Really very important just to do a little warm up here. Don't get bogged down with perspective. Learn how to do some straight lines. I call these the flicking lines. They flicked down, flick over. Let's do five.

Then we'd go beside them again. You notice I'm just using my wrist action. I'm not using my arm, using little more arm this way, but coming down, just letting it click, try and make them smaller now gets bigger to smaller. Cities are comprised of a lot of straight lines and a few curved lines. So practicing lines is very important. You don't want to be doing this.

Or I hope that line straight. I hope I make it straight for this building. There's no character in it. And that's not a bad line though. It's better to really just let it go like that. So sit there and practice some straight lines, big, little straight, all directions, to the right.

To the left, down, up, push up, pull down, across this way, across that way, practice, practice, practice those lines, get them going, and a couple curve lines. Okay, whoa, I'm starting to see buildings already. Palm trees. They, well, it's getting. It's good. It's good exercise.

I'm going to just practice it on the cardstock paper. First, just a little cityscape. Start with two lines. It's a building, no big deal. Add two lines at the top. And let's do a higher one this time, but let's put it behind this one.

Ah, behind, in front, behind. Very important in front of behind. Let's add a couple little lines this way. Let's flick, flick, flick, flick, flick, flick flick at some windows. I am not going to be drawing all the windows. This looks like oh and then add a little top to it.

And it's more of a 1960s or 50s New York style building, maybe even 40s something Superman might chop off and start flying. Okay, so two buildings. Now, let's add some random lines going different ways. But if we come to these two buildings, we have to stop and hop. You see? Now I'm not conceiving it in here I'm just playing with straight lines.

And that's all I'm doing. No linear perspective. This is just ease. Well look, it's starting to look like now here. We've got some warehouses going on here. Let's put the windows this way.

Let's make a little thicker. There we go. I went to New York City once I got dizzy. never went back. A couple little flicks at the bottom. More Windows, Windows this way, or this going to be more of a modern building.

It's got a sculpture on top. It's actually a solar solar heating panel. It's a modern city. And it's got it doesn't have little windows. It has a large window that brings in power. So cityscape just start thinking buildings.

Lines, maybe a curve on that. Looks like a library Carnegie Library. Okay, there we go. I've just had a good time. Now imagine if you actually had a city in front of you, and you're able to gather a few shapes from that city. Going round up your big tower Oh restaurant on the top.

There we go. Now let us sort of just drift over like that with some shapes. We could make this a night scene. And then this is the important part. Put a couple little long sweeping lines in front. put a few little dark sticks like this for people.

A couple little trees hearing there along the avenue maybe some round trees behind all of this could be a part behind the city. I'm telling you that it's not hard if you just keep moving that pen and Now what we're going to do is we're going to do one little perspective trick. And it's this straight line here. pretend there's a little dot and EBT dot right there right in the middle of your paper basically, and the lines are shooting from the dot now doesn't know is only going to be one straight line. And that's the one right in the middle. Now you see it's shooting in that could be a walkway.

And we put a couple of trees there. Shade them in. Let's not put in the middle. Let's put one right there. I love city trees actually, they're well cared for. And they're lovely shapes.

There we go. What's here? I don't know. Maybe a bench. Oh, some of you people doing this might even be an architect someday. How do I know There we go a couple clouds.

Oh, let's put it in Vancouver, Canada, put the mountains behind it. Now next time I go to Vancouver, if I want to do a cityscape it's not going to be hard. For now I'm just going to take a pencil and I'm thinking I'm going to put some water here in the mountains behind it. Just give me a few minutes and you take a few minutes. Take a small piece of paper, draw a little and cityscape and we'll be right back. Okay, here's my little drawing.

I found it very simple. And I thought of a few design principles, a few odd shapes, a few regular shapes, round shapes, and I'm going to just take my fine Sharpie, and I'm going to ink this little pencil drawing Take our little brush, take a small bit of the fellow blue. Let's put it just to drop in there. Okay, that's called dispersion. Look how it's dispersing. Now if I don't like that, I can just take my paper towel, touch it, and you'll notice it stained the paper.

We can't get rid of it. We're so used to making our skies blue. Let's go for sunset oranges and let's just take this yellow and see what happens. The yellow will never really go The factor is for the stainer colors like a lizard and fellow yellow just behaves itself all the time. So notice I've put my yellow on here, my papers flat and doing it that for that reason is I want you to realize that when the paint is wet, you can pick it up. So some yellows, like cadmium, Hansa.

They're a little on the thick side. So they like to go on and then pull them off a bit. Pull it down now Now we can start pulling it down. Wherever we see trees. Well, there's the trees so the reflection in the water and maybe a little bit in here. So look at that one swipe of yellow what it's done.

Now because the yellow is behind the buildings has We can make that into a nice little cloud later but I'm not going to go green so I stay away from it. Okay, I'm gonna take a little bit of the loser and just to drop looking a little have a little bit of paint I'm using and watch how far it goes. Okay, I'm going to put some of this. Oh my goodness, look at that. Rush has some blue on it. And I can take a pinch of yellow.

I have the three colors here. And I can just sort of boss them around. We'll make a gray and now I can take a little more of the blue. pop it in here. Take some blue into the Mountains water, then just putting in little bits of paint. To make reflections, remember just subtle strokes downwards.

I'm going to put a little bit of the red into the cloud up here. Whoa, whoa, look at that. This paper is still very wet, very wet. So I can dry off my brush. Just soak it up a bit. And what I'm doing here is putting a little bit of the red into the yellow just to drop into the yellow sky.

Because it's sunset. Bring a little bit down over here now. Now notice how I'm not reacting. I'm watching, don't react to your picture unless you get a good reaction like whoa, that's cool, but don't react in a way that stops you from continuing. Just keep watching what happens when we drop little dark areas and now here's the fail off. I'm going to go for a little stronger fellow right here.

Look at that just it's got that factor, I call it getting some darks into my greens. Look at that. Whoa, okay. Tap it out. See the peak because the papers wet if you're fast enough. It goes too far, just tap it out.

I'm going to do a secondary color, I'm going to take a little bit of the red, put it in here, see that clean off the brush and take a little bit not to fail, I'm sorry, the ultimate rain just to drop and put it in with that to get that purple cloud see. And now this is not quite so wet anymore. So I can add a little bit of purple there. I can now start putting a little maybe down into the water ain't here. So now I'm just having fun with my small brush and small amounts of paint. So I can't really get into too much trouble keeping things controlled with little bits.

Light sort of passing through here at this point. So remember, just because it's a small picture doesn't mean it won't take you a little bit of time. Small doesn't mean No, no work, you can get a fast small picture. You can also get slow small patches. So once the papers wet, you can put some more paint in it to make it darker. That's where my reflection is gonna go straight down there.

Start darkening a few things. Always leaving a little white shine. For the reflection. I'll do a very strong yellow with sailosi think I'll leave that one just the way it is a lizard one and since this is the end of this little session here, I'll mix it with a little bit of this green and I will get a very dark color and look at dark areas, you know getting into the darks. I might want my windows dark and the papers just drawing rightly so it's not spreading all over the place and I'm starting to add some darks and designs. Watch, keep watching things and it will turn out.

Have fun with it. If you're not having fun You're not doing art