Urban Sketching - One Point Perspective Made Easy

1. Introduction: Hi there. A UN urban sketcher. He wants to know more about perspective. Perhaps the very idea of perspective fills you with fair. It makes it feel like it's gonna be so much hard work you really want is a simple way that you can use perspective, make it your friend, and make it really enhance your sketches. Well, in this class, we're gonna be doing just that. We're gonna be looking at one-point perspective. That is where you have a single vanishing point. And we're gonna be using those principles of perspective, the structural lines, the vanishing point, the horizon line. And we're going to be making them easy. And we're going to be making them work for us. My name is Toby, known as Toby urban sketch on Instagram, YouTube, and of course on Skillshare. My style of art is loose, expressive. I use ink lines most often with my fountain pen to capture a scene in a sort of semi accurate way. I sketch quickly. I sketch for myself. I want to enjoy the moment and I want to have a record of the different things I've enjoyed, the different places I've been. Perspective for me make sketches really interesting. Having one or two points of perspective especially really gives an extra, an interesting sort of flow and feel to my seems to my sketches in this class, but I want to do is give you the benefit of my trial and error, benefit of my experience, and show you my ways of thinking about perspective. We'll be focusing on a one-point perspective scene. And we'll look at ideas like Linear Perspective. Talking about all those things are vanishing point in the horizon line, the structural lines. What do they mean? But more importantly, how can we use them? How can we easily adapt them for our scene? But also think about atmospheric perspective, the bidder perspective that we often forget. If you don't know much about that, don't worry. There's a specific lesson about that within this class. When we've looked at all these different things, we're going to take it into action, will have a final project, which we'll start by looking at a reference photo and dissecting it. Finding those perspective lines. Finding by the perspective doesn't work. But we can make it work for us. Finding ways to break up that perspective to make our sketch feel free, you feel fun, enjoyable. We'll look at not just how pen lines and pencil lines add 12 perspective, but also how colors and shadows really enhance the image. And we'll do all of this step-by-step through a series of guided sketching lessons. By the end, I hope that you'll have gained a huge amount of confidence and understanding of the basic principles of perspective and just how to use them, how to take them out and start sketching today, tomorrow and just introducing perspective into your sketching. Be amazing if you enjoyed the class, please do. Leave me a review. And if you've done a class project, pop it up in the class gallery. I'll leave a comment. And it's amazing to connect like that equally, if you'd like to share your image outside of Skillshare, defund the on my socials. Toby, urban sketch. Fundamentally, most importantly though, I hope you enjoy the class and happy sketching. 2. Theory - Linear Perspective: So the first lesson we got, we're gonna be looking at the principles of perspective and in particular, one-point perspective. And I know this can feel sort of scary, but there's just a few things we need to know about, and it becomes much simpler. These things are the horizon line vanishing points and those construction lines are lines of perspective. So let's have a look at the theory. And then we can work out how we can put that into practice. So what is perspective? Perspective literally means I'm the techniques and skills we use to get a 3D scene, a 3D object, onto a 2D page. So the most simple idea is, how do we draw a cube while we were a cube by giving it lines of perspective. So here we can see a cube has straight edges. It's all 90 degrees, but these corners are not 90 degrees and that's because we have given IT perspective. So if we were to follow these lines all the way, we'd find they meet. These lines also will meet no meat on a horizontal line which joins up these two points. And now we have our sort of construction or sketch of perspective. But what are all these lines? What are all these bits and pieces? Well, we're going to talk about that just now. So if we go back to square one, when we're thinking about perspective, we can first draw a straight line, a straight horizontal line. We call that line the horizon line. So I'm just going to scribble that horizon line. And that is at eye level. So there's our eyes. And what that means is in any scene is everybody's eye level. Doesn't matter how far away people are. Their heads will always be around about on that level, really small person. But there are only small because they're in the background. Really big person will be at the front. We've got the horizon line. We can always draw that. Next. We want to build up the perspective. Well, this box is in two-point perspective because there are two vanishing points and vanishing points there where these lines meet and even vanish into the distance. Now in our sketch, we're thinking about one-point perspective. One-point perspective. Perspective can mean two things. So what it can mean is that there is a single vanishing point over here or on the other side, of course. And then all of our lines of perspective will come out from there. And then if we were to draw a street scene, let's say we'd be able to build up our street just by building those vertical lines in. And then there'll be another line which was the roofs. And the roof would look something like this. And there'll be some chimneys, chimneys going along. And of course there'll be some windows and all these windows, all these doors, all these little extra bits, they're still following these lines of perspective. She might go to pop a door in and tall would be just above the horizon line. Because it's got to be a little bit bigger than people, hasn't, it's got to be a bit taller than the person for someone to get in it. Then as we build that forwards, if we draw a line going over the top of our door, we know that we can build our doors in as well so we can get bigger and bigger doors, bigger and bigger windows. So all of these windows will also be joined up at the bottom by another lineup perspective. So that's what one-point perspective means. It's a single line there, a single point, vanishing point, everything coming up. It can mean we're looking along a street like this, or just to show you very quickly, the other thing it can mean is we've got a vanishing point in the middle. So if we draw our horizon line here, then we can draw all of our construction lines coming out like this. Now what we're doing, instead of looking down one side of history, we're looking straight down an alleyway or something like that. So now we've got houses which will be coming towards us like this. And then maybe this is the ruse. We've got doors. All the people. Again, all the people are just at that vanishing point level or the horizon line level. We've got another set of houses along here. What you can do if you want to get really good at drawing sketches like this, like this. You can pop into vanishing points or one or two, toy your horizon line and you can start constructing boxes. You can put a line there and then just start constructing boxes and getting the boxes to be exactly right and working out when you need to tweak undecided boxes and things like that. That's not me. That's not what I enjoy doing. What I enjoy doing is learning by practicing. So that's what we're going to do is, well, we're going to go straight into a scene. We're going to be drawing a one-point perspective scene. And it's going to be like this one here. We're going to be practicing and looking at how all the details, all the bits and pieces in our scene fit the structural lines. 3. Theory - Atmospheric Perspective: Now we often think about perspective as linear perspective. So when everyone says prospective, normally that we met all those lines, the vanishing point. So things we've just been talking about. But there's another aspect of perspective, atmospheric perspective, and that's all about intensity and line weight. So let's have a look at that in practice again, because that's going to be important when it comes to our final project. I always like doing the same example for this, and it's a very simple example. If we draw a simple still-life, some fruit on a table. And we draw them all together like this. And clearly summer in front some of the hind couple of apples or banana, maybe some grapes. So we know that things must be in front or behind. But it's not clear exactly which. And that's because we've not dealt with atmospheric perspective. So just to exaggerate it, I'm going to go to my brush pen and show you what happens if we think about atmospheric perspective. Atmospheric perspective is the idea that outlines and colors are bolder. The closer we can say, if this apple is in the foreground, then simply by making its outline bold, it will come forward. Perhaps this benign is actually in front of this apple. So just making this banana a little bolder, been hottest boulders at Apple in the foreground. Suddenly this banana is in front of that. Certainly if we add a bit more shape and hatching, we'll see that this banana is definitely in front of this. But then these grapes are there right the way in the front. So these are the boldest least dense objects. Now, by simple trick of using different tones of line, different thicknesses, weights of lines. We've moved things forward. And the same applies to colors. So if we were to do the same thing, a nice red apple, a nice sort of orangey yellow banana. Neither just very loose shapes of course, but hopefully enough to understand than a loose green apple on the side as well. So it's not really clear again, which shape is in the front. But if we do the same process, so if we work in reverse this time, so if I make up banana folder, just really getting that boldness to be stronger than that Apple. Little bit of shadow under the bottom as well. But then we get to the apple. And that's really intense, that's really bold. And again, we can enhance that even more with a little bit of shadow. But then we get to the grapes. They're almost black. So intense that purpley black. We can draw their little roots. We can draw the double tops. Simply by increasing the intensity of color. We've affected atmospheric perspective. We've made it clear what's in front and what's behind. When we're doing perspective. Don't just think about all those nice lines as structures. Also think about the colors and the weight of the line to make sure that the perspective is in the right order. 4. The Class Project: For the class project, we're going to be producing a one-point perspective urban sketch. I've popped a reference up in the class resources. You can of course use this. I'd love you to use that. Or I'd also love you to use your own scene. Sit somewhere looking down a street with one-point perspective. A photo which you really want to sketch, or perhaps a photo of your local streets, something like that. Just make sure it's got that one point of perspective to either looking along a street which disappears off to one side, or looking down a street which disappears off into the distance. We're going to start by drawing our sort of scaffolding lines of structural lines with our horizon line. When we've got those, we can build our ink lines around them. And we can work out how we can break up the perspective and make it more interesting than just a one-point perspective structural sketch. Next, we'll add some color so the color will enhance their perspective. Break up the perspective a bit more, and just give our sketch some life, some fun. We'll build up the color and a couple of layers before adding this final ink touches. I'm gonna do this all with you side-by-side through this step-by-step guided lessons. So without further ado, let's get started with the class looking at perspective and then looking at how we can build perspective into our urban sketches. 5. Analysing Our Scene: So now I'm going to show you my reference photo that I'm using for my class project. I'll show it to you on my iPad. And we can then draw in the lines of perspective. And we can talk about a couple of things here. One is the perspective and the lines of perspective of the vanishing point that we can find. But to is those bits which don't fit. And we'll talk about why they don't fit. Why that's important, why actually it benefits us and makes us seem more interesting having those bits which don't really fit our rules of perspective. So here is our scene and we're going to be sketching it on paper, but this is on my iPad. So we can have a look at the perspective. And you can see that mostly this is a one-point perspective scene. So let's find the construction lines and find our vanishing point. So we've got our scene now. Now what we want to do is find our lines of perspective. And to do that, all we do is we look for lines in the image. So we've got the bottom of our building and that will be able to form a nice line going this way. We've got underneath the edge here that will form another nice straight line. We can put that. Then we'll have another one which comes down like this. And again, we can put that there. You can already see that we've found an approximate vanishing point. And all these lines are leading towards it. And you'll find underneath the window will line up. You'll find above the window will line up. And we could keep finding more and more of these lines. We can take it to the other side as well. So if we draw out, we'll find that this line approximately fits our lines of perspective. Will find that this one also approximately fits our line of perspective. Now what you find is nothing is perfect and the reason is things aren't perfect because they're on different planes. So as they move back, you see this wall is in front of this wall. The lines will shift very slightly. And because they're slightly curved, so here it doesn't fit perfectly. And that's because there's a slight curve or the plane of the line is different. But it's a very good approximation. And this is simplifying perspective. We're taking perspective and just getting the one vanishing point. In reality. There's more than that going on. Just going to add in our horizon line for reference as well. I'm just going to get more through the middle. Then we can start looking at other things which don't quite fit our perspective and we can work out why. So we've got this building here and obviously this line and the window, they're not fitting our line of perspective at all. And the reason is that f facing us. So all of these buildings are on approximately the same plane going this way. This building is facing us, so it's got no perspective. We've simplified this into a one-point perspective scene, which means anything that actually facing us will have no perspective lines at all. If we look really carefully as well, we will see. So with one-point perspective are vertical lines should all be vertical. So if we were drawing a box, we should be able to just draw down vertical line to be completely vertical. But if you ever look, you'll see this line isn't vertical. So if we draw it out, it's much closer to the edge here than it is here. And the reason is, the world is complicated. So when we look at something, there's always more perspective than the one point that he put in the three-point. What we've actually got somewhere way up there, probably a few meters off my page. We've got a vanishing point where all of these vertical lines control it in here as well. You see this one sloped as well. So all these vertical lines are meeting up there. But we're drawing in one-point perspective with simplifying things, which is what our writers as an artist, alright, is to simplify things and make our sketch understandable and make our sketch fewer pool and to display the world as we want to display it. So what we're going to focus on in our sketch is this vanishing point. Are vertical, lines are gonna be vertical. We're going to have these no point perspective areas which can be interesting. We're going to have these fun looping areas, these areas of green which are not really straight lines. So we're going to make them that kind of area of the image which just doesn't care. And similarly, you've got all these lovely telephone wires which connect up the image. There is perspective to them, but they loop. So they're not following the same lines of perspective as the rest of the image. If we just take our background, we can see that's the sort of construction that we're aiming for. So you have that kind of simple idea in your mind. I'll pop it back on and we can make the background come back to life. Hello, we're going to do, we're going to simplify it. We're going to find our perspective, we're going to find our vertical lines. And then we're going to break up these vertical lines with these lovely looping areas. So let's move to our paper and we'll start sketching for real. 6. Step One - The Framework: So we've been through everything in theory, we've had a look at our reference. Now, let's get to our first sketch through this. This first lesson is the longest of my class project lessons. And that's because what we're gonna do, we're gonna draw out our grid that we can work from when a torque gradually, gradually about how we build these key areas. There's key lines and get our sketch started on the right foot. So here's my bit of A4 paper. And I'm going to start by sketching out Today's key construction elements. So first we want our horizon line through the middle of our image. Then we just want to decide on a vanishing point and just think about your rules of composition. And remember we want our focal point to be on one of those lines, or third eye in a pop of vanishing point off to one side. And we can manipulate our image so that that fits. Then, instead of doing a ruler for the rest of the vanishing point, the rest of the construction lines, I'm just gonna do them free hand because the rest of the sketch can be freehand. We want things to feel loose from the beginning and just have a think about your reference. We've got a, a wall going like this. Then we got a very steeply angled roof coming up here. And we've got a few other things like Windows, it will fill in the gaps with some other lines to guide us. Then we've got the bottom of the wall which is coming down, something like that. Then on the other side we've got the we got to sort of answer. We've got a pavement first, so let me let me get the bottom of the building. Then we got the bottom of the windows. It's getting that line in. And then we've got the top of the windows just above the horizon line. Of course, they're only just above because their level with a door and the door is at about a few inches above her head level. Now we just got a few other tops of buildings. So let's just try for another couple of construction lines in there. So now we've got this kind of grid that we can work from. You didn't have to draw this, and I normally wouldn't draw this, but this will hopefully just display the thinking process that I'm going through automatically what I normally just sketch. So with that in mind, let's start doing our sketch. I've got my Lamy Safari fountain pen. Just gonna get my phone nearby is today What I've got my reference on. And we're going to start by finding some of those vertical lines. These vertical lines are how we rule together. This kind of image that we've constructed. So if we just start popping in little vertical lines and join them up. So this is the top of that roof. And then it's got a basically a horizontal line to the next roof, which then comes up like this. And then between them we've got vertical line coming down and another vertical line. And then we've got some of these loops. I told her. I said greenery, but the greenery, the lovely work breaking up this very architectural feeling area. We can do it with loops, we can do it with the leaf-like shapes or however you'd like sketching your greenery. That just breaks up this otherwise quite strict feel of drawing. And then we can move down. So we've got now the bottom of this, at the top of this wall, which is just above the horizon line. And it kind of comes down in steps and then comes all the way out towards us. And at the bottom we've also got sort of a bit of a mucky edge and we kind of texture leaders, a few bits and pieces going on. Now, in this building, we've got windows so we can put the bottom of those windows along our construction lines. We do the same here. I love doing little continuous line and feel and joining up things. And so that's why I've got extra lines here, but you don't have to. You could just make it neat and perfect and just get these feel on the construction lines. It's going to start adding in just a few of these details as well. Got this little guttering or rain pipe or something coming around. So let's, let's find that another n. Then we can come across and we can start building up the other side of our image. So what have we got in a distance? We've got this building which comes forward and then there's a fence which comes all the way out. And then we got the bottom of both of those. And all I'm doing is I'm working outwards. I'm working with my reference image coming out towards me. And we can change things as well. Because I've moved the focal point off to one side, the vanishing points off to one side. I'm going to have to expand some of these buildings, but because I've got these construction lines, it can be very easy to expand it and keeps some accuracy. You may make noise. I will cut this bit out. Then we can do the balcony. And we can grab this edge that we studied quite extensively in the last lesson. Then we can come down and we can start finding these. Got a big window, haven't we? We've got a doorway as well. And they all meet at these bottom edges. So at this point we can probably just bring this bottom edge along. We find it's got a little slight patent. It comes up. It doesn't fit this line of perspective perfectly because it comes up towards us. We've got the same thing here with this pavement along this line, but then it cuts in a slightly different lines still towards that vanishing point. Now, we can just manipulate our image using those construction lines as our basis, but not as our strict rule. Let's get the next building. And so I'm actually going to extend it a bit higher than this construction line. So I'm going to bring it is actually if we look in the reference is about the same height as this building. So that's what we've done. Then we can bring that out. Again. We're just expanding it a little bit, just like we're simplifying the perspective. It's absolutely alright to simplify other areas as well. Now, this line here, you notice I've slowed it down. So I'm adding in a second vanishing point over here. If you want to totally simplified to one point perspective, keep that line horizontal. And that will again, it will simplify things that will provide a slightly warped but interesting warped in this world is not a bad thing. I've walked view perspective, but warping perspective is interesting. It's an artistic choice, which is what separates our art from being a video. A video. Sometimes when I'm talking, I'm not sure what I'm saying. What I mean is separate art from being a photo because we change it, we make changes. We simplify. So don't be afraid to simplify, to change, to manipulate. And then we're almost there so we can get the top of this wall. Then. You see how Rus gradually, gradually we're building up rather unimpressive zooming outfield. This whole image is rather interesting. And we can just pop this little crumpled edge here. And then we can find some of these other looping structures, these trees which just break up all that rigid perspective fail. Come along that day. We got a little window in the background. Let's just start finding now some of these details. Then we've got these other windows and all of these things are fitting our construction lines of perspective. And there's really nothing clever. That's all we're doing is just because you've got those lines in, we can use them and we can really simply make everything fit the same sort of worldview. Notice how my lines are a bit wonky and wobbly. That's how I love sketching. I notice how despite them being wonky wobble able, despite everything being so the freehand. It still, at least for me, you can disagree, but for me, it still works. So don't worry about being perfect. Certainly don't worry if your construction lines are a bit off. Don't worry if you have to change perspective or change the size of the building or whatever you have to do or want to do. Just try and experiment. And worst-case, it won't look exactly how you wanted it. A little tip here when every detail that we do, every little detail has to fit the lines of perspective. So even though these bits here, these two handles, There's a little vent under here. All of this, everything fits those lines of perspective. And we can find these list all little shapes. Now in the distance, it's very complicated, isn't it? It's very small. Everything's close together. So how do we accurately sketch that? Well, we still don't have to. What we can do is we can just put some noise there. Few vertical lines, few loops, and as things vanish, we can't see them. And that's why it's so complex. That's why it's so hard to draw. So we don't have to see them in our sketch. We can compress things. We can just make this suggestion of the amount of detail. That is, they're like, I can't count these trees. I'm not going to try. I'm going to just add a few of our trees using similar sort of loopy but leaf shapes elements. Then we've got this lovely house, which he talked about in the last lesson, which breaks up that perspective. And then you go, that is the first part of the sketch. Them where we have focused on all those details and narrow them down. What we're gonna do in the next session is just pay a little bit more attention to a few fine bits of, of our pen work like bricks and things like that to see how we can add a tiny bit more interest to our sketch. 7. Step Two - Details in our Lines: Having got the main sketch down, it's time to add a bit more interest and add these little details. But there's little details still fit perspective. So we still need to think, even with every little brick, a little bit about perspective. This might sound like a headache, but I promise it's not. And I also promise that as you practice, this kind of thing becomes automatic. I also promised that it's not important if it's not perfect. And rarely are my sketches anywhere near perfect. So don't worry about it, but just bear in mind and have a think. And I'll show you now how I approached this sort of area. So we've got our broad structure here. Let's add a few more interesting details. So I'm talking about things like this and paste things which are breaking the mold, then not sat on our construction lines. And then they come with things like these wires, which again, they do have perspective, but they're not in the same plane. They're not sitting in the same way. But do you see how just the simple touches and all I'm doing, I've got my scaffold here. And then I'm applying a nice gentle loop and you can practice it off the page or you can practice over the page. Then just go for it. A gentle loop. And we've got a couple coming in the edge here as well. So we can add those in. Just these lovely little shapes which breakup otherwise quite a rigid sketch. We also got lots of little details, haven't. We've got all of these bricks going on, so we can start adding in a few. And I would say less is more, especially at the start, less is more. But the key is to remember your lines of perspective. So all of these bricks, all the horizontal lines, will be flowing Along the same horizontals, which is add a few bricks here and there. And we can find maybe little details we missed before. And we can just keep those bricks going along these lines of perspective. So as they come further down, the vertical is still vertical with the horizontal is sloping more and more. And it's the same with little touches like in these windows, all these slaps will gradually slope. Well, that's like more and more of the top, less and less at the bottom. And we can add those in. Another point to note is these bricks were all the same size, right? But as we get further away, so we add in a few bricks over here, they get smaller and smaller. So that's another part of perspective. Perspective is, isn't just the angle of things, it's also their overall dimensions. And as we get further away, we know they get smaller and smaller to our eye. There in fact, obviously the same size, but I think getting smaller. We can just gradually adding these lovely little details. There we go. Just working in these gradual details, sticking with those lines of perspective means that we can build up all of this interesting or image. Keeping accurate, keeping it fearing correct. But also learning to break those lines up with looping structures, with other things which don't fit the mold, which just provide another point of interest. Things on the road are also going to fit our land's perspective. So as, as these bricks come closer to us, they get bigger. We can very easily just sketch in it will constructions feeling lines all going towards the vanishing point back there. Then we can use those scaffold to building our bricks, remembering as they get further back, that they get smaller and smaller. And that is all we need to do. So now we have got our sketch. We've followed the rules of perspective, we've built it up very nicely, and we're ready to move on to the next stage. The next stage is another point of perspective. This time we're gonna be thinking about atmospheric perspective. 8. Step Three - Atmospheric Perspective: Now the last little bit of pen work, and this time we're thinking about that atmospheric perspective. We've been thinking about linear the whole time. Now, let's just have a quick think about how we can change the atmospheric perspective a bit with our pen before we move on to the color's perspective or one-point perspective sketch. It's very almost finished. We're going to add some colors, but before that, we're going to think about atmospheric perspective. So in all of this we've been thinking about linear perspective of vanishing 0.0 horizon line, all these construction lines. Atmospheric perspective is the idea that as things get further away, they get fainter. Outlines get fainter, colors get fainter. So it's an important thing to consider with our pen work, particularly the weight of line or the density of line. So as we get closer, we want online work to be bolder. And what we can do now, we can go around some of our key lines and just do the harder, firmer, more pressed line. We could find more detail. So more of these textures and these details are adding to that line density. All of this adds to the atmospheric perspective, bringing things forward. Even little windows can have that increased density because these are windows which should be standing out compared to the windows in the background. So we just go around. It doesn't take long and you can actually do this after your colors as well if you want it or instead. Which is the way I most often it's most often idea, I loose light sketch and at the end, I come back and I add a few more heavy lines to reaffirm some of that perspective. But this isn't equally valid way of doing it is just a different order, nothing else. Then as we go further back, we do less and less for weighting of the line until we get into the distance where we just keep our standard loose and gentle lines. Coming forward here we can bring out more texture again. I'm make things bolder. And before you know, it is a very short little segment of the lesson could before you know it, you sort of got this wonderful bit of atmospheric perspective that fits with your linear perspective and make things very clear what we're dealing with. A vanishing point somewhere back here, everything here that is very distant. Going to move on now to the color stage and the color will have a think about how we use it loosely, but perhaps in ways which still enhances our perspective. 9. Step Four - The First Watercolours: Finally, that first layer of colors coming. So color still has perspective. So we can still use our colors to enhance our perspective, to just enhance those structural lines. Or we'll look at things like shadows and how those shadows just show different planes and different areas. So even though we've moved on to the colors, we can still bear in mind that perspective. We can still bear in mind our sketch. As we move forward. It is time to add our colors. Now I'm going to be using to start with my little medium-sized Chinese brush, my standard set of watercolors. I've got big hub of water off to the side as well as a little I've got my normal sort of towel off to the side. We're gonna be thinking about how colors can be used to enhance the perspective and just generally make our image lovely and interesting. So I'm going to start with a really loose sky, because what we can see is this guy's got lovely bit of texture. Some blues and yellows. So just put some water in first and then touching some of that lovely blue. There's two things to think about with perspective even in the sky. One is that atmospheric perspective, as things go further back, we'll get fainter. And that is true for this guy as well. Also the sky, the clouds and things will be following lines of perspective. They'll have the same vanishing point. So that means that the shapes, so where we have shapes in the sky, the shapes will be bigger at the front. So we can even do that. We can make loops and we can make them smaller as they go back. And that's just a nice expressive way of suggesting that kind of feel to the sky. Now I liked just touching in little bits of pigment. I like moving around and keeping my sky really loose. Also by outlining the edge of our buildings and creating this sort of heavier dose of pigment at these edges. We are enhancing those construction lines. We're enhancing that construction all feel and everything flowing in. So those are two ways of thinking about the sky with perspective. Then we can keep things flowing. So with a nice seem like there's a one-point perspective scene. It can be nice to have things connected and that's how I like sketching. So I'm going to drop in some green on top of my blue here and that's going to flow into the sky. But then we can, if we look back there we go. Lots of shadowing. Blue is a lovely basis for a shallow so we can use some of that same sky blue, the cobalt blue. And that can then flow towards us as a shadow coming out of these, this vanishing point. So now we've got this lovely connected sky, this flow towards us. We can find another couple of places to keep that connection going. So we've got this tree here. Let's get that same green. So this is a cascade green. I'm just dropping into the into the tree here. And then we can just go back. Do you see as the colors dry, even if they try only for a few minutes, we lose some of these shapes so we can go back, we can re-introduce bit of shape. We can drop a few more bits of yellow in. Just the yellow for me is simulating sunlight that's breaking through. You can also drop water in which will create this kind of negative cauliflower or push away some of the blue. And we can get these shapes just progressively enhancing. Then already Let's think about our atmospheric perspective and get these colors in the foreground, this foreground tree to be much bolder than the ones back here. Now, we're on to some other aspects of our perspective and our buildings. So another aspect where all these, all these walls are sort of, why aren't they? And we got quite light whites going on in most of the street, but we've got other definite shadows going to stick with the same blue to start our shadows off. If we just gently block in these areas which are shadow. And again, don't worry about colors running. We'll have another layer of watercolor after this where we can fix and if we want to fix or we can manipulate some of these colors, but just by blocking in these these areas which are not part of the perspective. And what I mean by that is these are the ones which are flat, they're facing if they have no perspective, by blocking those in and giving them a shadow, including the edges of windows and the edges of doors. We can just extend that shadow a bit, but by blocking all of those n, we're highlighting them as different. So now we have all of our instructional elements jumping out at us, being really bold, being really interesting. And we can. Again, just go back to our trees and go back to our sky and find a few bits just because it's dried a bit more now, we can find a few more bits to just enhance and keep that variation going. Then what is next? What is next in this first layer of color as well, we can start now thinking about actual color. We can think about how we create the feel of these different elements, these different elements of brickwork. So we've got the white walls, but then we've also got the lovely bricks that we've drawn in. So those bricks, I'm going to use just a gentle warm color. So I've got a bit of quinacridone, sienna. And I'm going to do a really loose little wash of that on these warm brick walls. And you can see because I wasn't thinking I've popped it on the wrong wall, but that is okay because look what happens. Let's extend it to here. Then because it's nice and watery, I'll be able to go in clean dry brush and remove most of that color. It doesn't matter if it's not all removed. We got rid of most of that color. So we're back to all my square one. Mistakes happen to everyone, especially if you're not fully concentrating or you're in the flow, it's easy to make little mistakes. The trick is to know how to correct them and to know that it doesn't really matter, that it's not important. If a few bits go a little bit awry. Let's then do the same here. Just a gentle wash of that color, keeping a little bit of blank space on the page as well. And then we've got some other nice little touches of other warm colors. And we got the red which is up here. I've got the red that's down here. A little bit of it going on here as well. What we can do is we can just stop making this reef, have a bit of interests. So I'm gonna make it, I think it's got a little red hint, read hints, right? So I'm going to give it a red undertone and there's a deep shadow there as well, which we're going to add in a bit later. This tree here has got some red flowers, so I'm going to add that red and then pop a bit of green on top. And then coming forwards, this wall is a bit shadowed, bit warm, so little bit of a warm brown followed by nice little wash of our blue. Now we've got this scene all linking together, all being quite interesting. And the colors are flowing down this lines of perspective. They're enhancing those lines of perspective. They're showing the different planes. And they really enhancing the simple sketch that we did as well. Just a few little touches here and there, just to create a little bit more variation. And then what we can do, we can let this first wash of color dry and then we can come back. And what we'll be doing next is providing a little bit more shape, a little bit more structure to our colors with some more intense colors, more or fit colors and a smaller brush. 10. Step Five - Bolder Colours/Shadows: So what we've got now is already Listen lovely, sketch, some beautiful colors flowing over it. And now we can take it up a notch with some darker, more intense colors. We can really provide that killer kick where it really comes to life. So let's have a look and have a good, have fun using a smaller brush. Darker colors, more intense colors, and see what happens. So you can see the page is now mostly dry and it's time to come in, add a little bit more specific color and a specific structure with our color. I've got my size six brush now, little round brush with a good tip. What we're gonna do, we're gonna find some shapes, more structure in this image. It's going to start at the back and work forward. And that will mean that our atmospheric perspective works out very nicely. So I've got my same green, I've mixed it with a little bit of blue. And that's gonna give us a nice deep, sort of slightly muddy green. What we can do is we can use that to give these trees in the back. They will touch of shadow. You see just by doing that and maybe providing a few little lines. We've given that idea of a shape to the trees at the back. As you come forward, you can do the same with the other trees. And this time remember, we're making a tone more intense so that it comes forward and even more so as we come forward here, not just more intend to put the color tends to be more saturated. And it may or may not appear that way in the reference or in real life. We can still manipulate it so the color is more saturated as we come forward because it's our sketch after all. That would mean that we are showing the viewer are few. We're showing them what is really going on. When we look at this image. There we go, got more saturated colors as we come forward. I'm just going to soften and move a bit around until I like the feel of that. And I can add a few splashes as well. Just to fill in this negative space here. Well, not so much fill it in, but to give it some things so it's not just blank. Then what's next as we move forward, we've got these these wolves back here. I'm just going to take a little shadow color. I'm going to take some moon glow. I'm going to start finding some of these shadows and applying it there. And we've got the same shadow underneath, haven't we say, we can bring that shadow forward? And we can find that shadow actually, again, to enhance our linear perspective because it's going to be shadowed under the whole of this curb. And just ringing that shadow, all the different places. We find that the doors, the windows, underneath the windows like this. And just moving around until we're satisfied that our first touches the shadow, we're doing the right thing. Let's start adding a bit more bright color in places as well. So we've got this lovely blue in our sky. I'm going to use that same blue for some of these windows and doors. And the windows and doors are much, much less bold blue in reality. But it's nice to use a set of color which flows through the image. So because this blue is in the sky, having it popped in these windows and the same color of the shutters. I think just join things up, make things feel more together and no one is going to know or remember that, that she wasn't quite that blew. It was a bit of a different way. They just know that the shutters are a nice bold blue. So we can go round, we can add that in. We can take a slightly different routes. If I take some indigo, I can drop that in, in a few places and just create that variation. And I can use that deeper blue to enhance some of those shadows, those edges that remember we have applied a very loose shadow to you at the beginning. Same here. Then we can come all the way forward to this one. And you'll notice that my colors are all run together. And that's again, how I like sketching. I like the abstract feel that brings I like the way I'm influencing. We're not totally controlling my image and I like working really fast. So that's why I do these things. But if you want to sketch more, controlled by all means, the same techniques apply. I can take a bit more of my red. I'm mixing it with a bit of blue and green in my palette to create a deeper red. This time, I'm going to find those nice red edges again with this. And that. Roof that we've decided is definitely red. And just grabbing some of that shape. The same down here where we've got this lovely red edge. Or we can just layer over the top of it and we can perhaps even just add a little bit more where it's run into the frame, I think is really interesting. So I'm going to go with it, add a bit more, make it my sort of my indecision. Then going to come back bit of that moon glow, a nice shadow color again. And find some more of these shadows, including under the roof. So while this is still wet, we just apply that shadow color underneath. It will become a nice soft mix of shadow and red roof color. Do the same here and we can actually start to enhance these other shadows we already added in. We could do the same on this wall as well. We can enhance his whole will, make it more shadowed, more bold and more. Pulling out these different areas of perspective. Got one window that we can see I've missed, so let's find our blue. I'm pop that in there. And I'm just going to add a little more shaped this one as well, but giving it a wash. And actually I liked that so much that I'm going to go and do that too few of these background windows as well. Now what is left to do is certainly a little bit more work on our brick quick. So I'm going to take my Quinacridone sienna, that nice warm brown. I'm mixing it with the moon glow. Now we can pull out a few individual bricks. We can also pull out just general shadows. We can create loose washes in places. We could do some splashes. So if I take We're water, I can splash into these walls and even bring that splashed down onto the pavement. Could do the same here perhaps here we want to just slightly different times. We can take different amounts of yellows and reds and wash them into that wall. We can still come back and drop a few brick marks on it. Can you find things you forgot? So here's, I forgot about this building again, I've thought about it with the sketch we've got about it with with my colors. So we can now go back and we can bring them out. We can see it's got a nice red roofs, so let's get that roof color as well. And a few little spatially is just again, to highlight these decisions. We've made these little red touches. We're making them around by playing some loose flashes and things. I'm gonna do the same with our shadow color. And I'm going to just bring some of these areas into shadow, which presently on I'm just moving around applying little bits of texture to our wolves. I've got this frame here which we can bring out as a shadowed area as well, which kinda just encloses the whole scene. And then onto our pavement, we can do the same thing with some small bricks. More shadows. There we go. So that is my second layer of color done. One more little to go on this, which is the final touches of pen. To make it again, just seeing and bring out that atmospheric perspective a little bit more. 11. Step Six - Finishing Touches: We're onto the final stage. So all we're gonna do now, take our pen and just enhance a few little areas. These are the finishing touches which really takes something lovely and loose and give it that tiny bit of extra structure. Still thinking about perspective, but that tiny bit of extra structure to make our sketch into a finished sketch. So we are back again and pretty much dry. So certainly touch dry almost everywhere. That means we can come back with our Pen and what we'll find if we just add a few more touches is adding this pen onto paper. We've had watercolor on, means a pen comes up bolder. So when we are thinking about perspective, remembering atmospheric perspective, we know we're going to have to be a bit careful with those finishing touches because everything that we apply the pen tool is going to feel like it's leaping forward. It's going to have a much stronger lisa atmospheric perspective, which is fine as long as we think about it. In fact, we can use it to our benefit as long as we think about it. So just go round, nice and gently. Adding in these more structural touch it. When we are on the really distant objects, we have to be really gentle when we're on more important objects. One to want to stand out, well, it's great because suddenly these lines that automatically much bolder. We can bring out textures on their roof. And they'll be just naturally much bolder. Again, just as we come closer, we want these lines to be bolder and bolder. And we go, and just really we can go a bit more with these textural marks as well. Same on the ground. And just the little marks all just enhance that. Both the atmospheric and the linear perspective. There we go. Not too much more. Just kidding. I think even couple more touches on this door. So we've got that lovely shape with all this layering of blue. So let's just bring it out a bit more with pens. And then before I go too far, before I do that touch, I regret. I'm going to leave it there. So that is my little sketch, my one-point perspective sketch, but we're not just thought about that one point. We've also thought about the atmospheric perspective. So time for me to unveil it and say thank you. In the final lesson, the thank-you and summary of what we've learned. 12. Thank You and Summary: It's time now to do the unveiling. And here we go. Let's take off the tape and see what we're left with. And of course, we are left with this, which is really fun. I rather like it actually, it's got a lovely atmosphere to it. And a lot of the atmosphere comes from this sort of disappearing feel, this big bold side with it disappearing off into the background. I hope that you're as happy with yours is I am with mine. Won't be amazing is if, if you're happy, if you have time to leave a class project to upload your, your sketch, perhaps some of you photos from your sketches he went along as well, just to share and I'll provide you some feedback, some questions, a couple of discussion points. If you have the time, if you enjoyed the class would be amazing. If you could leave a review, it means the world. It helps me understand how to improve, and it also helps this class spread and shares the word. Most importantly, I hope you enjoyed it. Please do connect with me on my socials app to be urban sketch. I'm happy sketching.