Line and Wash Watercolour Tutorial for Beginners - Step by Step Urban Sketch
Summary
TLDRThe video script offers a step-by-step guide to line and wash sketching, a technique that combines ink and watercolors to create dynamic sketches. It emphasizes the importance of starting with simple shapes and loose lines, which not only allows for spontaneity but also makes it easier to correct and incorporate mistakes into the artwork. The process is broken down into five stages: beginning with a loose sketch focusing on shapes, applying a watery wash of color, adding bolder tones and shadows, introducing punches of color, and finally, enhancing details with ink. The artist encourages viewers to experiment with the medium, highlighting that watercolors have a natural flow and that overworking a piece can detract from its charm. The guide is suitable for beginners and experienced artists looking to refine their line and wash skills.
Takeaways
- 🎨 **Start with the Basics**: Begin with simple shapes to build up a sketch, which helps in creating a foundation without worrying about perfection.
- ✍️ **Use Waterproof Ink**: Utilize a fine liner or fountain pen with waterproof ink for the initial sketch to ensure the lines remain intact when watercolors are applied.
- 📒 **Sketchbook Choice**: An A5 size moleskin watercolor sketchbook is recommended for its portability and ease of use, especially for beginners.
- 🖌️ **Brush Selection**: A small round brush and a Chinese style brush are suggested for their versatility in handling different areas of the sketch.
- 🧻 **Utilize Absorbent Materials**: Keep kitchen roll on hand to help with controlling water and achieving desired textures.
- 🌈 **Limit Your Colors**: Stick to a limited color palette (around five or six colors) to prevent overworking and maintain a harmonious look in the artwork.
- 💧 **Water is Key**: Remember that watercolors are designed to work with water, so use it generously to allow the colors to blend and create the desired effects.
- 🚫 **Embrace Mistakes**: Treat errors as opportunities to add interest and character to the sketch, rather than striving for a flawless representation.
- 🏙️ **Focus on Focal Points**: Develop certain areas more than others to create visual interest and depth, leaving some parts less detailed.
- 🌟 **Bold Touches**: Add bold, bright touches of color and deeper shadows to enhance the sketch without overcomplicating it.
- ✅ **Review and Revise**: Periodically step back and assess the progress of the sketch to avoid overworking and maintain a balanced composition.
Q & A
What is the main focus of the video?
-The video focuses on line and wash sketching, which involves using ink and watercolors to create an interesting sketch. It is designed for beginners and those looking to understand the process better.
What type of sketchbook is recommended for line and wash sketching?
-An A5 Moleskine watercolor Sketchbook is recommended as it provides a good size to start with, is portable, and allows for experimentation without the need for perfection.
What are the essential pen requirements for this type of sketching?
-The pens used should be waterproof, with a fine liner of 0.1 to 0.3 millimeters being suitable. A flexible fine liner or a fountain pen with a fine nib can also be used to create a variety of lines.
How many colors are typically used in a line and wash painting according to the video?
-The artist typically does not use more than five or six colors in a painting to avoid getting messy and overworked.
What is the importance of being loose with the lines when sketching?
-Being loose with the lines allows for spontaneity and fun, and it makes it easier to correct mistakes. It also helps to imply texture and makes the sketch more interesting.
How does the artist approach mistakes during the sketching process?
-The artist embraces mistakes, stating they can make the sketch more interesting and are not a problem. They may correct them or work them into the sketch in a way that makes sense with the overall composition.
What is the key to creating texture with watercolors?
-Creating texture with watercolors involves using a loose line and allowing the water and colors to blend naturally. Overworking or trying to control the watercolors too much can lead to a loss of the desired texture.
How should one start with the watercolors in line and wash sketching?
-One should start with a wash of water and then drop in colors, allowing the watercolors to blend and move on their own. This approach lets the watercolors do their work, creating a natural and less forced look.
What is the significance of leaving white spaces in a watercolor painting?
-Leaving white spaces is important as it allows the painting to breathe and prevents it from becoming too busy or overwhelming. It also helps to maintain the lightness and transparency inherent to watercolors.
How does the artist suggest enhancing the final sketch?
-The artist suggests enhancing the final sketch with bold touches of color and shadow, careful not to overdo it. They also recommend using a smaller brush for finer details and shadows, and adding a signature as a finishing touch.
What is the advice given for avoiding the overworking of a sketch?
-The advice given is to periodically step away from the sketch and consciously check the progress to ensure it is not being overworked. It's important not to try to continually improve to the point where the sketch loses its initial charm.
Outlines
🎨 Introduction to Line and Wash Sketching
The video begins with an introduction to line and wash sketching, a technique that combines ink and watercolors to create dynamic sketches. The host emphasizes that the process is suitable for beginners and those looking to understand the artist's techniques better. The setup includes a sketchbook, specifically a moleskin watercolor sketchbook in A5 size, which is recommended for its portability and ease of use. Various waterproof pens are suggested, including a fine liner and a flexible tip pen that allows for more expressive lines. The artist also discusses the choice of watercolors and brushes, highlighting the importance of a few selected colors and a couple of brushes for the sketching process. The introduction concludes with a reminder that mistakes are part of the process and should be embraced for their contribution to the sketch's character.
📐 Starting with Shapes and Embracing Mistakes
The artist dives into the sketching process by emphasizing the importance of starting with basic shapes to outline the scene. Using a flexible pen, the sketch begins with the identification of shapes such as rectangles and parallelograms that make up buildings in the chosen reference image. The summary acknowledges that mistakes are inevitable and can be easily corrected or incorporated into the sketch due to the loose line style. The focus is on the spontaneity of the sketch, with the artist demonstrating how to adjust lines and add details like doors, windows, and roofs to build up the scene. The summary also touches on the concept of treating every element, regardless of its complexity, as a shape, which simplifies the drawing process.
🖌️ The 'Wash' in Line and Wash: Watercolor Application
This section focuses on applying watercolors to the sketch, with the artist explaining that the key to watercolor painting is working with water. Using a large amount of water in a jug comparable to the sketch paper size, the artist demonstrates how to create a wash that allows the watercolors to blend naturally. The sky and pavement are painted with broad strokes, utilizing the watercolor's self-blending properties. The summary also covers the use of shadows to add depth to the sketch, with the artist using colors like Payne's gray and ultramarine to create a sense of three-dimensionality. The artist reiterates the importance of not overworking the painting and leaving areas of white for a more natural look.
🌈 Adding Bold Colors and Impressive Shadows
The artist proceeds to add more defined shadows and pops of color to the sketch. Windows are highlighted with darker shades of blue to create contrast, and the artist plays with the idea of reflecting the sky in the windows. Bolder colors are introduced, such as red for the rooftop, to draw attention and create visual interest. The summary discusses the artist's approach to adding details like colorful posters in the windows and enhancing shadows for a more dramatic effect. The artist also shares tips on how to build up color variation in the wash and encourages experimentation with color placement and shadowing.
✒️ Final Touches and Signature
In the final stage of the sketch, the artist goes back to ink to redefine certain lines that may have faded under the watercolor wash. Details are added, such as brick patterns and signs, which were not included in the initial sketch due to the uncertainty of the final color intensity. The artist also emphasizes the importance of stepping away from the artwork periodically to assess progress and avoid overworking it. The summary concludes with the artist signing and titling the piece, providing a step-by-step recap of the process, and encouraging viewers to practice the outlined technique at home or on the go.
Mindmap
Keywords
💡Line and Wash Sketching
💡Sketchbook
💡Waterproof Pen
💡Daniel Smith Watercolors
💡Brushes
💡Kitchen Roll
💡Shapes
💡Mistakes
💡Textures
💡Washes
💡Focal Point
Highlights
Introduction to line and wash sketching using ink and watercolors for a unique sketching style.
Emphasis on the suitability of A5 size sketchbooks for beginners in line and wash sketching.
Recommendation of waterproof fine liners for sketching, ranging from 0.1 to 0.3 millimeters.
Suggestion to use a fountain pen with a fine nib for additional line variation.
Importance of starting with ink for spontaneity and embracing mistakes in the sketching process.
Technique of using simple shapes to build complex structures in a sketch.
The concept of treating every element in a scene as a shape, regardless of its complexity.
Advocacy for loose line work to allow for mistakes and imply texture.
Demonstration of how to create the illusion of bricks using loose line work.
The philosophy that mistakes in sketching can add character and interest to a piece.
Explanation of how to use watercolors effectively, allowing them to blend and create their own textures.
Technique of using a large amount of water with watercolors to let them 'paint themselves'.
Approach to leaving white spaces in a sketch to maintain balance and interest.
Use of bold, bright touches of color to draw attention to focal points in a sketch.
Inclusion of shadows to add depth and dimension to a line and wash sketch.
Strategy for enhancing shadows and adding final touches without overdoing the sketch.
Advice on periodically stepping away from the artwork to assess progress and avoid overworking.
Encouragement for artists to sign and title their finished sketches for a personal touch.
Summary of the step-by-step process for beginners in line and wash sketching, broken down into five stages.
Transcripts
[Music]
foreign
[Applause]
sketch and thank you for joining me for
this which is all about line and wash
sketching so using ink and watercolors
to produce a really interesting sketch
we're going to do it absolutely step by
step from what do you need through to
every step to get you along the way and
this is designed for people new to line
and wash sketching or who are looking to
understand a little bit more about my
processes take a little reference up in
the top here this could be any sort of
street corner and these same techniques
are great for Rural scenes for
Landscapes whatever we're just going to
use this because it's got nice things
that we can talk about
so what equipment are we using well I've
got a Sketchbook and a Sketchbook is a
really safe place to start
um it's uh you know just a nice place to
experiment it doesn't have to be perfect
it's much cheaper than buying loose
paper often just to buy a big Sketchbook
and sketch away in there
um this is a moleskin watercolor
SketchBook
and it the size is a five which um I
think it's a really nice size to start
with I certainly wouldn't go much
smaller it gets very fiddly and
difficult to create nice drawings and I
wouldn't go much bigger than A4 for
example because uh it gets too big and
there's too much space to film so A5 is
a really lovely size to carry around and
use when you're learning to do this kind
of sketching techniques we've also got a
couple of pens and it really doesn't
matter what pen you have except that
it's waterproof so I've got here a fine
liner 0.3 millimeter for me anything 0.1
to 0.3 millimeter is good I often use a
fountain pen as well in fact I've got my
Phantom pens off to the side here and I
just use a fine nib with waterproof
inking again
you can check out Urban sketch.com UK
and I've got a supplies tab there where
you can see all the inks and things I
use
and then something else which is fun is
you can use different pens so I'm going
to use this one today which is like a
fine liner but flexible so we can create
a bit more variety of line it's
something like using a a fine liner
which acts a bit more like a fountain
pen but anything is good
watercolors nothing special here these
happen to be Daniel Smith they happen to
be the colors I like but just having a
few colors and I've got 14 here but we
won't use more than five or six and I
never really use more than five or six
in a painting because then it gets messy
and overworked and brushes again doesn't
have to be clever I like using a couple
a small one got a size six round it's
quite small I am certainly quite small
for this size of paper and then this is
actually a Chinese style brush but it's
about a size 12 round brush so having
two brushes is a great place to start
and then don't forget little things like
a bit of kitchen roll I've got a really
big tub of water all of these things
really help to ensure that you create a
really lovely sketch and get lovely
textures and colors afterwards
so without further Ado let's start so
we've got our reference Factory and like
I said I'm going to be using this
flexible feudible
um and how do we start we can start with
pencil if you want um and if you're
really worried then by all means but
what I'd say is you get much more
spontaneity and uh fun from just going
ahead with an ink sketch straight away
and what I'm going to show you is that
mistakes don't matter I will make loads
of mistakes some by accident some on
purpose some will do on X by extent and
I'll claim they're on purpose and you
won't know the difference because
mistakes make your sketch really
interesting they're not a problem we're
scared of them but they're not a problem
um so I say just go for it go straight
away with ink and get that spontaneity
and the first step is to get shapes so
if we take this middle building the one
which says Mumford on it what we can see
is we've got basically a a rectangle
or a parallelogram
or a rhomboid isn't it anyway we've got
basically a square with warped sides
and then down the other side we've got
the same so all we've done to get that
building is two simple shapes the
building here the clothing shop in front
well that's easy that is just a square
and you see how I'm being really loose
with these lines they're not straight
they're not rigid they're not hard
they're gentle and loose and that means
that we are implying a bit of texture
also means when I make a mistake it's
not going to be a problem
talking of mistakes so let's say I make
a mistake here so this building is
actually it's another rhombo isn't it
but I'm going to draw it as a square
which is wrong but you know what it's
loose so we can just come in and we can
just add some details so we've got the
door which is just another shape just a
rectangle
and then we've got this which should be
angling down
but we can just find it again
and then we can add the roof on top and
the roof is basically this is a
parallelogram
now we can't see the top of it but if we
want to we can draw the top of it anyway
we know it's there
so we can draw it if we want
and we could consider that another
mistake if we wanted because we've
actually got these windows in front we
might have not been thinking just done
it but you know what it's not gonna not
gonna matter so we just draw these
windows and we find them again they are
rectangles just shapes right
they have to be rectangles which you've
got triangles on top
which happened to have parallelograms on
top which haven't had a triangle at this
side and you see that now we've sort of
built up pretty good pretty good job of
these windows and we can then add the
sort of window shapes in and I say
window shapes because they are they are
rectangles they're just shapes it's it's
only when we try and draw a window we
try and draw a house with a load of
Windows that we get stuck instead of
going right what shape do we have we've
got
a rectangle got a long rectangle it's
got a flat rectangle
and you see how none of these shapes are
perfect they're wonky they're not all
perfectly in line with perspective but
if we just keep going
and I keep going in my little loose
wonky Style
and we can find
everything's a shape it doesn't matter
how complex it is it's still basically
all shapes people are shapes dogs are
shape ice creams are shapes
and I keep going in my wonky shape base
Style
do you see how it it now just deciding
to work
it's just starting to work now you just
put the other mistake I've missed out a
door
doesn't matter that's the secret right
so mistakes just don't matter
especially little emissions you know
let's uh
let's add a chimney you see
I bet even the person who lives here who
owns this shop doesn't know exactly how
many chimneys there are so it doesn't
matter if we make these little mistakes
and we can keep going we find our shape
here
a little sort of rectangle this is a
triangle right
and we go to this wall and this is where
we can start
seeing The Importance of Being loose
with our line so this is a just a on the
face of it it's like a rectangle isn't
it going off the side
but it's also got these kind of big
Bricks now if we just loose with our
line and we make it jotter in and out a
bit do you see how we've drawn those
bricks already
so by being loose with online not only
can we make mistakes
and get away with it but we also can
cheat our way to having drawn textures
do you imagine if I just want a really
straight line if I've done a perfect
line really tried really hard
can you imagine that we would have just
lost all of that beautiful texture
we'd have to draw in all the Bricks by
hand and it just wouldn't work the same
way
okay so we're almost there they aren't
we we could just continue this off and
finish it and I guess this is this is
the sort of next step of the drawing
we've done that one I guess is our
equipment step two is finding the shape
step three is finishing off the little
pen sketch and
the the thing I'd stress to you here is
don't worry about finishing it do your
focal points or focal point is what
probably this window we can add shapes
of these like models in there
front it's got lots of t-shirts and
things we've got all these fun Windows
this this is kind of a focal point and
then here we don't need to finish it
I'll leave this undone I'll leave this
undone so don't worry about finishing it
get to a point where it it looks pretty
good and leave it you can always come
back and add more
we'll add this little
pavement and suggestion of a pavement
there and here as well
that's I think all we need to do always
find something I like this tree in the
background as well
um
that that's a sketch effectively done so
we can now move on from our sketch
that's our line bit we can do the wash
and say line and wash watercolors now
the the keyword there is wash isn't it
so we're not painting like an acrylics
oils we're not putting down brush
Strokes with paint without washing the
watercolors on and just look I've got A5
paper and just look at the size of this
jug basically the same size as my paper
so it's about a liter of water here
um and that's really important because
the the Clue's really in the name water
colors they're designed to paint with
water and what no one tells you the
secret no one bothers to explain is
watercolors want to paint themselves so
if I just add a wash of water with my
size 10 to 12 round brush
and I just drop in my colors
now we have a sky look at that
that's not effort that's uh that's
watercolors doing what they do we can
Splash on
and they look great already the
watercolors have just done what they
want to do
and it looks amazing and I didn't have
to really
try we can drop down out the pavement
maybe and what we've got is a lovely
sort of purpley gray so we can find that
I should have said this is a Cobalt Blue
by the way then in the front I'm going
to use see how the tarmac's almost
purple so I'm going to use a a
paralleline violet
and we can basically do the same thing
just drop it in and then move it around
a bit
up here you see it's a little less
purple a bit more neutral so we can just
take something like I've got Indigo but
maybe a Payne's gray or even use a bit
of ultramarine and we're just getting
these subtle changes and you see how the
they're blending together
so what I've not done is gone ah let's
paint my numbers
what I've done is I've gone right let's
make it neat in a couple of places
but the rest of the colors are really
lovely and loose
and then that's really important as we
go to the side you see how this is all
shadow
so we can actually just add our shadow
if I take
a nice shadow color again this could be
Payne's gray it could be in a mix of
ultramarine and uh burnt umber it could
be uh
even just like a sepia I happen to be
using uh moon glow
um if I touch a little bit of indigo in
there as well just to make it
interesting
now we've got this the shadow again
blending and moving here
we didn't have to do anything clever or
challenge ourselves in particular
we can keep this Shadow going up into
the roof because that's also in Shadow
but the next key bit to notice is do you
see how we didn't have to paint
everything
this is a wash this is a loose washable
color we don't have to paint the whole
page there's lots of white still left
now the White's important in some places
isn't it so here this is a white
building so we'll leave it white but the
the shop window is dark so we'll give it
that shadow color we're not going to
fill it we're not going to worry let's
let's make another mistake it pulls down
here it just looks like the shadow is
pooling it's lovely
we can do the shadow under here as well
then we can move on to these other walls
now what color are they it's really hard
to pull out isn't it there
neutrally sandstoney color the you could
say they were yellowy brownie
I'm sure some people can see Reds or
purples in there as well for me you know
they're that kind of non-specific
Sandstone color
um doesn't mean they have to be in our
painting there does it so I'm going to
take something warm I'm going to take
this is a quinacridone Sienna uh you
could use a burnt yeah burnt sienna
burnt umber uh any use of
warm color and even a raw rum or a
a ocher or anything it doesn't really
matter you could do yellow
I'm using this color because it's what
I've got and it's what I like and it
doesn't have to be the color in the
picture
I'm just going to paint it over and it's
not paint by numbers so it's not staying
in there
it's not staying in the lines it's going
to blend let's see how it's blending
with that sky
it's great I love it you know it doesn't
have to you see I've gone over some of
the windows you see I've left some of it
white you see how it's spilled over here
these are all what I'm sure you could
label mistakes
or you could label it letting the
watercolors do their thing
we can just drop bits of color in as
well and get a bit more variation in
that wash and that's a really key
part of learning watercolors is to allow
that variation to build up
and not feel the need to control it but
understand how to just touch in colors
and get lovely variation
and now we've kind of you see how we've
got all these you know these shapes
these big shapes we found they are full
of color or we've chosen to leave them
so that's your indication that you can
put your big brush away
and get your little brush up so now
we're moving on to the Bold touches
these bold bright touches of color but
also these uh more impressive touches of
shadow
and what I'm going to start off with is
some of those shadows in particularly if
you look at those windows you see how
the window is really dark
almost everywhere the windows are dark
but the windows tend to reflect the sky
so I'm going to take that cobalt blue
along with some
some of my dark color
um so I've used Indigo here if you
remember there so I'm going to use my
Indigo again
along with the cobalt blue and I'm gonna
touch in these windows I'm going to just
apply a bit of Shadow and again you see
it's not paint by numbers remember it's
not paint by numbers it's a wash of
color this is our second wash
so it's going to go where it wants to go
um
we're just giving it a little bit of a
nudge in the direction we think it
should be and everything else is up to
the colors we can give that um roof a
little extra Touch of color as well if
we want we can go totally off-piste and
just you know because we want to pull
this out as a roof
why not make it red so why not put some
red in there just to show us
that is different from all this Shadow
color underneath there's literally no
reason we can't
and we'll get this
uh lovely doorway we get the shadowed
deeper Shadow under the pavement that we
sort of half invented lots of Shadows in
these windows as well we can just touch
them in they're not as dark
so we can just touch in little bits of
shadow
and you see how there's some really
bright Reflections in in different
windows at the back there
well just touch in little bits of red
and I know I said I wouldn't use one
five or six colors but we can always
you know just touch in little bits of
other colors
just to to try and get that like
interesting variety
so we get some cream we get some blue we
got some red now we've got this idea of
like little bits of colorful posters or
whatever in the in the window use that
green to get our tree at the back and
then we can use these same colors again
at the front
so I'm gonna have to double check how
many colors I've used now so I've got
my cracker Dome I've got a perylene an
indigo I've got my red
I've got my moon glow so I think I'm on
six I think I'm on six kind of some I'm
still saying I'm doing what I said and
that's even with just using some of the
colors just for little dots here and
there
I would I would say this is this is
pushing the number of colors you should
use just start really
simple really really simple
because
more colors tend to just make it messy
and challenging
so what you can see I'm doing now is I'm
still sticking with that idea
of just deepening Shadows so we can go
back over some of our shadows make them
a bit more impressive we can find
Shadows we missed like you see down the
side of this chimney I missed your
shadow
do you see how darn this side of the
building actually this whole building's
in Shadow isn't it well I can just come
in and create that two-tone feel
I can drag some of these colors around
and I can reinvigorate Shadows do you
see how this Shadow because it was so
soft it's kind of disappeared so we can
get a bit far
same Shadow color and just
bring it down we might even just want to
start from the floor this time and work
backwards and just see how it feels
maybe we need even more than that we
need a bit more
and there we go
and we're almost there aren't they so
what else could we do what else could we
do to enhance this but not overdo it
well little touches of bold we've
already done them here but chimneys they
love being red so
especially when these chimneys actually
are red in places let's just
give them what they want
what else can we do this is kind of um
we don't wash one we've done washed two
which is these Bowl colors this is
finishing touches so Finishing Touches
for me includes
bold touches bold tiny touches these
windows probably count
it also involves little splashes so take
your brush and if you're worried about
how to do it so take us another bit of
paper
what I might do is I might take this
side of my sketch because as practice
and experiment so if I take a really
watery wash of color what happens okay
it's quite quite pale if I dry my brush
off and I take much more color what
happens obviously it's much smaller dots
much bigger dots if I take loads of
water bigger dots still okay so we're
starting to understand and all I'm doing
is tapping with one finger the other
thing you can do is hold it and tap with
the other hand
and you can experiment with your
different colors over here
so that you can then come back and be
sure what's going to happen or it sure
is watercolor ever is because as we said
at the beginning watercolors
paint themselves the only thing we can
do is prevent them and make things more
rigid and less interesting
so with this last lady's final touches
a couple of little things that we can do
is
again just enhancing some of these
Shadows just a couple of places
and really just careful not to overdo
things because this is where we can
actually ruin things is by
trying to improve it and improve it and
improve it and suddenly
it's gone
and then the last bit the last bit
come back with your come back with your
pen
and you could find some of these lines
again do you see how some of the lines
have faded a little bit you can find
them again you can find details like we
might want to put
little signs in
and this is your time to do it not at
the beginning when you don't know how
intensive colors are going to be you're
not quite sure what's going to be
important because you haven't done the
sketch you haven't done the colors yet
but now we can come in we can add little
suggestions of bricks and you see how
these loose colors now they're kind of
building up to something aren't they
it's gradually building up
to this really interesting sketch see
all we did was really gently find shapes
gently add colors
and we got there
and again you could keep going with this
you could keep going and going and going
and eventually you'd do too much it's
really important to
have a little look
step away oh maybe maybe it can take one
little bit more so we we come back then
you step away and just make sure that
you consciously
check your progress a few times so
you're not going to risk overdoing
things
that is the biggest Peril of lovely line
and wash sketches is
trying too hard and overdoing it
so I'm going to leave it there
and the last stage the last stage
pop your little signature on the side if
you want you can title it so I'll let
you know that this is from the aisle of
silly
and it's Saint Mary's
on the Isle of silly the the main
village town from those little Isles
south of England
and that's my sketch done so just to
like rethink through everything we've
done just a little bit of revision
we did it essentially in five stages so
stage one that first loose sketch we
don't worry about mistakes we're just
getting shapes big shapes and smaller
shapes step two is a wash of color what
does a wash of color mean it means I
washed I mean through loads of water
step three coming back in with a little
bit more paint still plenty water and
still remembering it's not paint by
numbers and we're getting those bold
tones getting those Bolder Shadows step
four is now we get these punches of
color before step five this last little
bit of ink so
in five stages there is my little liner
wash for absolute beginners step by step
process that you can take away and enjoy
and do at home or out and about or
wherever you want to sketch now if you
enjoyed that do let me know in the
comments let me know your thoughts your
questions and do like and subscribe so
you I can bring you more things that
hopefully you'll enjoy again in the
future
a little easy to touch
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