I cant promise you'll be able to draw with this elite level of perspective but Matthew Brehm wrote the definitive book on learning all the different types and drawing them. Beautiful drawing and painting as always.
I love the way your just flick that brush for the dry brush effects and the colours all blend flawlessly. Not sure this has been simplified, or at least not for me. Enjoyed watching.😊
Thomas, Literally a towering piece of work! Your expertise in terms of describing the subtleties applied to what at face value appears incredibly detailed and complex, is appreciated and very welcome. I've always been put off attempting scenes as complicated as this, but I think you've given enough guidance to pull back from working out how to draw and then paint every nut and bolt to do these kind of structures justice. Brilliant demonstration, hugely entertaining - thank you once again.
The tone variations in the stone work under the bridge and the shadow on the water are breathtaking. I recently purchased one of your signature brushes and have to say I am in love. I will be getting some of the smaller ones next. Thank you for demonstrating this painting.
@@cherietooms8961 The #4 is a good-sized - largish mop . I use it quite often. The smaller ones are particularly useful as well #0 or even 3X#0 if you do more detailed work
I really enjoyed hearing your comments about your thinking as you work through you painting. Nice to see that it's OK to sometimes work through connecting shadows even if you have not done the lighter local in that area. Saw that you were very careful about meeting up edges.
I love the technical architectural pieces too. Straight, crisp lines are gorgeous. Wonky lines are okay too, particularly for urban sketching. But this type of drawing is great and looks great!
Awesome work, thank you for the demo and tips along the way. Very inspiring! Tomorrow I will attempt to apply some of what I’ve learned. Exciting and very much appreciated.
I’m in awe of your drawing prowess and the use of watercolour to bring it brilliantly to life. Thank you for sharing these videos. I’m a fan ! I do have 2 questions: 1. What’s your favourite flat brush to achieve the skid marks? 2. What is the “violet” paint that was used in many parts of this piece?
thanks so much - my fav flats for drybrush effects are all by Escoda - Versatil Series for the larger and Perla Series for the smaller. And I use Mineral Violet by Holbein mostly. Sometimes Imperial Purple by Daniel Smith
Wow 😲 very much looking forward to this tutorial. Thank you 🙏😊 from Brisbane, Australia. We have our Story Bridge that I will have a go at after studying your method, Thomas 😊
Yes, it's very similar in its construction. I've painted it a few times en plein air, trying to work out how to depict the structure without overworking either the subject, or myself 😅
I was under the impression that we should use the blue tones to give a more distant effect (for mountains and trees)… not to make the buildings closer… interesting to see that you use it that way. It is amazing to see your color choices and how you mix them (almost in the paper).
It is often what works - using the bluer tones in the distance - and it is often what I do - But not every time. Every painting doesn't have the same solution
thanks, mr Schaller. Most people keep their knowledge as dim as possible. You, in contrast, make it shine. Maybe another example of your beloved light and dark style
I love your paintings at every stage of construction ....even when there is very little watercolour on the drawing. Thank you very much for sharing this with us, it is a privelige to be able to watch you work.
I could watch hours and hours of you painting-why limit yourself with time? We are so lucky to have your willingness to share your knowledge in a channel like this.
Good morning from the West Coast! My thoughts immediately went to the Simon&Garfunckle song..what a gorgeous song ..and a gorgeous drawing and painting here. Thank you for sharing your gems of wisdom w/r/t your beautiful rendition of this iconic scene.
I noticed, after you applied the paint washes to the bridge superstructure, you’re MUCH more aware of its overall 3D shape, especially the concave curve of its top side, rather than the see-thru spider web of its metal pieces, which is what the drawing alone, gives you.
True - The painting began to develop a different nature - and the overall shapes of the bridge seemed more important to making a painting that would work
@@thomaswschallerYes, the washes are a really powerful transformation, and so much better than trying to “paint out” all that complicated structure to try to get the same result. I’m learning so much from your freer approach to applying paint.
Maniacal drawing indeed! Raining in NYC? Thankfully it is pouring down here in Wyoming. The forest fires have been really bad this summer. Got to take Cat to the vet; we look forward to watching the rest of your video soon as I get back. Thank you as always.
Quick Question…how long has the tram line been there? I don’t remember it at all. Born and raised in Boston but grandparents lived in Ridgewood NYC so I spent a lot of my youth in NYC. I’m especially fond of your paintings in which you let the pencil do a lot of the work. Brilliant!
Simply spectacular! I also love this bridge and saw it in person for the first time a couple of months ago. I need to ridge the tram next time. Thank you for sharing your process. How did you create such an awesome pencil drawing with great scale to it? I am also an artist and architect. You are inspiring me to break out my drawing board and parallel rule. :)
I have a question. When looking at a photograph, it’s pretty easy to see where the darkest values are if you were to do a painting from the photograph. When you’re sitting down and just creating something from your imagination…is there a specific tip that you could give that might help guide ones decision-making as to where to put the darkest value? Take for instance…a “mountain waterfall” scene. As I am creating this in my imagination …finding the right place for the darkest value to pull the eye in often seems daunting.
Sure. Usually, I think about the center of interest. This is where the darkest and lightest values will be located. Then everything else in the painting can begin to fade a bit . So if you just think about the main focus of the painting - the "star of the show" - it's a good bet that this is where the most value and contrast will be found
@@thomaswschallerthank you. That makes a lot of sense. ….and OK, so …if what draws the eye into the painting is the waterfall itself, the water is going to be basically white or pale, greenish blue…so the dark values would have to be the rocks underneath the waterfall at the base of the waterfall or on the cliff to the side of the waterfall… does that sound like the right direction?
@@jcline147 depends on the overall comp of course, but I'd try to use almost no paint on the water itself and keep the cliffs on either side nearest the top fairly dark - the base - I'm guessing - wants to look misty - so no dark there
@@thomaswschaller thank you ..and yes ..that puts me on the right road. Believe me….I have engraved on the inner portion of my eyelids that which you taught me when I first found your YT tutorials….”we don’t paint the light.” 😂 …thank you for your help. I hope you have a great week. The 59th St. Bridge is just glorious!
BRAVO BRAVO BRAVO !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Amazing!
Thank you so much Sir to share your wonderful work.
Beautiful and informative! 👍
先生，不只watercolor畫得很棒🎉🎉🎉‘’素描稿‘’也令人“驚豔”😊🎉🎉🎉🎉🎉
I cant promise you'll be able to draw with this elite level of perspective but Matthew Brehm wrote the definitive book on learning all the different types and drawing them. Beautiful drawing and painting as always.
I love the way your just flick that brush for the dry brush effects and the colours all blend flawlessly. Not sure this has been simplified, or at least not for me. Enjoyed watching.😊
Thomas, Literally a towering piece of work! Your expertise in terms of describing the subtleties applied to what at face value appears incredibly detailed and complex, is appreciated and very welcome. I've always been put off attempting scenes as complicated as this, but I think you've given enough guidance to pull back from working out how to draw and then paint every nut and bolt to do these kind of structures justice. Brilliant demonstration, hugely entertaining - thank you once again.
thanks a million Paul
Even before the colors came in, just look at that amazing work of perspective.
Cheers!
Exactly. Wonderful
I’m so appreciative of having u in my mornings - hearing your process and watching you paint -inspires me - thank you
thank you
Thanks so much for sharing your skill so generously.
My pleasure
Great work and awesome video!!! 🙏🙏🙏👍
The tone variations in the stone work under the bridge and the shadow on the water are breathtaking. I recently purchased one of your signature brushes and have to say I am in love. I will be getting some of the smaller ones next. Thank you for demonstrating this painting.
Thanks so much for watching - and glad the brushes are working!
Do you have recommendations for which sizes are useful? I have the #4
@@cherietooms8961 The #4 is a good-sized - largish mop . I use it quite often. The smaller ones are particularly useful as well #0 or even 3X#0 if you do more detailed work
Thomas, You are a contemporary icon of watercolor drawing. Hug!👋👋👋👋👋👋👋
You're very kind - thank you
I really enjoyed hearing your comments about your thinking as you work through you painting. Nice to see that it's OK to sometimes work through connecting shadows even if you have not done the lighter local in that area. Saw that you were very careful about meeting up edges.
i prefer to lap shapes over shapes rather than meet edges whenever possible
Such a treat to watch you paint, but even more so, to listen to you explaining what and why. Love your relaxing voice, and the way you speak.
Thanks Liz
I love the technical architectural pieces too. Straight, crisp lines are gorgeous. Wonky lines are okay too, particularly for urban sketching. But this type of drawing is great and looks great!
Thanks - I like both ways too
Thank you, Tom, I was so glad to watch this as I have a bridge I’m getting ready to paint. 😎🖼️
Yay!
Awesome work, thank you for the demo and tips along the way. Very inspiring! Tomorrow I will attempt to apply some of what I’ve learned. Exciting and very much appreciated.
thanks for watching Scott
Fantastic!! Thank you for your genial demo. 😊
Thanks
Thank you so much for building bridges beetween you and your fans ! Beautiful demo :)
Thank you for watching !
I’m in awe of your drawing prowess and the use of watercolour to bring it brilliantly to life. Thank you for sharing these videos. I’m a fan !
I do have 2 questions:
1. What’s your favourite flat brush to achieve the skid marks?
2. What is the “violet” paint that was used in many parts of this piece?
thanks so much - my fav flats for drybrush effects are all by Escoda - Versatil Series for the larger and Perla Series for the smaller. And I use Mineral Violet by Holbein mostly. Sometimes Imperial Purple by Daniel Smith
Excellent 👌...also surprised that watercolor could be painted slowly too😮
if you keep it wet - you can paint at any speed you like
❤❤🎉
Félicitation, magnifique.😍
Thanks!
Wow 😲 very much looking forward to this tutorial. Thank you 🙏😊 from Brisbane, Australia. We have our Story Bridge that I will have a go at after studying your method, Thomas 😊
the story bridge is a beauty! similar design in a way
Yes, it's very similar in its construction. I've painted it a few times en plein air, trying to work out how to depict the structure without overworking either the subject, or myself 😅
Magnifique ❤❤❤
Thank you
Oh my goodness….a SUPER impressive sketch, then starts painting upside down. What can’t you do?! 😘
Thanks so much
I was under the impression that we should use the blue tones to give a more distant effect (for mountains and trees)… not to make the buildings closer… interesting to see that you use it that way.
It is amazing to see your color choices and how you mix them (almost in the paper).
It is often what works - using the bluer tones in the distance - and it is often what I do - But not every time. Every painting doesn't have the same solution
thanks, mr Schaller. Most people keep their knowledge as dim as possible. You, in contrast, make it shine. Maybe another example of your beloved light and dark style
I have no secrets - thank you
I love your paintings at every stage of construction ....even when there is very little watercolour on the drawing. Thank you very much for sharing this with us, it is a privelige to be able to watch you work.
Thank you so much
I could watch hours and hours of you painting-why limit yourself with time? We are so lucky to have your willingness to share your knowledge in a channel like this.
Thanks so much - Just for file sizes and upload times, I try to have videos at about 90 minutes max if possible
Good morning from the West Coast! My thoughts immediately went to the Simon&Garfunckle song..what a gorgeous song ..and a gorgeous drawing and painting here. Thank you for sharing your gems of wisdom w/r/t your beautiful rendition of this iconic scene.
thanks so much!!
I noticed, after you applied the paint washes to the bridge superstructure, you’re MUCH more aware of its overall 3D shape, especially the concave curve of its top side, rather than the see-thru spider web of its metal pieces, which is what the drawing alone, gives you.
True - The painting began to develop a different nature - and the overall shapes of the bridge seemed more important to making a painting that would work
@@thomaswschallerYes, the washes are a really powerful transformation, and so much better than trying to “paint out” all that complicated structure to try to get the same result.
I’m learning so much from your freer approach to applying paint.
Maniacal drawing indeed! Raining in NYC? Thankfully it is pouring down here in Wyoming. The forest fires have been really bad this summer. Got to take Cat to the vet; we look forward to watching the rest of your video soon as I get back. Thank you as always.
thanks
Quick Question…how long has the tram line been there? I don’t remember it at all. Born and raised in Boston but grandparents lived in Ridgewood NYC so I spent a lot of my youth in NYC. I’m especially fond of your paintings in which you let the pencil do a lot of the work. Brilliant!
@@carolannefisher1516 It was designed and proposed around 1970 and opened in 1976 I think . The bridge itself dates from about 1910
Simply spectacular! I also love this bridge and saw it in person for the first time a couple of months ago. I need to ridge the tram next time. Thank you for sharing your process. How did you create such an awesome pencil drawing with great scale to it? I am also an artist and architect. You are inspiring me to break out my drawing board and parallel rule.
:)
Thanks so much - I just drew it directly on the paper - adapting the view quite a bit as I designed it
I have a question. When looking at a photograph, it’s pretty easy to see where the darkest values are if you were to do a painting from the photograph. When you’re sitting down and just creating something from your imagination…is there a specific tip that you could give that might help guide ones decision-making as to where to put the darkest value? Take for instance…a “mountain waterfall” scene. As I am creating this in my imagination …finding the right place for the darkest value to pull the eye in often seems daunting.
Sure. Usually, I think about the center of interest. This is where the darkest and lightest values will be located. Then everything else in the painting can begin to fade a bit . So if you just think about the main focus of the painting - the "star of the show" - it's a good bet that this is where the most value and contrast will be found
@@thomaswschallerthank you. That makes a lot of sense. ….and OK, so …if what draws the eye into the painting is the waterfall itself, the water is going to be basically white or pale, greenish blue…so the dark values would have to be the rocks underneath the waterfall at the base of the waterfall or on the cliff to the side of the waterfall… does that sound like the right direction?
@@jcline147 depends on the overall comp of course, but I'd try to use almost no paint on the water itself and keep the cliffs on either side nearest the top fairly dark - the base - I'm guessing - wants to look misty - so no dark there
@@thomaswschaller thank you ..and yes ..that puts me on the right road. Believe me….I have engraved on the inner portion of my eyelids that which you taught me when I first found your YT tutorials….”we don’t paint the light.” 😂 …thank you for your help. I hope you have a great week. The 59th St. Bridge is just glorious!
Thankyou Thomas
you're welcome
Wonderful work, as always. Can I ask, do you use a ruler to draw your buildings?
Sometimes for more complex ones, I will use a straightedge to place a few major lines and then freehand next to them
How to draw this complex structure?
i just started in
How can I paint without drawing? Please show the drawing too. Thanks. You are wonderful
@@usmanriaz9966 i show the drawing process in many of the videos - This one took two hours - too long for the format.
Yes I follow your videos. This drawing proportions, balance perspective is simply amazing. Just wanted to see you drawing. Learn a lot from you.
@@usmanriaz9966 As I say - there are a lot of videos showing me drawing. This one was much too long. so I don't understand what more I can do.