighter or darker. This is lighter. So if it's darker than, you will need to add another layer over it. Let's take a look at black and white scenes. So this is how it looks like in black and white. So we have to white cloud that fits into the sky. And we have the sky that I mentioned earlier is immediate value. We have the widest depot here, which contrast very obviously against the mid value sky. We have the shadow side, the steeple, which contrasts very obviously to the meat value of the sky. And we have this Cathedral, which is, which the whole thing is in meat value. But certain areas will be white. And we have the shadow side, which is kinda dark but not lack yet because we can still see some details. Addis, areas here will be black. This is not black. This is just very dark grey. We don't want to pin this black because you will lose all the details here. Alright? And we have the root, which is kind of dark, darker compared to the cathedral. But if you want to use the same value as the cathedral, you can actually do so because both the road and be drawn, they are lit by sunlight, so they can be in the same value, but we need to differentiate the light at site versus the shadow site. So this is the lightest site versus the shadow side. This whole route here is the lightest site versus the shadow side to see this shadow cast by the tree here, that's the shadow side. It's really very fun to think in black and white because when you paint, we've collar versus painting with black and white, the thought process is actually a bit different. There are some similar concepts, SAN and we still need to create contrast, but now we have to convey or convert collar information in black and white. Alright, so for this particular scene, we see this tank that is lit by sunlight, which is screaming through the leaves. So the very obviously bright areas we need, actually the ground here. This whole tank, It's in dark green, so we pin this, we will need to be using a darker value. And the trees here, it's like in dark meat value versus lack. Now if you look at this tank from afar as sort of guess finite, a bit difficult to see that each year of the tank versus the background, which is so BZ, which tells us that if we want to use the same value for painting the trees and the tank, we can actually use the same values because it's a bit difficult for us to see where the outline of this. So when you are looking at a scene, when it's very difficult to see a difference in value or very difficult to see certain details. You can actually use the same value to paint the area. Okay, So for example, we can use the same value to pin this area here, that tank. But here you can see the bottom of the tank. It's very obviously darker. So we need to paint an additional layer on top of this gray earlier that's used to paint it that tank. And we have this barrier here, which is rate against a tank. You can see a contrast. It's very obvious. We see dark and this is, I mean, rate will translate to a mean value. But this is so dark that you can actually pinned this with white or a very light gray later on. So let's take a look at the black and white version. Yeah, so this whole area is in the single grave. You want to use a single gray and this barrier here will be in light gray just to create a contrast from the tank. Now as the barrier moves to the lattice site, you see this is Gray versus dark gray, but here this is great. The same grain versus the light ray or white. Except we have this scene. Let's take a look at the weiss where the whites, we have white here on a cytosine bought. This area here is lit by the light here as well. There is this very night passed all like color for this wall here. But it is so light that if you want to paint this wall in white. You can actually just live it in white. And we were just pinned to shadows later on. For the shadows it will be one layer for the green, sorry, for the shadows, e will be meet gray. And for this green is also going to be a mimicry. But for the shadows that are cast onto the windows here, it's going to be grey above Re. So let's see how many values we are going to use here we have white, we have one value. We have to value this area here it looks kinda dark. We have two values. So we just need to compare. Just keep comparing light versus dark, dark versus light. Let's take a look at another dose or here you can see we can use this area. We can leave this as white. And for this particular scene, you can see this grey. It's going to fit into almost black. All right, here we can see very obviously blue sky. In this case, this is going to translate to meet gray. This area here, this building, this structure here, it's much Docker competitor sky. So this is going to be like a very dark grey or you can even pin does with lag. This gray here is probably going to be the same gray asked a sky, because this is going to be black. So below the black will be the great homes. So you can actually use the same grave or pinning this two area. But there is this line here and you can see that's lit by life. So you probably need to add this line here. I'll lift is white to separate the grey values of the shadow versus the sky. Now this shop houses are in yellow, so yellow is a very light color and typically will translate to just white. Let's take a look at black and white photo. Right? So you can just leave the yellow shop house as white paint. A layer of shadow cast a shadow using gray. This area here just below the roof will be dark grey, very dark grey or black. This can be really dark grey or black. You can see the mean value of the blue here. So all these mean value, you can actually just paint with one continuous shape. Okay, let's take a look at the next photo. Some scenes we will have a lot of colors and he will think, he would take a lot of thinking, a lot of pre-planning before he can sketch and paint in black and white. But the fundamental is students seem, we need to think about light versus dark. Dark versus darker, darker versus black. And always reserved a White for the paper. Don't paint over the white because it's going to be very difficult to make any corrections depending on the type of media you're using. If you're using ink, it's going to be almost permanent when the ink is dry. So here you can see the cast shadow. Here because the sunlight is coming from this direction. We have some areas that are really bright. So all these bright areas where we laughed in white here as well, this will be the aft in white. This is a very nice scene. Very limited colors. We only have blue, we have green. And this color that's used to paint the walls of the museum. It's very light, pastel like color, so it can be some sort of grey. So here we have loops. We have white, we have another value which is darker than white. And we have this value which is darker than this value. So now we have 1233 values and we can have o, see here four value. This is actually this particular scene has more than four values because this is like a photograph. So it has a lot more values than what we can actually capture with just like pen and ink, limited pennant ink. So this is how it looks. Very obviously, we have the lighter area here and a shadow area here. And within the shadow areas they are also more Greece. So when we paint with Greece, we need to add layers upon layers. All right, the basic concepts, it's really about comparing. Alright, last fourth though, that I wanted to talk about here. So you see, we have y here, we have one value here, and this will be the second value, that darker gray. This is actually in rate, alright? But it's this radius in shape. Here on the right side we have another shop house. We also have white, we have gray, and this is actually in some blue color, but it's also in shape. So when we are working with black and white, we don't have to think too much about colors, so we can actually pin this structure here and this structure with the same gray for your exercise, I want you to download all these photos and work with the colored version of the photo and do some really quick Tom new sketches with great ones. Add it. So let me show you how it's done. We're just going to be drawing Tom news sketches and nothing really fancy. You can keep your drawings small. So don't worry too much about the accuracy because that's not the point here. The point here is to practice. Thinking in gray phase. So this is the front of the cathedral. You have clock there. We have some design elements on a front. We have the side of the cathedral here. We have some trees here. I'm not going to draw the vehicles because they had just who many vehicles. I want to draw the trees in the background. We seem to have this beautiful tall structure in the background, which I'm going to draw with thin lines by making my fountain pen more vertical. Okay, so just a very simple sketch without much details, just who paint really quickly. I'm going to be using my brush pens, which have been loaded with inks. So this brush pen has light graying, this has Tucker grating, and this is a black brush pen. So I'm gonna use the light grey to paint the sky to create contrast. Remember a contrast is everything to create contrast between the sky and white steeple. So to white steeple will have to be in white. We need to leave it white. And next we can also use this light grey to paid the median value of this cathedral. Anything that is not what you can just paint over with a ray. So here we will have gray, but we need to leave the design elements white. Even this top using this looks like some of the commercial beauty in the background and needs to be inquiry as well. Okay. I need to squish small ink out. So now we have a tool value sketch, and you can see it's very washed out because it's just white and this light gray. Next, we can use this Docker gray. So if you are using your own pen and ink, just add a bit more ink to this light wash. To get a darker gray but not Black. So using this slightly darker green, you can see once I started, once I start to add this darker gray, it seems like there is light. Alright, so we need to add the Docker greater to site here. And the shadow is cast at an angle. Here. Is sorry. So, so in shared DO seems like there are some leaves up here. So maybe that's just depth some leaves. Now some watercolour painters, they actually work in black and white first years to get the value structure before they peed in colors. And trees here are going to be darker. So I can paint the trees with this darker gray. So a c, once I started to add darker greys, I created more contrast is time I have Dukkha agrees. Contrast against the lighter gray. It's nice. Walk on. Trust means more information allele on. I wasn't able to tell where the light source is because it's just a single grape and now where obviously the light source is coming from this direction. All right, so next up we can add black. Now notice here in the background we have some trees behind a cathedral. This gray is the same as this great because it's a bit difficult for me to figure out which is Docker. Is the shadow side of the cathedral Docker competitive green, or is the trees the greens here? Docker competitive utero. So since I don't know which one is darker, I can actually use the same degree as the cathedral and just extend it to the left side. Next up. We reuse black. So for black, I can use it to pin this area here, which is I think the front entrance of the cathedral. So once you add, lack immediately conveys more information. Again. You can also use black to add little details here and there. And some of the trees here in the background, they are so dark, especially the lower portion closer to the ground. Those are really dark so you can actually pleased the bottom areas, pinto bottom areas work just black. K. We can pay some trees terror. Now on the leaves and the trees here. An a trunks day sort of blend together sometimes is a bit difficult to see where the tree trunks and I'm ready to leave starts. So some of the areas you can actually pin a bit more courageous to mix things up. So this is just a very simple gray values sketch just to help you think in black and white. You can do this exercise with all the other reference photo. Don't sketch in DTU, just sketched a general structure of the scene. And then paint with raise. This will allow you to work much faster and allow you to focus on capturing light and shadow, practicing your values rather than being caught up with getting all the details. Because getting the details, drawing the details, that's not as important component to getting the values. Alright, so gold practice with the reference photos that I have provided. The more practice you do, the more comfortable and familiar you will be when it comes to thinking, sketching and painting in black and white.
6. What is Urban Sketching: Let me talk a bit more about urban sketching before we jump into the next drawing exercise, celebrated sketching is basically sketching on location. And artists have been making odd on-location hundreds of years ago. They call these Plan Arab painting. Then Irwin sketching is a relatively new term made popular due to the growing popularity of the bean urbanist sketches group, which was created more than ten years ago. It is Spanish guy called Gabby combinatorial, who is now based in Seattle. So this group is now available through different chapters in different countries and for bigger countries, there are actually several little groups within the country. The important thing to note is urbanist sketching is technically flowing on location and your art, your sketches, the conveyor sense of space, a sense of you being there. So drawing things lie, portrayed. People still alive even if they are drawn on location, those are technically not call urban Skechers. However, if you were to create a central space, for example, if you draw people, you can draw the surrounding like drawing people in the cat face setting, then that would be considered urban sketching. Dr. Roy photograph is not urban sketching, but it's definitely less intimidating when it comes to learning earnest sketching by working with some reference photos compared to going out there to learn on the spot. Now there are some advantages and disadvantages when it comes to urban sketching. The advantages are, it's a really fun activity to engage in when you're outside sketchy and you get to exploit on neighborhood sketching. You can remember mall, you can remember the sights, the sounds. You're indirection with a public who may stop behind you to look at you work. Now that these advantages would be well, you have to deal with the weather which can change quite rapidly. Sometimes the climate can be too hot or too cold or you can start recommending. But all that is part of the experience and it is the experienced at Mick's urban sketching really fine. So the XPS is actually as important as the art that you create outdoors. When you sketch out das, your eyes can see mod dequeues. Eyes are actually more sensitive like way more sensitive compared to whatever a camera can't capture. Especially when it comes to shadow dequeues, your eyes can see mod ETUs in areas that are darker and the areas that are under shade compared to whatever a camera can capture. And because you can see more, you will be able to draw more diffuse in your sketch to make your sketch look more lively. Photographs can have lens distortions. So for example, if you take a photo with a wide angle lens, Some of the vertical lines of the buildings, they may be to the in this direction or in this direction depending on how you point the camera. But when you are sketching on location, you will not see those distortion. Whatever you sketch will be more true to life when you work with a photograph, the composition, the perspective, it's already fixed. So there is not much you can do if you find out later on that that's not the composition or perspective that you want. But if you sketch on location and you get to walk around and get to look up and look down the composition. That perspective we would change depending on where you look and that is quite fun. And sometimes when you walk around who scalp or locations, you may actually discover new places that you have never been to. So that's also part of the finite with urban sketching. The urban sketching comunity is huge. So chances are good that you will be able to find like-minded people to sketch with. So just head over to the main urban sketches block and look for a 3D sketching groups that are in your community. Sketching with friends, it's less intimidating, especially when you're outside, and also it's more fun. Alright, so in the next lesson I'm going to show you how to sketch a MOG D2 scene.
7. Tutorial P1/3 - Let's sketch: In this tutorial, which is going to be split into three shorter videos, I'm going to teach you how to draw this scene using pen and ink. And then we will apply what a salvo graphite washes over the line art. And in the last video, I'm going to show you how to add blacks and whites to create contrast who at more details. Now I'll be using pen and ink and what a soluble graphite instead of pinning with ink. But if you don't have water soluble graphite, you can actually just use Inc. Let's take a look at the reference model we will be using. So this is a wide seam, and for this particular sketch, I'll be using a square format watercolor head. So I'll just be focusing on this particular section. If you want to challenge yourself, you can actually sketch TO host scene on a wider piece of watercolor paper. Here's a zoomed in on the section that we'll be drawing. Now this photo was taken with a wide angle lens and some of the vertical lines near the H off the goal are actually tutor. So you can see this line here. It's two to slightly the age of these watercolour paper. It's political, but the line here, it's not vertical. When drawing on location, our eyes, we'll be able to see the vertical lines, but when we take a photo, there will be less distortion. And this is an example of the lens distortion. Red vertical line should be political but is not vertical. Just to make this lesson easier to follow will draw what we see here. By the way, if you want to learn more about urban sketching in detail, you can check out my other sketching costs. The name of the course is how do you draw on location and urban sketching costs? So what are the techniques that you're about to see here? We'll be explaining in greater detail in that cost. All right, so when I start a sketch, I usually try to draw the longest line or the largest element first. So in this case I see the longest long, it's this line. And this line. I have already imagine Hall my sketch will looks so I'm gonna place my finger here to represent this line here. So I'm gonna draw the roof thirst. So we have some jagged rooftops here. Vertical line here. Try to draw the beak shapes first before you draw the smallest shapes and details like a Windows. The windows have to be on the wall so you need to draw the wall first. Otherwise you may place the windows at the wrong location. So we've seer, I'm just drawing the boundary of the law and opt out. After I have this shape, I divide the shape into smaller shapes, smaller and smaller shapes. This is sine bought on the side here. Nowadays, watercolour papers that I'm using is choose a 100% cotton watercolor paper. Now if you want to like really practice on good quality paper, definitely get a 100% cotton watercolor paper. The water media, what color water-soluble graphite will react, batter will perform better and more predictably on good-quality watercolor paper. So I've extended this line down here to the bottom. There is an opening here. So try to draw the good elements first. And you can see I'm looking like really quickly. Sometimes when you think too much, you may actually start to procrastinate or you may just sometimes thinking too much, it's not good. All right. There are some details here within I mean, under the shadow along the corridor. We will draw that later on, drawn a big ships first. There is a person here wearing a white shirt. The person is half the height of the peeler here. So remember that when you're drawing, the person is walking. That's continue to draw the peeler. It doesn't really matter whether your lines are straight or not, as long as they are going in the correct direction, that is actually good enough. And try to join your lines. Whenever possible. Oops, I need to extend his peelers lightly. Because this gap here, you see this gap here, and this is actually a very small cap. And next up, I want to draw the shop houses in the background on the left side. So the shop houses, the two-story houses. We'll start here and go up at an angle like this. This is to Ruth, which were end somewhere here. And this is this pillar here. We've go down all the way. Here. There is a car popped here. So we need to stop the line here and draw the car because the car we overlapped a little line here. And the top of the car will align to the elbow of this person. So this is the top of the car and this is where the front wheel down. Now this watercolor paper has a cold press texture. So when I'm drawing with this particular pan, you can see there are some rough edges. That's because the texture here, it's actually kind of rough. Cold press paper has some texture. Harsh textured areas will depend on the brand of the watercolor paper. So we have a peeler here, and we have second peeler here. So I just wanted to draw the peelers here first. This is the line we'll Dao. If you look closely at the photograph. This is anodic peeler. So these Lima tote Tao and this line we also took down, but the line on the ground here, the curve here, this will shoot up because there are arrays of vanishing point somewhere on the right side, k. So we have these yellow awning here. And this opening here, it's red or dark brown, Sorry. There is box here or some seats here. I'm not too sure anyway, there are some tables here which I'm going to represent with all these little T shape drawing here. Yeah, so at this particular point, you may notice that I am not exactly following the photo. So sometimes when you are drawing, you can actually use your own artistic impression, artistic license, sorry, to make some adjustments. So here I'm going to draw what a pipe Dow, even though there is no what the pipe there, maybe I'll draw it out of water pipe here. Here's to add details. And notice how closing up to lines here or maybe I should close up there lies. Yeah, it looks better. Anyway. I don't have to close up the lines here because I'll let the lies feet out. O k, let me zoom out. So now we can just keep adding the details. Let's draw the curve here. Is a table here. Some windows, so I'm just moving everywhere around a sketch. This is just how I draw. Sometimes I draw it at one area and then refer. You just drawed and little details quickly. Now, the window here, it's very compressed, so it's a bit difficult to draw it in details. So I'm just going to draw it and details were really thin lines by making my, by holding depend more vertical Lee for all four elements of four structures that contribute to a change of form flux and bought a corner of the building. You can draw with bigger lines, but four elements that do not contribute to the change of the form. Like for example, a window on a war. You can actually draw them with thinner lines. So for example, with this very dark structure here, a beauty on top of the building. I can draw it with thicker lines. You can see my lines, they are really quite rough. There is an air conditioning unit here, but for the windows, I can just draw them with penalized by holding my pen mob. Particularly, some of the windows will be more squarish, some will be more vertical, or just two. At some variety. And there is this high-rise residential block behind which I'm going to draw with thin lines because it's kind of far away. So elements in the background that are far away you can draw with inlines. I will draw the windows later on. So lets continue to add more dequeues to our sketch. So that's continued to add more details to our sketch. Let's draw the doorways here. The more details you add, the better your sketch will look. But there will come a point where you have to stop adding dequeues because it may make your sketch look to BZ. K maybe I shall as some window frames to the windows because now they are just like rectangles. We know details. Let me add a little bit of detail on top of the windows for the ventilation holes. I can add a sidebar here, even though there is no sign board here, but I can add it here. Anyway, the eye year for this doming, The goal of this particular sketching a session is to show you how quickly you can sketch and show you and talk about some drawing techniques. K, let me just continue drawing the curve here. And at some dots to the ground. See if I can add more details. Ok, so this sketch, it's homos. I would say it's complete and it's not exactly the same as the reference both DOE but the general shipped a general structure. I think I have captured debt. See how I lacked a lines feed into the white. There is actually a window here. Maybe I can draw DO window, but again have Windows. Feet to the right side. Here. K. There is a cable here that goes down. Some little details here. Extra details here. Sketch like this. Doesn't have to take too much time to draw. Anyway. How much time it takes to draw a sketch will depend a lot on the size of the paper you are drawing. So for typical size like this, which is eight by eight inches, and this can take me maybe half an hour to 45 minutes to complete. Okay? Right, so in the next lesson we will paint this with the value skill.
8. Tutorial P2/3 - Adding values to your sketch: Welcome back. So in this lesson we are going to paint the sketch that we drew earlier. Before we paint lat sort of analyzed is photo a bit. So we can see this building here and shop houses in the background. They were painted with this very light yellow. Now when I'm painting with the values Q, R will probably lived as white. Alright, I'll leave this wide. For this darker or a yellow, orange color. I will paint it with a value which is green so that I can have gray contrast against a white. And you see these brown here and this is kinda dark as well, very dark. So I'll paint is with gray as well, maybe a darker gray competitive. This now this area here, see, this is the area, the shadow area, which I'm going to paint with another layer. So remember this has a gray, so I need to mix a darker green to paint over the window and also this area here. And on the left side we have, this is going to be white, is orange, yellow will be gray, and the shadow will be darker gray days painted over the first layer of gray. And this here seems to be kinda dark. So this is going to be a really dark agree. And for the residential block here, it's gonna be painted with grain. And later on we will use the white job hand to add details over it. Now, you see here at the bottom, the car here. It's black and shadow areas here just below to shop houses. This is also a kind of black and it's very difficult to see the details here. So when we are painting later on, we can actually use our own artistic license to maybe not pin does vehicle black, maybe use a lighter gray? Basically, what we wanted to do is to create contrast between this vehicle and Corey door here, the shaded area here so that we can see that two elements, more clearly. This other tools that I'll be using for painting, I'll be using water soluble graphite instead of ink. If you are using ink, or you have to do is to extract some ink into one of the wells here. Make sure you put a bit more so that it can extract a inked into ADA wells to mix the light of grace. Graphite is nice because it's very convenient. I'm going to show you how convenient it is in a minute. I have this watercolour brush, tech scan paper to a sharp points like I used a sharp point Who pain dequeues. And I'm going to use the white gel pen that I have here to add highlights later on. And of course, my, what a color palette. By the way, I have two cups of water that's not visible to you right now. So I'm Taking some clean water to put in. Today. Wells here. Graphite is convenient because you can actually just whet your brush. This is water-soluble, soluble graphite. The brand is art graph. So if you want to paint with concentrated graphite, you can actually just dab got brush like this and paint onto paper. If you want to dilute the graphite, you can pick up some graphite and just put it into their well, I like ink. When you dept to brush into the ink, the water that's in the, sorry, the water that's on the brush. It's going to be added into the ink bottle, which is going to dilute the ink or contaminate the ink. But with graphite. It's actually finding today because even if you have water on the graphite, you can see the water here. It's going to dry of later on and a graphite, we'll go back to its original condition. So what I'm doing here is to pick up some graph flight to create the darker tune. And out of the darker too. And I'm going to pick a little bit of graphite here. And I'm going to have the lighter tone here. Here. I'm going to add more water. I'm going to task the light grey first. So I'm going to test that light gray areas that are supposed to be black so that if it's not Latin now, later on I can't just pinned over the light create who cover up this area so it is grey. It looks like enough for me. So I'm going to use this great who paint over all the areas that are not supposed to be white. So paint a slowly walk first, slowly. Remember the light yellow is going to be white. But the yellow orange is going to be a grey. So I'm going to paint with this light grey first very slowly. By the way, my watercolor Pat is actually on an easel because I'm under water to flow in this direction. So just pin adverse lowly and cover all the areas that are supposed to be one sheet, one value darker than white. Okay, so when we reach share and remember, this whole shop house is going to be in white, so we need to just pinned a yellow part first, yellow orange peeler. If you find your values to light, which can be, which can happen because it's a very common pickiness mistakes sometimes I still make that mistake. So if you find a values to live, you can just add more graphite or more ink. You're, the shadow area is going to be black. Here is going to be much darker as well. Now this paper is watercolour paper is quite terse D. So it actually means that I have to use a lot more water. Okay. The vehicle, we will leave it white first. That's continued pin this here. Now there's this little pot here on owning that is what we need. We need to leave that as white. And that's just pin down all the way. Let's pin this site first, this peeler first that is beside the person there. The person is wearing a white shirt, so don't paid over the White House should. So here is supposed to be gray as well. Now, in the reference photo, you don't actually see through. But because I drew this pot here too big, so I can actually see through to the shop house behind which is lead by sunlight. So I cannot pin to his gray hair. But if you actually drew, managed to draw more accurately than I am, then I have. You can just pin this whole area, caret. K. These are some of the I'm dishes that this restaurant is selling. This is the awning here. So right now I'm still using the light gray. So that pod is gray and here we can paint the shadow at an NGO. Now there are some parts where you can see through the PDA, so we need to review some of that white. So for example, here I leave this little rectangle here. And here, I'm just going to paint like this. Now this gray is actually darker than I want it to be, but it's okay. It's okay. Because later on, some of the darker areas we can just leader and not a darker layer jurors to create extra value. K. Here it's going to be Re for the window here, let's use a darker green. So if you find that your, I mean, if you are using what us, although graphite, if you find your Wash to be to logic actually just debit. But if you're using ink, you have to use ink from your mixing well, because if you dip the brush into ink, this is going to be black. It's not going to be grea anymore. Which is why it's so convenient to use graph fart k. So this area here is in shade that's painted. So far. I have not painted shadows yet. I'm just painting the colors. Grey. Okay, here I'm painting a Shadows and we have this sidebar which is black. Some windows here. Here, it's actually great. I mean, the structures here that's holding the window using gray. Gray. Okay? Now we need to paint it the sky. So for this guy, we need to use a lot of water. So I've just added a lot of water to you, my mixing well. And we're gonna paint from the top to the bottom. The blue sky, the very blue sky is actually a middle gray. So for this, you will definitely need to use like a lot of water. So when you paint from left to right, you can see the water, especially if you have your watercolor pet to that and an angle, the water will stay at the bottom. So you just use a brush to pick up the water at the bottom and jazz pain from left to right, left to right and left to right. And this will allow you to cover this guy with this grating. It will be easier to use like a bigger brush. This size for brush. It's a bit small, right? It's a bit small. Now at this point, I may want to wash my brush and get some clean water so as to dilute this area here. This is still kind of dark, but let me just work more quickly here. I wanted to dilute this area here, make this lighter because I won. The contrast between the gray and the sky here, a bit more contrast. So I'm going to use is tissue here to pick up some of the excess graphite. Just to make the bottom part of the sky slightly lighter. You can also use this to correct mystics. Now, this is actually considered a correction. So here I'm trying to make the sky lighter. The other way to create contrasts is instead of making this lighter, the sky lighter, you just have to make other elements Docker. So two ways to increase contrast. You either make it lighter or make something darker. So here I'm painting a second layer just to make this darker. And now you can see more contrast between this versus the sky. Next we are going to paint the shadow, the cast shadow. So I'm going to use a lot more graph. Why? Because the cast shadow, if you screened your eyes, you can see the cost of shadow. It's kind of dark when it's compared to your site. That is not that it doesn't have any cast a shadow. So I wanted to. More graphite to my washer and also going to add more water because it seems that I may need a lot more paint or graphite wash here. So now we can paint the cast shadow. Now there is this, What a pipe here. The top of the water pipe is actually lit by light. And this roof here, there is this line here that's lit by light. So I wanted to make sure that I don't don't covered light areas. Now this looks like it's to dock to the point that it's covering the DTU is be high. So let me just quickly washed a brush off and try to dilute the graphite so there can bring back that details. The windows will be black so we can paint over the windows and I'll try to paint the ships correctly. So you see here there is this diagonal shaped triangle. There is attached to a window, which should not be the case. All right, you have to be careful when it comes to painting the shapes. Otherwise that window will not be recognizable. The Reno is just a rectangle. So we need to have a hot like a hotline flooded shadow. Remembered dawned, paint over the areas that are supposed to be white. That's very important. And this shadow comes down at an angle like this. Make sure to append a Windows IIS rectangles that smooth on to this side. Here it looks like everything should be made like Docker, we've not a wash, so let me just paint the cast shadow here and is caused shadow will be like this. Makes sure that casts a shadow has a straight line. And it's going to go over that. We know that right? Now this shadow comes down at an angle SQL. Now if the angle is not obvious, you can use your artistic license to make it more obvious. Decide of the war. It's lit, sorry, disorder was laid by light, but decide it's in shadow. So notice as I paint an additional layer over this site here, immediately we get the idea that there is light and shadow. Let's not paint over the whole thing less juice. I'll leave some details like to agree. This will be Docker as well. That's just paint more quickly. Because when you paint more quickly, sometimes you get more fluid strokes. So let's just keep painting here and it's going to be very dark. But I'm going to leave some areas are gray. So it's this mix of gray and dark that's going to make things look like we're really interesting. I'm gonna pin this on in a dark gray as well. You can see how the water is falling down. And there'll be this causes shadow here, here and here. I want to paid here as well this residential block, because later on when I use the white gel pen, the white woo show off batter against that darker gray compared to a light agree. You will see that later on for the vehicle, I'm gonna use concentrated graphite to pin this window right at the back. I'm actually picking the graphite or from the pen. Now when you are working with pen and ink, you do have to work from light to dark. But when it comes to working with cruft phi, you can switch between light to dark, dark to light. Because graphite is so convenient. So it definitely takes MLK patients to paint with ink. The bottom of the vehicle will be black. We can also use this concentrated graphite to pinned links of this person here. Oops, not TEDx. Oh, yes. And once in a while, look away from your sketch and see if your sketches looking our, alright, that's pain. Some windows for the buildings behind this. You can see it's it looks a bit off because here it's so dark. Here it's not dark enough. That's why sometimes you need to look away from your sketch, my whole your sketch away and look at your sketch from afar. We can pin some details for the curb, that black and white. There are some details at the bottom of the pillar that are just notice. So maybe our paint that in. Maybe here I can add this little gray Dao here. So far we have three values. We have to white off the paper. We have is light gray here that you can see here here. And we have a much darker gray. Oh, I forgot to pin the shadows here, the cast shadow here. So let me just paint it that in. What we are missing is the LAC, which we are going to add very soon. So let's see if I can get really dark graphite to show here. So this is about as dark as the graphic and go, which is why now I have to wait for this sketch to dry before I paint over the really dark areas with like pure black ink. Now I want to add some texture, some additional texture to the prom, which by the way, in real life, the road is supposed to be dark gray, but since it's lit by, like, you can actually live this just white. And I just saw something I need to paint, which is this curve here.
9. Tutorial 3/3 - Adding contrast and details: To add some texture, I'm just going to run my brush, which is loaded with graphite against this site here you can use a clip, just run the brush, and you can see a little splatter mux appear on paper. Now makes sure that you have concentrated paint. All really dark, agree? Because light greys, they will not turn out. They were not look as nice. I'm going to add some texture to this wall here, which you can see it's really clean ME TOO clean. Yep, I can see some texture. This is a really quick way. You can add some texture to your sketch. This sketch is almost dry. So let's take a closer look and we can see it is caused shadow here. There isn't value is the same value as a window. But if you look at the reference for, though you can see the window is clearly darker, compat today. Cost of shadow, which means I will need to make the windows darker. Yellow, orange here it's not as dark as I want it to be, so I'm just going to leave it as it is. Because if I were to add and Natalie year here, that layer will go onto these costs, shadowing me, mess things up. So sometimes if you want to make a correction, you'd make the crash. And by adding too much paint, sometimes it can make things worse. So I'm just going to leave this as it is. This is a classic case of not using enough value. So using this brush pen that I have loaded with black ink, just gone a paint over it a windows. And this time I'm gonna make sure I paint a Windows as rectangles, very clearly rectangles. So now you're going to see is for obviously that windows are much darker compared to the cost of shadow of birth. I'm gonna pin the bottom of the building here, sorry, the shadow here to make it darker. Here I can pin is black or this structure here I can't add some lack AS well. That Windows lack. The windows can be darker gray or it can be white. So now if the blacks at it, and you can see there is now more information because now there are four values. So you want to use the black to paint some of the things here. But not everything has to be black. We just need to add a little bit of black here and there. Like here. When painting or adding another layer, or sometimes it's good to again, look at your painting from a far. Maybe I can mink pens L6 of this person talker. You may want to add the lack or have a darker layer, Dhaka agree, certain eras, even if in reference photo it doesn't show. Even if it's not the case in a reference for it, because we want to do is to create contrast. And you can use your autistic license to add blacks wherever you feel that blackness needed. The jagged roofs here need to be black. This sign about here needs to be much darker here and needs to be black as well. I feel like this pot here, it's lacking in detail syllabi, Jews draw or add a few more details here, the lights on the back of the vehicle and bottom, let's see if I can make the bottom much darker. So everything is known. Dr. The last thing I want to do is to use the white child hand who add details. So earlier on I said I wanted to add white over this lock. And I need to make this great darker. So it seems like this. What is a bid, a transparent, get too transparent. So let me switch to a different pen and see if I can get a different look. Okay, this is also not good. Maybe I can use this correction fluid. This is definitely going to be very wide. Yep. So you can see now it's much more obvious. We definitely need contrast. If there is no contrasts, your sketch really looks like it's not complete, doesn't? It just doesn't look alright? Alright. So I'm just going to use this. Let me see if I can use this pen again to add the window frames. And sometimes you have to wait for this to be completely dry before you draw. The reason is because this is actually rolled a ball. So if it's too wet, the ball at a tip, it's not going to grow. And this is what's going to happened. But this is not a roller ball. This is you just press down and you can squeeze the ink out. But I don't like this because you can see it's kinda Rob, It's not like I can control this very easily. So the two roller ball job hands, the two rollerball white job hands are not working for me. Alleles with, I mean, at least on this particular paper. So before you use your supplies, it would be good to actually test your supplies verse before you use them to meet like actual art. Because he turned one on one desk surprises. I can use the White to draw a few dots. And those dots are light bulbs. Well, I can draw horizontal lines like this. They can represent fluorescent tubes. Well, I can't just add a little dots here and deaf for details. Remember sometimes he won white against gray and white against black. Sometimes you want black against white or gray against white. Some lines here are some thoughts. Horizontal line for the fluorescent lights. And this part here you can see it's just like one wash of Re. So a lot of detail is actually lost. So I mean, one teachers used is what job had to at SOM highlights back. And I can also use does to maybe write some words here and some woods here on the side of the sign. But I think the main reason why my wet job, Hanna on Penn State on a well here is because this pay per, I mean, this paper and just ask them what welfare which I'll pan. Maybe it's too rough or maybe some other reason. So I'm just looking around and I feel like this window frame can be darker. So let me just paint this darker window frame. Because initial wash, that's just too light. So now you can very calm, very obviously see the window frame here, here, and here. Cross this part here. It's looks like it's lacking details, so I just wanted to add some additional details here. There is a street sign here. I forgot to draw some little dots here and therefore additional texture. So here's a close-up on this sketch. I can actually add some details to does beauty. So this particular residential block behind a fallback grow, it has two values. It has widened. The hasta is darker gray. I can use black two at another value. So the dots here in this case they look like windows. Some of the dots will be dots, but some will be like horizontal lines like this. Just to create some variety. Some white window frame, some are black window frames. So smooth down here. Let's see if I can use this colored pencil to add white. Nope, doesn't work that well. So nobody is audience areas here they lack. And within that black there are some really dark Greece. Very difficult to see the details here. But this whole thing here, it still works as a shape. So does Vigo is supposed to be black? If I painted this black is vehicle, it's contributed lost among all these black shapes here. So you can use your artistic license to change things. Person wearing a white shirt. So I'm going to size, you can see the graphite texture, which is really lovely on this watercolor paper. Now if you have accidentally painted on this area with really dark grays or with black, using the white correction pen or the white gel pen is not going to be able to bring back areas like this, in which case you may actually have to use white wash. So just squeeze out some white quash, mix it with a little bit of water. If you need water and just paint over the blacks to bring back the whites, would be correction, so-called correction, that we don't want to make too many corrections because it may not make your sketch look good. So now that we know for previous dry it actually it looks kinda good. This area here definitely meets a bit more detail. So here there is only it is darker, gray and a wide to values. And let me see if I can add one more value here. So this is graphite, really dark graphite. So with this and dish of or darker, wash a Docker value over this value which is kinda darker 3D. I managed to add more detail and more information. So now it's very old fears that there is some sought of window frame there. So when you look at the sketch from afar again, see now that there is more detail or suggestions of more dq nor the roof here you can see the bottom h, it's kind of rough. This is supposed to be a street H. Here I'm catalysts. So now you can see this shape. It's not that. Yes. So when painting sometimes who really need the patients to get ships, right? When you sketch on location are highly recommend. You write down the name of the place as well as the data soda in the future, you can refer to the name of the place if you need to find that information. Alright, so this is how the sketch looks with the values deal a very simple sketch drawn and PDA way of just four values. Then why practice? The better you will get and the better your sketches will look. Don't be too stressed out about creating odd. It's all about having fun. You can also learn a lot by looking at monitoring sketches of other art here so you can head over to Instagram, do as such all monotone sketches, all black and white sketches or followed or urban sketches, is the grand page and take a look at artworks from other artists from around a will get inspired. Don't be afraid to make mistakes. I'm making art is actually a learning process. So it's good to be able to identify our mistakes and improve on the mistake so they don't make them again, letting on ASL, lifelong process. So even though I've been drawing and sketching and painting for ten years, eyes do manga and occasional mistakes here and there, but it's alright. It's part of the process. Enjoyed that process.
10. Conclusion: Thank you for taking this class. I hope you have enjoyed the other lessons. Now, creating autonomous sketches, it's really useful at improving fundamentals because you will learn how to create light and shadow, how to think about contrast. And you don't have to worry about color's all color mixing or even color harmony. So when you can create a very good, very clear black and white monotone sketch, you can use the fundamentals that you have learned and apply that to using what a cholera, to using basically cholera pains. Because when it comes to using color, we are also dealing with contrast. Just at now with colors. There are more variables, they are more colors to think about. But the basics of odd creating is too there. You need to think in terms of light and shadow and contrasts. So that's why creating one of them sketches, practicing your values skills. I'm it's very beneficial. Oh, before you go, I just want to plot my ADA class which is sketching and painting. We have Sumi ink. It's sort of like an extension of his class because we also drawing and painting with black and white. Now Sumi ink, it has its own director and is really fun to painless meaning. So you may want to check out that clause as well. Alright, bye.
11. Bonus video: Here's a bonus video for you guys. I just want to show you some sketches that I have drawn in preparation for making this cause. So this was the sketch in the last tutorial. One issue I have with this sketch is the paper to have used them. The arch has a 100% cotton cold press watercolor paper. It's a bit too rough or the style that I prefer. I actually prefer my ink lines to have really hot ages and not like the dry ages you see here. So when the paper is very wrapped as this tendency to create lies with rough ages. Here's the first sketch I drew of the sin. This was drawn and painted on daily. Romney are qualifying watercolor paper, which is 0% cotton. And I actually kinda like this paper because their coal press texture here, it's not as rough compared to the arches. These paper is able to handle pen and ink and what a solid wall graphite really well. So the lines you see here, the noticeably sharper ages. I also drew two more sketches here. This was also painted with what does soluble graphite. Now this particular paper is also consider coal price, but this paper is not able to handle the graphite as well compared to this paper, this paper is unable to handle multiple washes or multiple layers. So it's important to actually tasked your paper, test your supplies before you used him to create actual art. You don't want unpleasant surprises. So this is just simple pen and ink drawing the lines. The opera shop. So this is the style that I prefer. Say this person here, he actually has hit. Whereas last tutorial you can see this person to hate is not that obvious. So even for me, after drawing for several years, I still make mistakes. Here are some quick sketches I drew to see how the different value structures will look. So using black and white is a really quick way for you to test out your sketches really quickly. You can also use black and white to plan out your watercolor paintings or sketches. Era. Black on white sketches or motor bikes. Here I'm just playing around with ships, the really dark shapes, the shadows. And hear us. Tom new sketches. When black-and-white sketches are done, right, you can actually capture a good amount of information and details. Remember the, his building here. This is the cathedral. There's two artists seem cathedral. So for this sketch, I pinned at a cathedral and a sky with this light ray wash. And for all this sky and a cathedral where left in white. So you can see here the contrasts for this sketch. It's around here, does depot, we have white against light grey, whereas the contrast here is the shadow shape here versus the front of the cathedral. So in this case here the focus is actually on the front because that's where the contrast is. Whereas here the contrast is mostly here. So when people look at your sketch, the eyes will immediately go to areas where there is more contrast here. So by using black and white and creating contrast, you can actually draw the viewer's eyes to specific areas that you want them to look at. Here you can see some ink that bled through from the opposite pitch because I used too much in here and this paper is not that thick. So the ink through here, if there was a sketch here, it would have affected debt sketch. So it's important to test your supplies. There are some more black and white sketches. For this particular sketch is just is really dark gray against white areas known lack actually. And for darker areas, I just overlaid a darker gray on today, darker gray. And here you can see the contrast its first Ra, because this part here is lit by the light, I also use some white job and to add details, the highlights for the leaves here, the sketches here were drawn on location. This was drawn from a tall building looking down. This sketch was also drawn on occasion. In this case it's just black and white. There is no ray. It's prolly a cloudy day so there are no strong casts, a shadow. So it's a bit difficult to make out the form of this mu z. And if there were actually shadows, you will be easier to discern to see the form of this museum. Because the site that Ruby lit by light, we'll be bright and the shadow site would be dark. So immediately you will be able to see a change into clean the surface and that will help you see the form of the beauty. Here is just black and white. So you really have to rely on your line art to portrayed a form, to portray perspective. So just keep practicing and I am very sure in no time you will be very comfortable with thinking and sketching and painting with black and white. The last tip I have for you is to maybe gets on brush pens like this and filled them with ink. I have light gray and this brush pan, dark gray and black. Having inks in the brush pens like this allow me to do really quick values, sketches and studies very quickly. So this is extremely convenient. This our handheld colored brush pens. You can do a search on YouTube to find out how you can refute them. Alright, once again, thank you for taking this course. See you guys again. I
Teoh Yi Chie, Sketcher, watercolour lover
