 Hello there, it's Sandy and today I'm going to be doing a wash and ink piece, watercolor and pen and ink, and doing a spooky barn with bats flying above it. And I want to talk through some perspective stuff here. Lots of you are saying that you like my perspective lessons, so we're going to do that. We're going to talk about a new class that's available today with spooky buildings. And this one is like a little over the top piece. I've got some stories to tell with that, but I'm excited about the new class, so stay tuned later on in this video to hear more about it. It's the season for doing spooky things, right? It's the end of September, early October, when you're seeing this, probably, I hope. And I'm going to do a perspective lesson, a little bit of practice because I've been enjoying perspective. And for this particular one, I drew a horizon line and then picked a point that's like way over on the side of my desk for my right hand vanishing point. And it's going to be in alignment with that horizon line. Vanishing points always end on the horizon line. And then over on the left side, it's going to go the other direction. So it's going to point out the other way. The roof line here on my crazy barn does not have any perspective applied to it because it's a crazy roof line. So just know that when you're drawing things that if you've got an extra steep roof or a point on it or something, it's not going to necessarily have to be in alignment with all the other lines. I wanted to put another portion onto the barn, a little add-on to the barn, so I just started drawing another box. And that's really what buildings are. It's one box, paddled on another box, paddled on another box, and they all have just roofs of different sizes at different pitches. And the pitch of the, you know, the pitch or the angle of the roof is going to be the same left and right. Those are mostly, well, I won't say all the time because there are perspective rules that will distort those on occasion. But for the time being, I'm going to keep this really simple. I wanted a simple building that could also be spooky. So that's what I'm trying for here. And now I've got another barn shape that's in the distance behind the main big barn. And I'll draw in some windows and some doors. Each one of the tops and bottoms of the windows and doors will fit alongside the same lines. They're going to follow the same lines of perspective as the panel that they're on. And I know you're asking, Sandy, how do I know which of the perspective lines are going to go which direction on which wall? Well, you figure out which one is facing which way. The ones that are facing the same direction are going to go together. So the red ones and the pink ones are going to go off to the right. The blue ones are going to go off to the left. And you can see that makes for a V shaped wall that's facing towards you. Those corners that come forward where the red and the blue meet, that's the closest area. And then they go back from there away from you. So I'm rolling a kneaded eraser across the surface to get all of that loose graphite off the page and make my lines really light. So I'll just be able to barely see them, but there'll be enough that I'll be able to work with them and then just slather on some paint and, you know, good coverage, but very loose. And I like to have some motion going on in mind. So let the paint drain across the page, spray it a little, use a baby wipe to soften some edges as needed. And one of the reasons I like to do this is because I want the piece to feel fresh and loose. If I were to just draw the buildings very tight and then go in and paint the buildings, there wouldn't be any of that loose kind of fresh feeling to it. So that's one of the, one of the reasons I like the wash and ink rather than ink and wash so much better for the buildings. I'm going to take that same blue. It's lunar blue and yellow ochre for the two colors. I'm going to take the lunar blue and just cover the buildings themselves and all of the buildings except for the windows. And they're all joined. One big thing, instead of making them look like, you know, buildings that are pasted next to each other where I'm going to have to kiss up those edges and try to make them touch each other without overlapping. And then you get that weird line, yeah, that thing. I don't have to deal with that when I treat it this way. The only thing you have to worry about is making sure that the second color that you put on this wash color, I like to just do it in a second version of the same color. So I'm using the lunar blue again and painting over the walls that are in that darker color that go to the right, the red color, those walls. This is going to visually tell me that these walls are separate from each other, but it's also going to remind me which ones go which direction. Except for this one back in the back. I made it darker just because I wanted it to separate out from the building in front of it, but it's going to go off to the left. So now I'm going to use my pen. I've got a fountain pen out, a Twizby Eco. And I'll start making boards, clappards in the side of my barn. And creating them the once on the the panels that pointed off to the right that had those red lines in them, those are all going to go one direction and the others are going to go in another. The tops of those windows are all going to go off to the right. All of those are going to just go in that same direction. When I come to these other panels on this left side that are going to face off the other direction, I need to make the lines go the other way. And that's just going to help to create the illusion of depth when I just have this flat piece of paper. That's all I'm drawing on. I had to fuss with that very, very top window in that middle section, because I had made it too straight and I needed to bring it back down into looking like it's part of those same perspective lines. I added in some shapes so it looks like there's some things inside the barn. We're seeing through the barn to windows on the other side. So there's some light coming through. Did that in all the windows and doors. Drawing in shapes that look like maybe old pieces of wood, implements that kind of thing. Not really trying to make objects, but just give it something. And then start to break up the building because it looked too tidy. It's supposed to be spooky, which means it's supposed to be falling apart. So I made some random vertical lines to indicate some boards. And then like kind of poked some holes in the building with dark spots. I made a tin roof out of it by just making a squiggly line and drawing lines in the roof. And then we've got atmospheric details because these are going to make it feel more spooky. The moon that I had painted earlier, I painted so light you couldn't even see it. You probably didn't even know there was a moon there. So I'm painting a very light version of lunar blue around the moon. And then putting some paint on a toothbrush so I can get some texture into the ground, the grasses. And then it's time for the trees. So I'm going to paint a whole bunch of trees and draw a whole bunch of trees. Remembering that the tree trunks are going to be the thickest. And as you get out to the edges of any tree, the lines are going to get tinier and tinier. And I tend to start making almost dotted lines when I get out to the edges. I didn't capture it on film, but I did add some extra watercolor splooshes into the trees to make them a little more playful. And I added some bats flying through in the background as well. So it's a fun way to just take some blocks, turn them into something, and turn it into an exercise in perspective. Which brings us to the crazy project that I showed you at the very beginning of this video. I wanted to practice my perspective. I like perspective. I find it fascinating and figuring out how buildings work. And I'll never be an architect or anything. But I enjoy the process of trying to make something look like it's got a balcony or a window or a part that's inset or raised from the building. Like all different kinds of things like that fascinate me. I maybe should have played with my Legos more when I was little. I'm not really sure. But nonetheless, I had a blast doing this piece. If you want to see more of it, if you want to see how I did the drawing, how I drafted these buildings so they look like they were in perspective, and then more about how I actually approached the pen and ink part that I'm able to get into during this video. I have a solution for you. And that is a new class that I just launched. I was not planning on doing a Halloween class, but I had a couple of friends of mine that I showed a few of these pieces that I've been working on to. And they were like, oh my gosh, I hope that's a class. I want to learn how to do that. And when I get that kind of response from people, I kind of think, OK, well, maybe people would want to learn that. I don't know. So I hope somebody does because I spent a lot of time on it. And there's part of this video in that class. So let me tell you a little bit more. The first lesson in the class, I call it a warm-up, is taking the barn that was done in the first half of this video and really looking at it more deeply. There's more footage in there. It goes a little slower. And I talk more through the specifics of how to create that piece. You can create it from this video. It's not that difficult. It's just using a couple of blocks together. Then I have a couple other lessons I'll talk about in a minute. And then I jump to, for the final lesson, this is more of a bonus, is the drawing portion of this piece. So I'll show you, from start to finish, how I created the perspective for this, why it came out looking the way it does, and what I was thinking throughout the whole process. So these are quite long videos. In this last lesson, and then I'll let you walk through this, and I'll talk about more perspective stuff and more about the textures and everything and what I was thinking and just how I worked through the piece. It's not expected that anybody's gonna do this because this is crazy. I'm just gonna tell you, you need to have more time on your hands than most people do. Like, if you end up doing this one, I hope it takes you like six weeks to do it because I tried squeezing it into a couple of days and that was painful. So it was fun, but it was really hard to do in like one big sitting. Nonetheless, there is a third piece, and that's where the main focus of the class is. And it's called spooky mansions because we've got a spooky barn, we've got this spooky mansion, and then in the middle, there are three extended lessons, and those are taking a photograph of a house and adapting it. So we're gonna take just a picture of a house and change it up. We're gonna change the perspective on it. We're gonna change some of the elements on it. We're gonna decorate it. You can add all kinds of things to it to make it spookier if you want. If you don't want it to be spooky, you just wanna draw a house, you can just draw a house. You can leave off the spooky. Totally fine to do. If you wanna make it whatever kind of decor you want to, then rock on with it. I'll show you that one at the end of this drawing in just a minute. But in that, I'll have one video on the drawing of that thing and how we get from the photograph to the sketch and then to the stage where we're ready to do the watercolor. And then we'll walk through the watercolor a little slower than what we did here in Blasting Through That. And the painting will be a little more complex because the house is more complex than that barn. So those will be tips that will serve you well in all of your watercolor. And then we get to the inking part. And so we'll talk through all of the inking of different sections and how to make the textures work, that kind of stuff. So we start with the barn, we move to the spooky mansion and then we get to this crazy bunch of nonsense, which I think sometimes when I do a voiceover, I think, you know, I made sense there. I think that's helpful for people. I don't always have that sense. I often wonder, does anybody have any idea what I'm saying? But I think in those videos, I feel really good about them. So if you're interested in Wash & Ink, if you're interested in doing some loose architectural sketches because I don't do architecture, I do building sketches like this. So if you want this kind of a style, then please feel free to check out the class. It's in the doobly-doo down below. And hopefully enough people will take it that I can pay gas money to get to my niece's wedding in a couple of weeks. Because I'm looking forward to watching her get married, but with gas prices, it is tough out there. My gas prices near me have come down, but I'm going to a place that's expensive. So we shall see how that goes. But nonetheless, it's fun to do drawings like this. I have a blast when I'm working with perspective and then working with textures and trying to make each part of the building pop out from each other, et cetera. So I just enjoy those kind of things. So the end of this video, like not all of it got caught on tape, so there are gonna be, the trees in the background will not get included. Sorry about that. But for these graves that I put out in the yard, I tried to figure out which panel was facing closest to me, the way we did on the barn, which panel was closest to me and not facing the moon in the distance. So that would be the darkest side in the same way that on the barn, we had the side that was darker and the side that was less dark. And that's what I did with those so I could turn them every which way. They go different directions. And then I decided since it's not winter yet, there would still be some leaves left on this big gnarly old tree. So I added leaves onto it. And there we go. That's the end of that. So for the class, it's called Spooky Mansion. I'm calling it level four because there is some good drawing to be done in here. And I will show you how to take the photograph, adapt it to make this drawing. And then we're gonna paint it. We're gonna use instead of lunar blue and yellow ochre, we're gonna use moon glow and yellow ochre. Although you could use lunar blue for both I think. And paint all the different portions of it so we get these value differences that are gonna help when we do the pen and ink work. Because then the pen and ink is the fun where we get to draw the lines and the textures and everything. This one was just such a blast. And I hope that my friends were right and lots of you are interested in learning how to draw something like this. And if you're not interested in learning how to draw something like this, there's also a link to the sale page because there's always something on sale. If you wanna check out some of the fall classes that are there, because there's other things in Copics and pencils, all kinds of fun stuff. And I will see you again next week really soon because next week is around the corner. I will talk to you guys later. Take care, bye bye.