Today's demonstration dealt with drawing in perspective; both one and two point.
After toning the canvas, the drawing begins. I started with seeing the parameters of the format (in this case, 22x28). I began by drawing the contour lines of the fountain, then moved to a perimeter outline of the cupolas of the church to make sure my relationships would allow them to fit on the page. (often times the top of the cupolas don't quite make it on the canvas).
Next comes all the lines in contour moving to two vanishing points on the horizon line. While I am drawing these in I am relating the shapes and angles and negative spaces to my original lines of the fountain.
I use my brush as a tool, to measure the angles, and distances of each line and/or intersection of shapes/points, etc. to all other angles, lines, shapes and points. Every mark has relevance.
Drawing this mission is itself a master class. A trained eye can tell which lines may or may not be off in relationship. It is unforgiving, which is why I choose to depict it as a subject. However I notice many of my students fall away from this particular class cause it is a monster to take on.
From this toned drawing, I will work in a limited palette and produce a mellow, antique feeling to the painting.
I won't be afraid to ruin it, so chances of survival are pretty high.