Urban Sketching - Loose Impressionistic Tree | Sweta Kaushik | Skillshare
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Urban Sketching - Loose Impressionistic Tree

teacher avatar Sweta Kaushik, Watercolor Artist & Urban Sketcher

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Introduction

      1:25

    • 2.

      Sketching

      5:58

    • 3.

      First Layer

      4:08

    • 4.

      Second Layer

      3:31

    • 5.

      Details

      4:26

    • 6.

      Wrapping up

      1:06

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About This Class

I went to a Vegetable market and near the parking was a tree that looked perfect. I painted this while sitting in the passenger seat. It was peak of summers and the experience left an imprint on me. In this 20 minutes class you will get to see how I planned the sketch, my color choices to keep the washes fresh and how I brought out the depth perspective.

Meet Your Teacher

Teacher Profile Image

Sweta Kaushik

Watercolor Artist & Urban Sketcher

Teacher

 

Hello Artists,

I am Sweta, a traditional Watercolor Artist, Urban Sketcher & the Founder of the 'Urban Sketching Circle - A Membership for on-location painting'. I live in Delhi, India.

I am a passionate teacher and present modern solutions to my student's problems, improving their observational skills and allowing them to visualize and interpret the 3- Dimensional world in front of us accurately on paper.

If painting from 3D world is a bit hard for you, then click here and download my free guide on Urban Sketching - 5 steps to simplify what you see.

See full profile

Level: Intermediate

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Transcripts

1. Introduction: Hello, urban sketches and watercolor artists. I'm sure. It's been some time since I have released a new glass. I'm back with a class on urban sketching. And today I am going to paint a loose impressionistic tree. I shot this video in the outdoors. And finally, you're going to get a chance to see how I painted this beautiful tree. I'll be doing sketching and then I'll be moving forward to the first layer. And then covering up to the second layer. I use varied colors from yellow, greens and lose. And you'll see how I use the cool and warm colors and created a contrast and drag them washes. Moving on from there, I'll do the shadows and the details, which I usually do, which is basically my style. In order to capture the light and shadows. This class is going to be around 20 minutes. You can just go ahead and quickly watch it through. And then you can choose any topic you want to paint, any of the trees that you want to paint and follow the composition style that I did over here. Let's start the class and see you at the end. 2. Sketching: Hello everybody. In this class, I'm going to paint a beautiful tree. I'm going to paint this displaces behind always stable market. I went to we were packing our car over there and I saw this tree and I instantly knew that this has a lot to offer them. It seems like the composition that we can get out of it is quite appealing. And I decided onto go with it. I like the shape of the trunk and how all the greenery and leaves are, spread it out into the different directions, the overall shape. Also over here I'm using a Pigma Micron pen and Bruce through sketching sheet. This is just a normal sketching sheet which can take watercolor washes quite well. As you can see, I started by drawing the tree trunk. And from there I am moving towards the leaves. Basically going with the flow and trying to grasp the larger shapes, the larger chunks of the tree. From there, I'll move on to the smaller shapes. This is what I do with all of my walks whilst I divide my walks, our sheet into two halves by drawing a horizontal line. From where the tree is growing from is the horizontal line. And then I move on to the other major shapes. Over here. It's starkness. It's gonna be the dark value over here. In comparison to the other places. That first most part, and the sunlight is hitting from the top left part. I'm also taken care of how my walk should be sketched in because I have to color it at a later point. So I have to take care of the sketching do basically in the same manner that I want my final walk to look. I mean, much sketching can completely ruin the effect of the colors. I'll focus won't go more on the color. So I have added lots of details over here. I should stop. And now I'm adding these bones. The fences in the middle ground. I'm also checking out that what other elements should I pick up from the walk in front of a scene, from in front of me. Workbook create more interest and would create it more unique. I'm trying to create the depth perception. Because of that, I'm adding things in the foreground. When you see the complete walk, your eyes would check out the things in the foreground. And you will compare the shapes of the object in the foreground with the objects which are far away. And you compare their size and scale all the time. Let's get it over. With this. By the way, while painting this work, I was sitting in the car because it was the peak off summers. That is in June. I was just relaxing in the ISI bending. We found out God in a manner so that I could have a clear view of the scene. Also, I have not sped up this class. I have not interfered with the timeframe. It is the real-time. I definitely have edit out the portions where I will stocking around or checking my pinks. All in all this is the real time or duration of the video. I'm trying to go faster. I guess it took me around 20 minutes to go about it. Many pauses in between. Before starting this workout, I sat in front of the scene for five minutes and I visualize that how would how our watch, what I do on my paper? There are things that should be added or removed. So these are the general things that goes in your head. Now over here there was a pool and some wire, so strings were there. So I added that. Also. I felt that I shouldn't have mean that there's no going back. So this is my finished sketch. It looks very appealing to me. I love the effect. I love all the details and interests. There's a foreground, middle ground, and a background. So this was quite a great job and really satisfying experience for me. So let's move on to the next stage. 3. First Layer: Hey guys, let's paint the first layer. I have three bottles of paint. The bottom one is hansa yellow medium with slight hint of permanent sap green. The middle one is cobalt blue deep. I might have added citrulline blue to it at some points. And the top one is pure permanent sap green. Now here's a team. You can see the water to paint ratio of the paddles. They are quite watery and they're moving around. I'm going to use this for the first layer. Start from the top. I might use some other paints has a goal and if it happens, I let you know what colors I have used. I'll start painting from the direction of light, that is the top part. And I'll use Hansa yellow medium and maybe some strokes of yellow ocher. Also the brush that I'm using is Princeton Neptune travel brush. This stroke is of a bill of the blue and then the green. I'm not trying to be exact, like not trying to paint within the lines. And sprinkling some colors around. My style is expressionistic and I like to paint or sketch fast. And that is why I developed this sort of stay where I move quickly from one place to another and I try that the bottom part of any of the wash should not dry. Otherwise I won't be able to create a continuous glorious wash. And in my style, I paint loosely trying to capture the expressions, the ambiance of the surroundings in the way I want. Now, I am moving to the left part. I am using my brush in many ways. There is no specific V to use a brush. Just try out the different strokes. I can see. It has developed over the time the way I am using my brush. You can already see how the wash is dynamic. There is not just a single color. You can see in the wash their multiple colors. I have created the variations of colon mom. And this is what helps us to create glorious washes. Now I'm just trying to lift up some water. I was trying to do that. Now, this looks brilliant. And over here I'm adding basically the color that I'm using over here has less water and more paint in it. As this is towards the shadow. If I need to dark, darker value. Now I'm mixing some other colors. Here, I'm coming to the foreground. This is yellow ocher mixed with a hint of green, sap green. Already done many details in the foreground. I need to cover it all. And this looks really nice. 4. Second Layer: Now it's time for the second layer. Always wait for the first layer to dry if you want crisp edges and if you are looking for averting with edges, you can let it wet. Or you can just wet the False, False layer using a spray, water spray, and then walk around it. My first layer is dry in some parts and still wet in other parts. But since it's already hard day, it dried really quickly. Here I'm using a thick consistency of sap green mixed with cobalt blue deep. I'm walking around this area. You can see there is more darkness. The darker value is over here. And I'm going to cover it up. I'll keep changing the shape. Basically, the Whew, my adding, sometimes adding more sap green and then other times using more cobalt do deep, then mixing them up on the paper. A beginner, I really used to feel that what it actually means by mixing colors on paper, because when I'm mixing, it never looked glorious. But over the time with practice and using some techniques, I am always getting vibrant mixes. I love using granulating paints. If I had my way every color like I know there are many paints and there is no option off by breeding of story. Though. In many veins there are no options off granulation. That is what I'm wanting to see. On the left, I use a thin consistency of sap green mixed with some yellow. Now I'm trying to make some branches and some D deigns to create interests over the flat areas. Whenever I go for urban sketching, I happen to find something new every time. And urban sketching is so satisfying as an artist because you literally don't have to waste any of the time in looking for reference images you end up with so many ideas and inspiration. You will definitely find your own style like quickly if you happen to paint out. When you look at the scenes in real, you capture the real colors too. 5. Details: It's time for details. You can see I'm just putting some blobs of paint and putting some strokes around as if they are leaves. I am just trying to break the continuity of flat and simple washes by adding some interests around the darkness and the light test is always being picked up from the main reference. Over here I am putting more darkness. This is sap green mixed red, slight cobalt blue and more of burnt sienna. That's why look bit more subdued. More darkness over here. Now I'm trying to make the shape look more appealing. And all of these tropes like you must be thinking that why I am putting up these trolls and I don't know sometimes. So you brain works like that. You know, what you need to do, what strokes you need to port in order to make out. In order to make out the shapes look more appealing. I would say. It comes with practice and it comes with the observation. The more you paint, the better idea you have of how things would work together. This is one of that part. Coming to the foreground. Adding some leaves. Maybe they're falling down from the street. I loved the looseness. I loved the colors of warms and cools, the lights and the darks. And this is why I love watercolors. I love capturing the shadows, and I love capturing that sunlit area and contrast between them. I've picked up my rigger brush. This is still around and rigger brush number four. You can also use number two or any other liner brush. Mine is a synthetic one. I am just adding on some branches. Sometimes I use a brush completely perpendicular to the paper. In order to get some marks. Are my hand few more comfortable in working in from that, that it shouldn't. These all details are like jewels and you have to take care of how much you're putting. Otherwise, a few details are these jewels takes over the main scene. Again, all the, all the focus of a viewer would go to those details and not the entire painting. You have to decide what is the main attraction in New Walk or what you are trying to depict? And all of the execution is based on that. I hope you enjoyed my talk. This is a simple simple scene that can be found at any place. It wasn't anything special. You could get so much out from this. And I would really ask you to go out and try painting a tree quickly and just focusing on the light and shadows. 6. Wrapping up: So guys, that's all for today's class. I would advise you to paint this same thing in different colors, like pinks and oranges, reds. So as they will look like cherry blossom and I love cherry blossom trees. You can experiment out and always take care off the direction of the light and shadow. Because that is the single one of those things that bring out the contrast and the realism to your paintings. So always take care of that and try to keep the masses of the similar values together. So keep your dogs together and keep your lights together. It doesn't put strain on the viewer size. And he had that's all for today's class. Do share your art box in the project section and also share it on Instagram at watercolor dot consultant. I'll make sure to share it in my stories. So see you next time.