Advanced Watercolor Landscape Master Class - Tips For Painting Loose And Fresh | Robert Joyner | Skillshare

Advanced Watercolor Landscape Master Class - Tips For Painting Loose And Fresh

Robert Joyner, Making Art Fun

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20 Lessons (2h 50m)
    • 1. Introduction

      0:43
    • 2. Three Examples Of Using Three Main Areas

      11:31
    • 3. Three Area Example Tutorial

      3:44
    • 4. Take A Closer Look At Backgrounds

      13:37
    • 5. Refine Your Background

      9:40
    • 6. Developing Middle Grounds

      12:49
    • 7. Exploring Middle Ground Details

      18:15
    • 8. Closer Look At Foregrounds

      12:32
    • 9. Materials - Part 1

      3:29
    • 10. Design Layout - Part 2

      5:55
    • 11. First Wash - Part 3

      5:23
    • 12. Second Wash - Part 4

      9:25
    • 13. Third Wash - Part 5

      13:46
    • 14. Fourth Wash - Part 6

      10:08
    • 15. Second Demo - Materials

      2:47
    • 16. Second Demo - Design Overview

      4:01
    • 17. Second Demo - First Wash

      4:19
    • 18. Second Demo - Second Wash

      9:07
    • 19. Second Demo - Third Wash

      13:30
    • 20. Second Demo - Fourth Wash

      5:05
12 students are watching this class

About This Class

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In this class you will learn methods on how to create advanced watercolor landscapes. When you are finished with these lessons you will realize that the finished painting is only a result of the preparation you put into it before paint hits the paper.

What you will learn in this class

  • How to plan your art correctly using proper design techniques. Saves you time and money.
  • What are the three main layers and what they mean for the design.
  • Where to place details and where to leave them out.
  • Practical design concepts to simplify complex scenes.
  • How to utilize the middle ground and foreground areas.

Who is this class for?

Intermediate and advanced watercolor artists that want to explore more complex painting subjects & techniques.

What's included?

  • 13 detailed tutorials
  • Uncut demonstration for finished painting
  • Reference images for you to use

Recommended Materials

22"x15" Cold press watercolor paper (Dick Blick brand)
Masking Tape, Two water reservoirs, Spray/Mister bottle
Watercolor Hues
Ultramarine blue, Cobalt blue, Cerulean blue, Alizarin crimson, Cadmium red deep, Cadmium orange, Yellow ochre, Burnt Sienna, Lemon yellow, Viridian green, Cadmium orange, Neutral tint, White gouache
Brushes
Squirrel Mop; #8, #5, #2, Pointed Round; #12, Needle #8, Kolinsky #12 Optimo Escoda

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Advanced Watercolor Techniques - Working With Values, Reflections And Capturing Light

Advancing In Watercolor - Intermediate Tips & Methods For Painting Fast & Loose

Advanced Watercolor Landscape Masterclass

Advanced Watercolor Class; Brushes, Values, Layers & More

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Transcripts

1. Introduction: welcome to street scenes with watercolor. These advanced tutorials. We'll teach you how and why you divide your cityscape scenes and 23 main layers. When you are finished with these lessons, he will no longer struggle with unnecessary details and over painting. Included are five detailed lessons that illustrate how you can approach a complex scene. We will start with some simple design examples and ultimately create a finished painting. So sign up. Now if you want to learn more about how to paint expressive and colorful street scenes with quarter color, Thanks for watching. 2. Three Examples Of Using Three Main Areas: okay. Before you even begin painting, you always have to look your subjects and then divide it into three sections. All right, You have background, middle ground and foreground. And the reason why is because each of these should be treated differently. So a background to serve as, like, a back drop. It should have an interest. Interesting shape. It should have somewhat tone down Hughes and very little detail. So it served as a support of support for the middle ground foreground, cause this is where typically your center of interest iss. All right. The middle ground tends to be a little more contrast. Ah, little more darker in terms of the values shades, and it tends to connect with the background and then pull the I forward into the foreground and foreground can be your sire of interest. It can be a lead in to take you into the middle ground where your focal point is. If you understand these three thing, you have a good idea of where your details will be, where your light and shadow will be where your punch off color will be. OK, so if I were to take this scene right here, and I just quickly layout my frame here. And this is not really composing at this point on this simply going to determine where these three are. I've got this really big building that most artists would treat as details, and they will get sucked into all the details. But I'm gonna treat it as a four background. The sheep could have, ah, perspective coming down and these buildings coming up, and then we have this sort of shape and then off, okay? And then we have this kind of corner coming down and in the street coming through. So, in terms of my background, that's all it needs to be. Is that interesting shape? Yes, it has a bunch of windows and rails and porches and stuff, but I don't care about best off. Okay? It's gonna be a background. I will have it at a few of those. But the only thing I'm concerned about and the only job this is doing for me is creating backdrop. Okay, now, the middle ground would be that. Say, we've got a shape here of a little red box. We had this big old lamppost coming up. I'm not going to use that. I'm actually going to ah, use his lead in as the lines was coming into the middle ground and we can put some cars back in here and then maybe some figures. Okay, so that's going to be a middle ground in this section, and then over here, we have some more figures so I can create this sort of things, but some figures coming across and then back in here in the building? No. We have even some more figures. I see an umbrella over there, so maybe I can an umbrella or two, and that's that's my middle ground. Okay? It doesn't need to be any more than that. And now I'm going to look at I four room. That's my foreground. Got this couple walking towards me so I can make them a little bit bigger in this direction or this size. And then we had the shadow from your cross like this. And now I know we've got trees or benches. All types of stuff over in here. I think with the umbrellas, little figures back here and then maybe suitable and work are here in this area. Okay, so my foreground shadow people And that's all going to connect to this car. The car connects to the middle ground background, little ground next to the background. Okay, Now we can come in here and put little details like the lamp or something like that, leading your I end. And that's all I need to be now, even coming. And now, because all of this and here she is in shadow, We're not gonna worry about detail, OK? All of this, okay? It doesn't matter, because your your eyes one of you right here and all this stuff can just be lines, Okay, this sort of thing. So that's how you would treat on image like this, Okay. And just taking a little bit of time to work these things out and to separate them will help you in terms of, actually, you know, putting paint on the paper. Okay, Right now that you have an idea about background over foreground, this to a couple of more examples, just kinda compound those points come a little bit. And this time I will change the layout, a portrait and then weaken know right away, Les in the background, something like that, and leave. We could bring this up a little bit. So there it is. And then we can say, Put a vehicle, maybe car something else back there on we can start to dot in maybe this a few little details right here. This could be in a little porch awning with the no opening to the building, a little doorway and oh, perspective line there with some figures, and that's pretty much it. And then over on this side, I will start to head at this building, and then that can kind of take us into the foreground. So over here, we could have ah, so more figures. And I think something like that would work on because pretty much leave it of that. You want to throw another figure to back in here? Uh, okay. So background middle ground foreground and laying it out with those three things in mind. So one more example here, I think we can move on. So that's basically will be my background in there. Then my middle ground, which will be right along and from here. I've got a lot to work with here. So I could do We've got a big truck waken put a little figures in there. Walking figure here. Maybe coming into the middle ground. Uh, don't worry about this. And then we have shadows coming over there. Had a little negative space in there to break up that then the foreground. Run the sidewalk down here, so show some of the foreground. We could just keep this shadow running over from the buildings. Something like that on May be weaken dio another awning. Since we have one here, put some strikes on this one. Finance of Windows on. And I don't think we need another vehicle here. So I could just, uh maybe he had a big figure here going into the scene. Okay. And that's it. Okay, so just simply taking the time to you break that down and to separate those three is going to go a long way. Once we start taken to a painting level and we have See here this is kind of catching my eye. The little signs that could be a shadow and living in this could be a detail living in this kind of middle ground area, and we can come in here and and do a few more signs. A couple of windows. That's all you mean. Okay, that's your basic idea for laying that out and this understanding again, where those live in the frame border, that kind of the shapes they make. And then when you get to the actual painting part, which is, you know where we will eventually go, you'll understand what they mean in terms of how to translate them and how to interpret them in a painting setting. And that's where this work is going to really pay off for you. 3. Three Area Example Tutorial: right now, I just wanted to take a second and show you a little bit about dividing that painting into three sections and what it really means, seeing kind of see it in action. So in this particular painting, we can look at the background as this kind of negative shape with sky and then these buildings, okay. And the thing I want to point out to you is the the amount of color or detail really in these now this particular background is kind of warm, so I use, um, poker's and some neutral tents to get this, and that's kind of unusual cause. Typically, I would use a cooler value towards the background. But in this painting, I knew I was going to use these intense yellows, and that would bring that for middle ground, full birth. But anyway, with the background, I just want to point out that is very has a nice shape, and it's a backdrop for what's going on right here. And that's the purpose of serving and the reason of works. And the reason I want to do it is because it kind of sets the table when it helps frame your focal point now also noticed that the details are so okay. So there's not a lot of them, and that's because it doesn't need them. If I were to go and put every single window, every single detail that's in these buildings and the painting, then what's gonna happen is going to compete with rare the focal point ISS. And you always have to understand that about the background. It's a very, very important area in any medium and any painting, and many artists just simply don't understand that. And they overstate the background. They put too much color. They put too much contrast. Too many details, and then the background becomes the middle ground and foreground that starts to compete. So the middle ground in this painting, it's simply I can start here with the light, these darker values, these vehicles. And then we have a dark mass here with could be a tree or detail in the building and then moving into this area with the figures are crossing the crosswalk. Okay, now the foreground is not much. We have a crosswalk here that's leaving your eye up, and then we had the reflections of the cars, so you can see the foreground played the role of leading the I N to the focal point, which was in the middle ground. A lot of times. Putting that focal point here in the middle ground here is kind of the key and then using the foreground to leave the i m. And this is just a really good example of understanding the three layers and how to represent them, how to paint them in a scene like this. And hopefully it will kind of bring the whole concept of the background middle ground for brown to a point where you know you can visually see how it works. And then hopefully he can start Teoh, incorporate it in your design process. 4. Take A Closer Look At Backgrounds: All right now I'm going to go into the background and then just give you some ideas on how you can approach getting that interesting shape. Um, but, you know, we also want to include some believability, all right, so it's kind of a balance where you're you're looking at the background is really a shape. That's all we're worried about. But the same time getting that sense of believability extracting a few details is the key near to new finding that happy point where it's not just a blob on your paper? Yeah, it's a beautiful negative shape. It's loose, it's left. We don't have a lot of details, in contrast, but there are certain things there that the viewer can sink their teeth into. So that's kind of Well, when I go over real quick on these air, just exercises you can do now. I'm doing it on a sheet of drawing paper here. But if I had a smaller nine by 12 sketchbooks, something like that, that's probably what I would do it on, Um, but anyway, you can look it. You can approach this idea in a few different weights. The main thing to me is to always get that sense perspective. Okay, so with any kind of street scene or city escape or whatever, even landscape, you're dealing with perspective. So we can try to find your the main perspective point. So, like in the building here, I can kind of find that angle he can do about this holding your pencil, um, and then taking it and adjusting it to the angle, you see, and then transferring the angle on the paper. Um, and then the lines in between would be like for windows and different things. I'll get into that in a second. So now we can find the edge, and then we can find another edge and then that we have another edge here, and then it goes away in this sort of angle and in the bottom eyes basically running off like this. So we have that sort of thing going. We have the shape here, which is kind of round on top, and then that just goes down. And then this fades away as well. Now you have these little features on top and those features you try to find the angle of things again, and then you can kind of come in here and capture the sides, and a feeling of that now has all types of shapes here on the in the on this roof section, it's got these little windows. I guess you're skylights. Um, and then we know we have these little we really look at the top of the roof that has all these little They're just small little, you know, it's not just straight. If you follow, it's got these little no bumps, I guess again like this, as we get over here to the edge, we have a port so we can use some of these blinds. We already have to create the port or the um, I guess they're like little balconies. We have another one in the same here. And then there angle goes like that. Okay, so it goes up. So that's following that perspective. And if there's another one here so we can put another one if you want on and so on and all these lines as it comes down, you know it's fun. That's all gradually coming down to that perspective line. So just trying to understand these things of and it's got 12345 I don't really care how many floors there are. I'm just going to try to make it look okay, Um just for the drawing sake. And now I'm just scribbling and a little bit of this detail, which could be the new balconies here. And the balconies, of course, Run this way as well, you know, just kind of playing with these ideas, getting a feeling off some of the details and things like above the windows. They had this kind of fancy little thing going on and the windows come down. I mean, I don't know if I would include all of those are probably I know wouldn't and my painting, but just no one there, there on acknowledging them now. But would you help me almost make a decision on some of these details on and then looking at the has, like this, these this texture going on of these lines, how moving through it's like this the 1st 3 floors or so something like that. So that's good. So you see, if I just shaded that in how that's not just a straight line anymore along this edge kind of captured that feeling. I know I've got a little bit of movement going on in here. Um, I've got these little balconies and even on these windows here, you can kind of see that little decoration above the doors and stuff. But again, I don't really know thing that would make it in, but so that's really gives me a good sense for the building and looking and no, really, I want to stress. Here is subtle details. I'm so finding those little, you know, things that make the shape more interesting. So when I do go to create this shape, I know now, well, I can create a line here. And then I want these little kind of feeling of the balconies, and I want these little ridges and little texture on the top so that that would come in handy. I know when I go in to start adding just a hint of details, maybe I do want toe catch a little something above the windows. I don't know at this point, yeah, I'm not making those decisions, but at least I've acknowledged that there there, I have a little sense of perspective now, too on, and I randomly do these things, so I can come down here to an empty space and now can look at the buildings on the other side. Okay, so that it's a lot more happening because there's a lot more building. So I kind of keep it loose with the perspective line, and then they come out like this. So I have this building that comes and here. So this is a corner that's gonna run flat like that and maybe this one skinny and then I see a nice hard line and there and then I kind of like how that shape here, common Dartmouth value shape of that building is giving me a negative shape on this one. So adding a little bit of value, there might be something kind of interesting to work with and then, you know, has all these other buildings and then maybe says I really look at it. I see. Like, this building's a little bit shorter here, and this building is a little bit taller, so it's gonna you're gonna see that line, which is the same as this. Okay, so you're getting that little kind of dim or dimension to it now, with that being my final painting, I don't know. Go that come up later on. Maybe. But I'm just spinning again some time and just acknowledging finding these things. It's important. So there could be a little starting to see. You know, the little things happen could be an awning or something on this one on this building, we've got these kind of lines going across. Of course we got all these windows and stuff or something on top here of it. So I start to really look at that shape. It's not just this Well, no, there's kind of a lot of little interesting things going on if I start to add that, just a hint of it to that final shape, and that would be kind of cool. So that's just one example. I'll give you one more here on just how to explore, break the ice with the background, break the ice with some of these things so we can extract some believability. So, for example, to I will switch it to this direction again. This was challenging, so I got a big old lamp coming up the street sign and is blocking Cem. Probably something's happening on that building, but that's OK. So I can start to just take what I have again. Find that angle with my pencil and then kind of get the gist of the shape and you start to move. You start to move pretty quickly. So I got this leaves little chimney stacks s. I can draw a line this way, and then that gives me the height of my chimney stacks. So this line here moves away with this perspective, that's on go to the finishing point. Same thing here. So that's OK, so I've got this little line coming up. So this is the top. I've got his line coming up. Going down. Obviously. Some shadow here. Then this line comes all the way over. This is the corner. So, um, basically, this line comes all the way over. That's the corner and lose down. Like so I've got this little shape in here. Yeah. I don't know if it's going to make it another soft. We got three levels here. Um and really, this is again about finding that balance of what details? Air there. Give me something to sink my teeth into. All these things certainly will not stick. Now we've got I don't know how many windows or doors? Kind of just coming here? Those lines. And it has these little white things over top. And I'm not worried about this stuff in here. Um, got these. Ah, Chimneys were coming down now and see him. They've got these shadows moving across. It's probably went on this side, too. So just breaking the ice with it more so I can kind of draw some lines in here. More doors. When does ferns probably won't put those in? I might get a little bit too much. I'm even starting to see. Ah, A little sign over here. Kind of hanging down. Be kind of interesting. Good. Schalken, bump over that. Help. Help me a lot. Help me start to find some of these shapes. And, um yeah, making a little more. Since I have announced up Got from this building here, it's got, like, this little, um a little warning or something hanging down. I got some windows like that. Has another so sort of awning or something going on there just kind of goes into shadow. So not a lot of sink your teeth into on this side, but I kind of like some of these things I extracted from it and again a good way to break the ice with it. You see other things in the background. Um, you always explored a little bit, but the idea is you, you know, they're there now and then you can determine later on what you want to include. 5. Refine Your Background: so now putting things together. So this will be a three by two roughly layout. And again, I'm not composing. Now this I'm still exploring. I'm getting things to a point now where I'm like, OK, I could see this working out in a portrait layout, and that's why one layout and then the next one, I can see that one working mawr in a landscape layout. Okay, so with the 1st 1 I can start to envision what this is going to be. So I'm coming here and there's a lot of stuff happening here, but I'm just going to come in here and get this feeling of all these little edges and fade away. And we got this building coming up really sharp angle there because I know that now have spent more time with it moving away, and then with this building, we have this sort of thing. So that started building. There were These lines are probably coming down here smoothing over something like that. So coming here just kind of remind myself of some of these things so out, you see, Now I've got a little you're already going on, and that's helping out. So I don't care about all of this, Really. Just coming in shadow anyway. So I had this, You know, these floor is going on railings. Ah, window with little fancy thing door, full fancy thing. Okay, so that's helping me out a lot. And I came over here. I mainly worked with this building here, but this building, I'll probably include it. It's got all these little perspective things going on. I love all that. Those edges. That's what makes it interesting. And then over here, building coming out over. So get the negative space going on with that shape. Maybe I want to include that. I don't know these windows. Remember doing that on a Maybe we'll see hauntings over here or some railings. So you start to see hopefully that this being loose and a nice, interesting shape doesn't mean this putting ah, big shape there and not paying attention to subtleties. Alright, from it was imported to spend time doing these sort of things. Because this is where you start to see the character of your subjects. And even though you may express them loosely if he can balance the looseness with some believability, some things that are true to that, Um, subject. Then you've got something that's a lot more engaging. It's more engaging toe paint because you understand it more. You can start to add the subtleties. And, of course, for the viewer, it's interesting because it gives them or to look at. And of course, they have seen similar things in their travels, so they can kind of respond to it that way. So now, lastly, here again, this is my landscape layout. I know. Want we've got this building kind of moving off here. This one really sharp, sharp, sharp perspective line in here under that line kind of easily over now way have these chimney stacks way have our shadows from them. And as you get more familiar with this stuff, you're gonna find you gonna be working on more of a gestural manner, which is what I'm doing now. So keeping a very loose of because there's a certain amount of kind of like confidence you get when you start to do these things because, you know, he kind of where you're going with it and then what we here? I've got 10 million windows, so I can kind of find mine, Theo, top of, um just throw some lines in here and now above those has these little white things. But again, I don't know right now, they don't even make it in there. Of course, ob carry those lines down because they basically meet up with these. So now this really trying to zero in. And this is our little railing on what it is that is really, really sticking. Okay, so I did the exercise of kind of breaking the ice with things. But now, as I do, some of these sketches, certain things that I've learned, let's say over and here and in here they will start to either go away or they will start to become heart off. Um, my painting and part of my street scenes and cityscapes in general, like I mentioned before, some of these ideas you may not use on this painting, but it may pop up later on, so he'll be surprised at what comes back sometimes. So anyway, it's just kind of recap Rule quick. Always knew. Pay attention to subtleties you can do is learn so much by doing with the pencil and paper . You can improve your painting dramatically with doing this stuff alone, but then die trying to think of it more in terms off detail here, extracting things you like. Okay, find that perspective. Find those lines that make the subject believable. Then come back and throw them in a frame that maybe you're thinking about. So for frames, Ah, frame is basically your four, your picture plane or your four edges. So I know probably do this one in a and a portrait layout. So I kind of did a loose portrait layout start to quickly see how some of those details start to appear. Doesn't give him or believability. So, you know, in other words, you know, you know, a background if I say this is my picture frame here. So that's a This is a very small version of that. I'm not saying you do this, Okay. Oh, he just said it needs to be a loose abstract shape. Okay, that's going a little bit too far. Unless you're, like, really, really going loose. Okay. I want try balance, believability. Good fundamentals with some expressive tech meat. So I'm saying a better approach is to find some character of the buildings and then includes some of those. Okay, that that way it becomes more engaging to paint. You have more things Teoh work with, and then the negative shape, the big shape and the kind of the abstract kind of backdrop that needs to be that even becomes a little more interesting as you start to discover these things. Okay, so now this ticket of step further and now the supply some paid to the paper. And I'll probably maybe work with this one here. And I'll just show you how you can do the same idea in terms of exploring taking the things we learn here and then applying it to a water color. Mom stepped sketch. We're just doing backdrops to see you know what we learned. And if it's something that's going a work, OK, so I'll see you in the next one. 6. Developing Middle Grounds: and this lesson, we're going to look at the middle ground. The middle ground is where your focal point typically is. That's where the medium and small shapes are. And it's probably, you know, the most critical part of a painting is where you will spend the majority of your time. So what I want to do is give you a few ideas on how we're going to approach the middle ground now zeroed in on the image that I'll be using moving forward. So in the previous lessons, I gave you a few examples of working with the background. So what I'll do now is just zero in on the one that I like. And then that way you can see how I take that and progress it to the next stage is in this case, we're thinking middle ground, all right, So in order to really convey what I will teach you here, it's important that we have the background. This simply, you know, a quick sketch of what is going to be so it's going to come down and then this will come up this building. We have this perspective going on, moving out something like this and then we'll have this building coming down in here now. This building is is very, very important. Okay, Because it is kind of a lead in through the middle ground. This will be a much darker value then this. Okay, so in a sense, my middle ground, even though the middle ground say is going to be right in here. This section, you know, this is going to kind of connect with it. All right, So think in terms of layer. So we had the first layer of the background, which is these buildings, and this will sit on top of that. And so you have this darker value coming down and then connecting, OK, And when I say connecting, I mean just starting to connect toe what's going on here now in the image? What I'm dealing with is a bunch of small shapes. So basically, I've got a bunch of fig years walking around. Maybe we can look at the light, the street light here or the stop light. But for the most part, all of my shapes relative to the big shape here in the background are small. Okay, I'm just going to represent them with a bunch of rectangles, those air figures. And that's all of the images really giving me. I can kind of look around the city. Well, maybe there's a big awning coming off of this building. I could use that in the middle ground, but I think that would be a distraction. So I'm going to actually edit that out. And But what we need to do, though, is come up with that medium size shape. So if I start to say, Okay, we're going to trickle in some figures, okay? They're gonna be this side. So maybe these these figures air in the background here, that's about the size of him. Portion wise. Maybe we have a figure walking closer to us, so they're gonna be This is gonna be bigger. Okay? But for the most part, you know, the image is giving me this sort of thing. And I can't really work with that because it's gonna have too much equality. There'll be too many shapes this size now. The thing we can do, of course, is connect figure. So if you have one figure that's this size, okay, we can say, OK, well, maybe we'll connect a few figures. Okay, so now we get a little bit bigger shape. Okay? That's one way to make a medium size shape. But I don't think it's going to give us enough. Um, interest. All right. So variation. So we have a a bunch of people in there, then we've got one variety, uh, object in there. And for me. I think we need mawr than that to make it interesting. So what you could do a lot of times is just think about or just draw from your experience on a course in a street scene is common type cars, um, buses, different objects like that in shapes that are bigger and different than the figure. So far, we've established our figure are like rectangles. Well, you could think of a car is a rectangle with shoes, but it's wider than is tall, and it gives us a little bit different shape. All right, So whenever you're thinking about the middle ground and whenever you're thinking up about bringing shapes together in arranging, you always have to think about different size shapes and make make it interesting. All right, because we do this. Not that is boring. The viewer. It will get completely, um, you know, tired or exhausted and looking at the same shape their eyes will say. Okay, there's nothing really interesting or engaging here, and they move on to the next one, All right? So we can add a car for a different size shape, right for variety, and they're different things that are happening. Eso if I just look at the image I had mentioned the awning that's coming off, actually, this building here, um, wanna take that idea and add awnings maybe over and here with the buildings that are facing us. So an awning, Um, you know what we're basically doing with rectangles to? But we can make them small. We can make him thin this way. So we're figures are vertical in terms of the rectangle on awning is horizontal. Okay, so the rectangles are foot flopping a little bit, so that's another way to make a shape and, of course, to use some creativity. So we can add some mornings to the mix to make our shapes interesting and what's nice about awnings and think you sign ege and things like that. But what's interesting about awnings to is it gives you a different level. So figures in general, if you have a bunch of people walking along the street here, the top of their heads will be roughly I level. So let's say, for example, this is I level. All right? You may have a little kid. You may have. Ah, Giant are really tough guy walking of whatever. But for the most part, unless you're dealing with elevation like a street that's going up like this or street this sloping down the top of the figures will be roughly in the same place. So this figure that's closer to us here, that would be in the same place. But it would extend down more these figures in the background. Okay, They're all the same level. Okay, so we're getting this thing going on came. We may put a bigger figure here, Okay, But they're they're gonna be like that. So you got this I level going on. And now why is that important? Well, let's go back and revisit awnings. Awnings in general are above the heads of people. Okay. When makes sense to put an awning below the head of a person because then they would bump it when they walk in the store. So in Awning is up here. Okay, So you're you're getting a different elevation, then what you had with the figures. OK, so it's a way to add shape and interest in the middle ground. Okay, Get away from everything being the same love in terms of shapes. All right is the skin back to the middle ground and what it needs to be. We have smaller shapes and medium. All right, we need tohave variety. That's very, very important. Okay. And without variety doesn't work. We can put a bunch of figures here and put some bigger, some smaller. But in the end of the day, they're all figures. Eso for may. I'm gonna capture a street scene. So I wanted to kind of get a little bit different, feel in a little more variety and kind of bring out the essence of what a street scene could be. These air things you have to start to think about when you're working with your artwork. And that is what is the image giving me that can extract. And then what else can I do? Awnings car. Right to make it more appealing. So for example, if I were to add a card here, cars are a little bit shorter, right then the people so I could add a car. And here, this may be behind This person's okay, I could add another car, you know, back in there or whatever. But for the most part, the idea is we we want, you know, different size shapes. We won't variety, and we can take things from our experience. We can take things from other images and place them in places to make it more engaging to make the shapes more peel. So that's very, very important to understand, because the last thing you want to do is copy the image. Okay, The image is not going to give you everything you need. I mean, you can sit there in Paris and all day and take pictures, but the chance of you getting that one perfect shot of that one person walking in just the right pose the one car in the right place. I mean, you're gonna be there all day, Okay? The idea is an artist is you. We are creative way. Have to use our imagination mixed with skill on and things like that to create a painting that is unique. All right, so that's what's going on right here. Now and the next one over here, I'm going to take these shapes that I just shared with you that will arrange them in different ways and ultimately out come up with something that I think is going to work and again notice the shapes are rectangles. Okay. Boom, boom, boom. That that that's all they need to be. Okay, we're not. We don't need to draw the hair in the eyes and the shirt in the pan. We we don't need to draw figures right now. We just need to draw shapes. That's all they need to be later on. We can dial things in, but right now we need to place big shapes, little shapes to make it look interesting. All right, so now let's go over here and work with the next step 7. Exploring Middle Ground Details: All right, So now let's just look at rearranging. Ah, few shapes here and again. I'm just gonna deal with rectangles both long, tall and me. That's pretty much it. Now I'll give you Ah, the safe. Three examples. And let's just say if this is all these air, all middle grounds, Okay, Okay, so this section right here represents that. All right, that's all we're dealing with. So but say, if I take a rectangle and ah, put one right here, that could be a car. And maybe we have another car over here that's a little bit smaller because they're connected. We have a safe figure. And here and now we have to say we have three figures, kind of stuff back in here, that air together and the same for variety's sake. We put another figure in here that's walking maybe into it and then just for giggles, we can put another figure here that's connected to it, and that's fine. And now maybe let's say we've got on awning or something reaching across here. That's okay. Okay, so we've got that sort of arrangement going on. So it's right. Three people, a big person. Now we've got a car car and that's it. Okay, so that's kind of arranging shapes, thinking about to show how we could shuffle those around. Now, don't translate that for you in a second, but kind of just do a quick, gestural sketch of what that may look like. But let's look at another example. So now we can say, OK, let's put a you know, a car in here on may be waken hurt with, say, some figures, walking and here. So we put 3 50 years, maybe, and we'll put them slightly behind the car so the car is closer to us. So we kind of have this thing going on. And then we have another car back in here, and then we have another vehicle. But let's just say is getting closer to us. But this is a big truck, so we'll go something like that and then off to the corner here. There's a car, smaller car that's right behind that. All right, so that is the arrangement of shapes on. Then you come over here and say, Well, maybe there's a dawning or whatever, just just to mix it up. But those are the types of shapes again we want to deal with. So now, one last example. And then I'll do some gestural sketching. So actually make this end to, uh, things we would recognize. Okay, but let's say for another one where you got, um se we've got, you know, a bunch of little awnings, something like that. We've got some smaller figures, thing we've got to, and then we've got Juan. But this was a little bit closer to us. And now we've got a car, and now we have a bigger car, and then we've got a ah, figure right in here. And then maybe a bigger figure in the foreground. Okay, so, again, little, all these different size shapes going on, and when you're looking at things, trust me through, this is how you want to see him. Okay, How do they kind of jumble and look and this sort of format? Now, let's take that's a, um ST, Let's take this one, and I'll play with it in terms of making it into things that you would recognize. Okay, so let's say we have the shapes I mentioned before, So now I just kind of make these into some actual figures, and then we'll kind of make these into some hauntings, little shapes on the building or whatever. And we have our figure that's a little bit closer to us here. And maybe there's another little shape there, something catching light. And then we have our car. So our car would be maybe something like this. And then we have the bigger car and here we'll put a little something. Maybe it's a taxi or something, and so this one's much closer to us, so we can put like a little shadow underneath it. But I'm not gonna worry about that too much. So you've got that going on. Maybe some stop break plates and then we've got, um, figure here may be getting in to the car, and it's say, there's another figure of walking, but connecting to it, something like that. And then we have a bigger figure here and in the foreground. So let's say they're walking like this and we can even trickle in another little shape of a figure way back there. Okay, so now it changes quite a bit because you're starting to recognize some of the shapes. OK, your brain is saying, Oh, Yeah, person a figure. All that and, you know, it starts to make more sense. But if I were, you know, we just went back and looked at this kind of compared him. That's basically what I did, right? So all of these little shapes that are awnings me there rectangles or the tall rectangles into people. This is our car. This is a big car. These are figures back in here. And then we've got the big figure in the foreground. Okay? And now that the next element would be if we start to think about shadows. So this say the shadows are way. As I mentioned earlier on, I think in lesson one about how shadows can connect things. Basically, on the ground level is where you're going to see cash shadows. So let's say the bottom of this building is in here, and these have to be included because shadows are shapes. And if you don't include him, then you're not considering them in terms of a shape, and you always have to do that. So now I'm just running shadows underneath everything but notice how the shadows are connecting everything and then there helping bring a little more shape to the scene. So let's say this shadow is coming down, and then all of these shadows from these people are running down in here, and that may trickle into the foreground and do all that now if I start adding a little bit of value down here to the base of the building, and maybe we can run a little bit of that shadow value over there. So now let's say, you know, in my mind I'm seeing a lot of shadow back in here at the bottom of these buildings, and what that's going to do is connect everything. So this is where your vision is important. Understanding that all of this is eventually will be working to the paintings as you're designing things and you bring in the shapes together. He always have to know that your shadows and these values are going to help you a lot in terms of connecting now, all these shadows one ever in here and then they could just kind of come down and be these very loose and abstract things. This figure walking in the foreground would probably be a little bit darker, and so that's kind of what you're dealing with. And, you know, there will be a value on the car, probably a value in the windshield. They were getting a little reflection, and that's what you're dealing with. All right, so that gives you an idea of how those shapes woodwork and then kind of seeing how the value in the shadows, like the shadow coming off the edge here, connecting these big years. And maybe you could run a little bit more, connect that one shadow in the car. That's kind of connecting with this shape. So now we've got was called Continuity and movement. Through all the shapes, everything is connecting. Okay. And that's very, very important. But, you know, in terms of design, that's kind of what we're looking at. If I did the same thing here, so I would make this to say into a truck, we could do something like that. And then we have a little car here, right behind it, something like this. And then see, maybe we have the other car that say that put over and here. And it was a shape, basically a rectangle. And now I've got my book. Was that three figures that were. Now I'll connect this figure a little bit to that car, and we'll put this 1 may be a little bit further away from the other ones sold. These figures could be walking and we've got the car. That's Ah, roughly in this section. So it's kind of coming off, but it's kind of connecting. You see that connection of the shape there and say it's in shadow, so we're not gonna get much detail. And, you know, if you start to add shadow, maybe the shadow is coming across the foreground this way, and there's another shadow running back in here and you start to see how no, these shapes basically are all starting to connect and make sense because now they're an object. So this was our middle grounds. That will be fine. Okay, that's an interesting arrangement of shapes. You got this? You got a bunch of little ones. You've got a medium. You gotta law have a taller one here, and then we've got a smaller one that's overlapping. And in term, and of course, you know, there be detail on the buildings and stuff that would kind of join everything, but in terms of ah, ranging like the shapes in the middle ground getting something interesting. It would work. All right, so this is the kind of the idea and the things you want to think about when you're dealing with the middle ground. Always think. Try to reduce your objects. Simple, simple shapes moving around a little bit. And if you don't have the medium shapes or the small ones or whatever you make them using your imagination and now it real quick. I will show you how this, um works when you have the big shape of the background and then so that this is going to basically tie the two areas together. So you have something now that you can look at and say, Yeah, I can see now why you would want that big, abstract kind of shape in the background because it's really setting the stage for these little guys. Okay, so that this gives you that that visual of you know why this is always considered interesting shape, but asked to have some believability to it, Um, so that the viewer has something there to say. OK, yeah, there's a porch. Is there, is there I can see the perspective of that building on DSO one. But now, if you start to compare this big shape of nothing ness really to these medium a smaller shades, Okay, it starts to make a little more sense. OK, start to see variety in the variety of sprinkling in these things along the middle ground. I'm really, you know, contrast with all of this. And again, if you go in here and start doing every little window, every little awning, every little sign, every little whatever you know, detail, detail, detail I want do on architectural rendering or illustration. Then you're in trouble. Okay, Now all. Can you imagine all of those little shapes and things would be competing with this. And this is a focal point. If I wanted the building to be the focal point that I would make an architectural painting , I would paint the building. I'm not worried about a scene anymore. Okay, so a scene to me would be background middle ground foreground. I want to do in architectural drawing that would focus on a few windows or something that's interesting about the architecture and make it about that. Okay, this'll is a scene. Okay, the scene needs to make sense, Um, as a whole. Okay. And to do that, we cannot try to copy what we see. Just can't do it. So give this a big shape. Now, you can start to see it here. You if I came in here and sprinkled in a few windows, maybe a street light. Okay. The windows. Okay, that's fine. Okay, We're not competing two months with this, okay? That's this is where it happens. People. Okay? This sets the stage. This is where it happens. All right? Now, the last thing we're gonna talk about four Brown and then we'll do that in the next lesson . But that's that's even more basic and cut and dry, then this sort of thing. Okay, so I'll stop right here and now you have a great visual. Um, and some new information here on what this means, But always remember, always, always, always remember, think Here. Okay. I always think in terms off, you know, your shapes, stacking things. And if you get to a position where you're doing this, that's bad. Okay? You can hit a few of those, but then you know we need to have space we need to have a different shape. Way need. Maybe a bigger shapes of different sides of the same shape. So little rectangle, big rectangle, tall rectangle square flat rectangle. Okay, that's that's what we're looking at. And if you if you think in terms of this that you'll be able to look at your images and and seed potential problems much quicker, and then you're gonna say, OK, well, boom, What? So I had to work with, and then you're going to start to draw from your experience and your knowledge and the use of creativity to break things up. All right, so anyway, I'll stop right here. I'll see you the next. 8. Closer Look At Foregrounds: last but not least four grounds, and we want to keep them simple. And remember, they are an entry point into the painting. That's it. Okay, so we want to avoid placing objects, flowerpot with flowers, and we want to avoid putting anything tangible really, in this area. All right. Now, since we're dealing with cityscape street scenes, that sort of thing is pretty cut and dry. I mean, you have no the buildings which are generally generally situated in the background, maybe the middle ground. Yeah, they can trickle into the foreground a little bit, but for the most part, um, you know, all that kind of stuff lives in the middle ground in background. So you have things like a curve or a sidewalk. You have a crosswalk. So, like a pedestrian crossing, you can do things like a tire marks. So basically on the streets and maybe, like something off a loose figure, and I'm gonna underline that and just say caution, because again, when you're putting things like that in the foreground, like a figure has to be almost like a silhouette. Okay. Very little detail. Don't put bright colors on it, OK? If you put bright colors on it in the foreground. It's going to suck the viewer right out of the pain. Okay, we're talking silhouettes, ghosting a figure. That sort of thing works well, Another thing that you could use up our like, reflections and shadows. And that's really all you need for this sort of scene. If we're dealing with landscapes or something, we may be able to draw from other things. But for the most part, this is what we have. So let's just do a few examples here and look for canned. This is our layout. All right, So we have our background, which we know now is a shape. That's it. Then we have our middle ground with your medium and small shapes. Right. Building structure ends here. We got some figures in there. Well, guess mornings, right. Okay, So we we want to get the viewer into this sort of thing. So let's just take a few of these ideas. So if we have the car situated here with watercolor, it's easy to kind of put a shadow underneath this and just lead that wash trickle down. Okay? Just let it bleed right on down into the foreground. and what that bleeding does that creates that entry point, because all you're worried about is that shape right there taking the viewer end. I mentioned to and I was scribbling with the's 50 years back here in the middle ground section that shadows or cash shadows like that leading the viewer end. It's fine. Occur so her maybe can be this sort of thing. And if you have a really long curb like this, obviously, you would probably want to put you're some sort of figure in there just to break that line up a little bit. Tire marks All right. Moving into the scene worked really well. So if we just took a sheet of paper of the year and this kind of said, Okay, that that's our foreground pretty boring and that's what it used to be. But it's effective. Look at what we have that sort of thing taking us where into the paint. All right, so now I'll just show you, Ah, a few other examples using some of these other things we didn't do. And to do that I will turn proud of the paper. So we'll have example. One an example chew. So now that say our buildings are coming off in this direction. Maybe we have it end here. We have a curve that does this sort of thing. And let's say we have some more buildings there were here. So say our middle ground could be, Ah, car. Maybe another big car right here. And we have some figures. And here, maybe smaller runs. This is a bigger one. Okay. Something like that. Okay, we have awnings or whatever going off on the building. So right here where the corner is. Um, then we can put that feeling of a crosswalk. So you know what that does That takes us right on up into the pain. That's all you need. You can put some tire marks. You can put a shadow or whatever, but for the most part, it doesn't need to be any more than that. Maybe we're into the light. So everything here is back lit. So we can, you know, put a shadow cast shadow here from the figure and maybe a little shadow here. So that's that's all you need. And we'll do the same exercise here. That's basically our four grounds are four grounds. A little bit bigger here. You see, all of these things shapes here taking us this way. So use the crosswalk sidewalk, higher marks of the slick, it reflections. All right, so let's say we have ah building maybe in here and then just trees or whatever. And then maybe we have a car that's kind of coming toward us a little bit here. And so we were dealing with a rainy day. So maybe we have another car here. Okay, so we have maybe the headlights on the car for those headlights on a rainy day. We'll be creating this sort of reflection on the wet pavement. And maybe we have another figure in here walking on their reflection are taking us up. OK, so far, does she that value in for a second? You have that sort of thing. So the headlights would be a lighter value again if we do this we're dealing with Is this things that take us and to the paintings? Okay, so that's pretty much it It doesn't. You don't need to over complicate. Watercolor is a challenging medium. You wanna have challenges dealing with wet and wet techniques, and you will have a challenge with maybe designing things to make them more interesting. So whenever you approach something, you always have to kind of outsmart. Okay, we taken image in this complex details that are overwhelming. Then you start to get sucked into all of that, and it's not gonna do you any good because when you start to paint it, you know, your your medium is going to challenge you to and the your challenge with your image. And the next thing you know you're painting looks challenged. Okay, so the struggle will be obvious. So if you look at the whole concept of what I'm teaching in this class and even though these air No well, the whole idea of the background middle ground foreground, is not earth shattering stuff. Okay, we all of us probably knew this coming into the workshop, but it's how you interpret it, OK, it's how you put it down in a painting that matters, okay, because you have control over that watercolor. You don't always have controller. You have to give it are yet to kind of let that do its thing sometimes. But if you know that your background now is a simple shape with a few little details and some believability, right? Some things that are accurate. So not just blobs and just lines that don't mean anything. They actually have some representational qualities there. And then you're middle ground has that purpose, and they're all medium shapes, this sort of thing, all right? And we know those now where can be figures, Awnings. Okay, that's all we need to make that happen. OK, so great. But now where we at now, we just need something to take us in. Okay, Reflection, shadow, curve, don't. Okay, so you will see if you follow this method and you understand that this and this are fairly , you know, simple than the bulk of your work is right here is almost Yeah. I feel he can get this to make sense and to spend your time here on then the You know, this and this, you know, become easy. So anyway, those are the main things that want to stress in this workshop and in this class, so that the process of painting becomes easier. We always have to keep things simple. When things are complex, we simplify it. We take charge of what's gonna happen when that pain hits the paper. OK, you gotta be in the driver's seat here. Once you have, you do this part by simplifying. Then you got room to let the medium work. Okay? You got some wiggle room there and to let some of those abstract things and imperfections show. All right, so anyway, that kind of covers the three main areas, and now we will look at bringing up some shapes together to make an interesting composition and create a final pain. 9. Materials - Part 1: All right, let me go over my materials here. This is Ah, £140 cold press paper. This is a Blick brand which have been using quite a bit lately. An excellent, excellent quality. Ah, little more affordable. But in terms of what I do, which is this a lot of wash techniques? What? In wet? I also do a lot of lifting, so I kind of rub into the paper a little bit, so I give it a little bit of abuse there. It holds up really well. Been extremely impressed with this. I'll leave it legal where you can buy that if you want to try it out. Oh, my pilot here I also use these air whole line paints from Germany. I started using these on first start of water color back in 99 I believe 2000 and they're just incredible. Very soft and buttery at the tube. A lot of Hughes to choose from. And I've always been satisfied with him, eh? So that's what I use is the whole bind. And these are my This is my palette here. So I have Cerulean COBOL Coach, Marine Cat, Read the blizzard Crimson burnt Sienna would not use the Iridium. This is New Gambo Sh ah, yellow ochre. A neutral tent. And this is lavender. This is a one leak proof or proof palette. And this holds up really well and give me all the area I need to work. I've used bigger pallets and all that stuff, but I just find it takes up too much room and this does the job. And plus, I can travel with it to water reservoirs, a sponge and my brushes. I will cover. My mop brush is here. I like DaVinci. These are a little more affordable than is obeying some other brands. But I have a small medium large. This is a number eight. So my large medium is my number five. And then my small is a number to a lot of artists don't have anything quite that small. But I tell you, this thing comes in handy for this painting. I'll probably use these a lot, but I can tell you for like, quarter sheets, getting here, doing details and washes where you need to cover a little bit of area. I would really advise getting a number two on the appointed rounds I have. Ah, number 12. This isn't a Skoda Prato, and then this is a number 10. So a medium or larger in a medium little more firm with ease so great for getting around shapes and kept getting a little bit of definition. I use this one to slot softer. This is number 12 Skoda Optimal Kalinsky eso good for softening edges and laying in a little bit more above have an area, maybe in the pointed around. And then this is my needle brush. Absolutely love this thing to use it all the time. As you can see, it's got a nice belly to it. I can get some really good telegraphic plate strokes. Apart from that, I have a number two pencil that will use for my outline, and that pretty much covers it. 10. Design Layout - Part 2: So whenever you're laying out of design, hold your pencil like you would if you were sketching. So trying to avoid this. Whenever you do it like this, a lot of times you get a hard line. If you hold it here, gonna use the side of your pencil and you'll probably get a little bit softer line here. We know it tends to be darker. Okay, So anyway, I'll start to lay in what I'll do here. So the idea is this that would be a little bit taller. So I'm gonna come in either here and basically put that shape right in there. This Chief comes up about right in here, and then it's going to move over, and then we've got this taller sheet coming down. Okay, so we've got this tall, short or medium short, tall, so backed up. So that's all part of the design and those sort of things you should always think about doesn't really. The images is like that as well, if you really look at it. So now, um, I've decided to in the middle ground. So this is where we're talking about here. Um, I want to add, you know, figure here in this area that will be kind of walking into the scene here. So we have some other figures, and then right in this section, I thought I'd be good. Teoh ad, um, a car. So? And that is where? One reason on Lee and that is shape. All right, Discussed, um, boy or color. Really? These these meet this middle ground section. Ah, mentioned that shape is important because if you're not considering shape, then you're not really thinking in terms of balance. Okay, In the middle ground was medium small shapes and this car give me that nice medium shape, and without it, you know, it may be a little bit too small. So all these figures, these cars are all kind of and I needed something that was a little bit bigger. So adding a vehicle there made sense because the street scene anyway over here is will be a nice, sharp line that goes right in to that car. So we've got figures and we'll probably have a figure. All right, in here, moving possibly like getting into this car. And we'll have some other figures and stuff like that. And then we've got this other cars remote. This will be connected through the background. This dark space in here. This this car, um then this This shape right here will cut right over. And then we'll have another baby shadow moving in like this from the side and and then, you know, in this section they will have some awnings, really just some kind of abstract shapes on that building there that could represent awnings or whatever. And down in in the foreground. Well, let me let me finish this. I'll put another figure right, And here, basically walking along there and we'll have a couple more figures. Uh, over here and then just some abstract shapes. Their fun foreground is very simple. Off start right here and just run some lines up in here will be some shadows under these are figures and something like that. So it is really tire marks were moving up through here and then down in this section, we got the car that's kind of moving into the foreground area, and I just kind of let this bleed down into here, so kind of again, leading the eye up and then all along and here will be kind of cast shadows running down towards use. That light is we will really be coming, ASHA. And here. And I think that will pretty much do it. Um, bump this figure out just a little bit. I think he's a little bit too small. And then that kind of this ghost right on down into that shadow. But that's it. There'll be some other verticals on here, maybe some light posts. So there may be some wires one across, Not that sort of thing, but that that's what I'm concerned about. The notice where my my emphasis here, where I spent my time writing here. Okay, that's my focal point. That's where I want people to go. Don't care about this, but I will put a couple of signs in here like that something. And then maybe a vertical here for stop, like, maybe run one Maurin the air and then maybe, Ah, some public lighting or something in here. All right, so that's my design. That kind of gives you an idea of how things were laid out. What was going through my mind when I started working with shapes and it works good. Okay, so now we're going to start to lay in the first wash 11. First Wash - Part 3: all right. Dealing with a very weak wash. Okay, this very 1st 1 needs to go on extremely, extremely transparent, extremely clean. And like so I say light, I'm talking in terms of value on day. One of the thing I want to point out to you for a start. Putting the color down is a sponge. So I've got that on the top corner or the top edge there and that dis encourages of the water to flow down. So clean water here. I just put a little bit down, and now I'll go right into my yellow joker here and just kind of sponging up a lot of that . That's kind of loose. And I want to make this again very weak, so plenty of water. And I want to start right in this section. Now we'll have a little bit of white on white shapes and here, So I want to on go around some of this area here and just leave a little bit of that space in there was that white space is gone getting it back. So something like that is working. Good. Now to mix it up, I'll do a little bit of this crimson, I will tell you, Ah, use crimson sparingly because it can be a very intense, extremely staining Hugh. So if you go too strong, you may regret and still working those Crimson's in here. And now I'll go back to a warmer Hugh. So kind of getting in here with these oak er's so like that is working for now. And before any of this dries, um, going to go ahead and lay in my sky, which will be very, very pale. And even though in this image, my inspiration image, it's really very gray and overcast. I'm putting, obviously some late going on there because he saw the shadows in the design. But a lot of images you will get some pretty intense skies. Eso It's like very vivid blue. And if you really look at that value, it's It's a medium value, sometimes even more on the dark side. Eso If you go that dark, you try to basically match what you see. Okay, you're gonna be in some trouble because you define that. Trying to match it is ah mistake because it's so dark and value that you try to match it and everything else has to be dark too. And you're you're going toe. I make everything basically too dark. So always keep that sky very light. And now I'm finishing up my wash here I'm this going to Sprinkle and very lightly some of these crimson's. All right, so now just flashing a little bit more on, and that's good. Now the name of the game now is to let it dry. And I will do that off camera, obviously. But as I do it, I'll do exactly this. I will let things run around and then also very, very important that you get this. You see all this water building up around the tape in the edges. I'm going to wipe that all, and it's going to come back a little bit because there's a lot of water on the paper. Wipe that. Also, it doesn't run and bleed back into these colors. So according to do that, so all of this give the same dry and we'll come back 12. Second Wash - Part 4: nice and dry. So now I can start to at some neutrals and start bringing this thing forward a little bit and moving into my number five. And I think you know that. I know I'm gonna have a lot of dark down here, the base of the building which will help silhouette a lot of the shapes in here. So the tops will be a little bit lighter and value. I know I want to use some neutrals in here, So I'm gonna make some clean neutral, though, because in my last demo put a lot of lavender and these colors and lavender this you right here has a lot of weight in it. Eso is just gonna make the mixture a little bit milky for me. I want to keep my eye colors transparent at this point. So I'm going to start with some neutral tent, which is a good base. A little bit of sienna now. It could still go pretty weak here. Okay, I'm dealing with the tops of the buildings here. I'm going to start right in here and kind of start at the top. That way I can kind of run this down as I go, and I kind of get a good gauge on how this is looking. Now, basically, compare everything to this, so that's looking pretty good. I'm just gonna run that over so it doesn't drip down. Go a little more sienna. Now, touch a bit of blue towards the base here. And you see, you just kind of working back and forth and getting, uh, those strokes showed little pockets. There be a reason original wash. I think I'll make this into, like, a little taxi or something. That's so just getting around those shapes for now. Now I can do that all the way through, and I come in here, but some jokers now and kind of splash we'll go a little bit cleaner, splash a little bit of that on the light on the side That's getting some sun Now I can kind of run nothing a little bit stronger this way and and just adding a little bit of detail there anything to make it kind of interesting, right? That's what we want. An interesting shape now on this side because I've used a lot of grays and neutrals and stop, um I want to now it is letting some water bleed down here to get those light marks. Make this a little bit different, hue. All right, so I'm going to get more on the blue side and go Sienna touching my crimson and then back to my blue and I'll start right in the middle here that way, from too dark I can always go lighter. And now this kind of a straight line coming over again, Just kind of some interesting strokes there. If I could get that to work me a little bit more and still and bringing that down and it's getting that feeling of perspective and buildings moving off in the distance here, we've got that little interesting shape in that section and then joining right now getting to the base that's gonna use a wet brush there. Just soften that up. Getting through the base here of this building, I will go Sienna Ultra and now again, trying to get that feeling of some awnings and different shapes of moving on in here. I've got that shadow running across. I know. I don't want to disturb that. Enjoying that right onto this car Here. I'll change that you a little bit as I get must get there, We'll go seem same ones. And this will go a little bit darker, though. And we have this shadow movie across. And there's something for that figure. And we have some figures running down here and something like that. It's fine for now. And just gonna splash a little water and there for now. All right, that's looking pretty good. Now, I'm going to use some of these neutrals. I might go a little bit weaker and just start. Um, and it looked just something down in here and getting those lines to, you know, make their way into the painting. OK, now, over in this section, I've already got some color going here, but just gonna run these perspective lines down in here is Well, okay, So, like, that is good for now on this going until it the board. Let's some of these things bleed just a little bit now. As before, try to get this excess off. I don't worry about stuff like that because we could make that into wires and stuff later on, so don't don't don't panic. If you want to dab it out, you can dab it out. But that's what it wanted to do than just just let him do it. Don't fight it, All right? We're doing good. I think we've got the background where we want it. And once I started moving in and really dialing in this middle ground, I'll start to connect that building down in here on. Bring that Florida's well So I'll let this dry off camera and then we'll come back and then do a little something to it. But I think what I'll do real quick. That little trick is where we have these little specks of light there. You can just got a little bit of dark value under those sometimes, um, and you just kind of make them into something that could be catching light. That's always kind of fun to do. And you really start Teoh. Yeah, explore those abstract qualities a little bit, okay? Letting the painting do the do the work for you. You just go with it. I'll be back in those drives 13. Third Wash - Part 5: I think at this stage, um, I need to bring this building in. Once I get that really dark value coming down, I start connecting these dark values in here. Now, give me a real good indication on you're connecting these darker values in here. And then I can just bring this forward. But I will add a little more detail in here, but for now, I just don't think I need to finish it. So I will lay in this first. And that way I have something to compare that background too. So once I see all of these details and shapes, that will be, ah, more clear. And I don't always work that way. Sometimes I will finish that background and get in the way I want and then move forward. But for now, I have what I need, uh, for this shape, I'm going to go with my number five and this is gonna be nice pop of color here, and I'm not going Ah, bright rainbow color. OK, I'm going very much a neutral because it's on the edge of the paper and I don't need it to shout at me or to grab any attention because I want the focal point to be right in here. I'm so, um, kind of getting a little bit of paying off their and bring that line straight down and making these marks here. And now I've got some sign egx, uh, along these lines, something like that. And that's good. So from here, start to kind of lay in. Ah, this figure here kind of moving along in the foreground here. Hey, just going to completely disappear here and now I will go to my smaller brush and start to join him to these other figures and shapes. All we're doing now joining things. Um, I've got that blue on my brush. I know. I want to get this a nice pop of blue on this car and those I went straight out of the tube . They're pretty much on that one color on Just, uh, keep in trying to keep it loose. Something like that's working pretty good when that in a little bit now we'll go straight again out of the tube with this red. It's a point that I got a little bit of that red on my brush. Some going Teoh put a little bit here on that car and now just joining these darks and there's basically using a wet brush and taking these colors and moving it right on up into this area of the car. So reds, we have a shirt back in there, Uh, faces like that. Now, slipped switch brushes. Um, move boots a little bit bigger one here. So I've got some bigger areas to think about. So CNN is That's a neutral I'm going thicker to OK, so I'm going more rich with this color and doing that to spot putting more pigment and it So now, really getting into my darks and laying this in, coming under here, catching some of these shapes. And we use just water here and blend that into the brush and start to weaken it a little bit. And that's just because I'm moving up into this area where I just don't want to compete with the foreground. Oh, this is working pretty good, keeping it loose and abstract as I can. That is the challenge we all have. We're painting loses, too. Stay loose and not get sucked into copying. All right, so now I know I've got a dark side to this building so I could start to run that up. And now, um, I just have to remember, as I get to the top of this building to fade this out a little bit so you can see under sprinkling and details leaving some of those shapes. It's the web brush here. Now, I'm just going to soften that line with some clean water. And just to get that sense of light, I'm just gonna add that shadow on this side. Now it is clean water there and rubbing that out so it fades a little bit good. And now I just know that we need to worry about that. I see now this soften this edge here. I want that figure to show. And I've got enough neutral here to do what I need to do on that. She's really dotting in. Ah, feeling of light moving along here. Few windows. See, I'm joining things as well. So letting those lines move into each other, take that shadow running right on down, and here and get some sienna look and then kind of let trying to encourage this toe. Do what I wanted to do to that was just moved down into that area. So far, so good. Just clean water on a smaller number two. I'm just going to lift that I had a little more red and Nir than I realized. No, go on there. So right. This kind of checking it out now and get it here and starts. It's adding a feeling of some faces on a few of these. That's pretty much all we mean. And now, just a little bit of lavender. And some of those neutrals don't touch that. And right in the window there, I'm gonna clean my brush off. Really? Good. I'm actually gonna switch small, pointed around and touch a little bit of clean in there and current that to bleed a little bit, but it gives a nice little indication of ah, of windshield there catching some light. All right, do a little bit tilting here. I do have to be careful not to remember that you got, um, a lot of washes. A lot of puddles going on here. I'm going. Teoh ghost this figure a little bit more. So this lifting and bleeding. Ah, that a little bit clean towel dry and just dab and they're a little bit just to break up some of that. I think I will add a little sign back in here and now I can move in here and the shape that a little bit. Yes, we have a nice little round sign there and just get a hard edge to. And it's turning some darks for that shadow there of the car and just letting that run down is I take my liner brush and just trickle in some of these darks. Let's put a few little details there. Sometimes there's little lines. Mika get that illusion of something happen. Good. I think now is the time to probably let this thing cool off a little bit. So I will love let this dry and then we'll come back and reassess. 14. Fourth Wash - Part 6: All right, let's do a few lines in here. So I've got my needle and just going to go fairly weak, so I'm just gonna just get some of these colors air sprinkling around the tallit. Before I do that, I'm gonna go a little bit darker right in here. I just want to anchor that middle ground a little bit more. Someone go with some Ciena's touch of my neutral and ultra marine blue. I just think defining a few shapes in here. I was gonna go a long way. A little bit of dry brush in there, too. Would help. Now it's getting a little bit of that off my brush. You can see that kind of help Bring some of those shapes full. Were a little bit on just about Got it. And now just kind of making ah, life's loose marks here and now it is running some of these up and, uh, around the sign Gotta work now Can is use that too. Lay in. I was kind of go right back in here. I used some of these and again this is gen generally where you know the amateurs will blow it. I'll say this again. We don't need a lot of detail back there on just some this A little bit. It is too strong. Babbitt. I'm gonna go with Cem. Some of my lavender. He could see how that grease it out. Pretty nice. Too. Good. Now, just joining things. Good. Now, use some of these neutrals we can lay in from balconies. Um, with caution, of course. Respect to the design. Going to redefined these a little bit. Lift a few of these soft in a few of those crowding this brush again. Few neutrals, even though it I'll see it in the image I'm going to. I had some stop this in late. It's in here for the car. So let's say something like that. Another one in here, something there. And this could be our public lighting. And there, now, real weak. Um, I just want to do something along those lines a little bit of wash their mix it with some lavender, some of these neutrals, and we'll go something like this. And there it's gonna smart that one. And Cleveland brush when mixed up a little bit of my gam booze. It's cad red, and I think That's one of the war. Notice will dry brush on that one. Now, a few highlights. We'll go in a few figures in here. I want to have a few in here is well, - Oakar on. Just get a little show us some skin tone here. Maybe a hand. See, I put it on wet, I think for good. So why don't wait? You saw for that line there? Nothing. We can take some tape off, and this is second here. I'm going to grab some of these neutrals again. I was trying to get a really light grey almost, and, uh, just see if I can a little something there. You're nice and thick here. - The tire marks moving in. Can't get dark. Do that. All right, so here it is. Nice and dry without the tape and all that good stuff. I hope this demonstration helped you and I enjoyed doing it for you. And I appreciate you guys to know that 15. Second Demo - Materials: welcome to Demo. I will first go over my materials with you. The start with my paper This is £140 cold press And this is a Dick Blick brand I'm experimenting with and I really like it. And how they recommend it a little more affordable, durable, but not is durable. See, is my regular go to paper, which is Saunders. But if you want to save a few bucks and still get good quality paper, I would highly recommend this again. £140 cold press 20 to about 15. So 1/2 sheet. I have a piece of gator board here that is mounted to with some masking tape but 1/2 inch border all the way around. My brushes are I have a needle brush that we use for some fine detail. This is my Escada Optima Kalinsky number 12. Really soft and good for softening edges and things like that. These air cover my squirrels now, Mama brushes. This is a number eight DaVinci. Ah, great for large washes, obviously Also have a number five. I use all the time for medium areas and this is one I absolutely love. So handy to get into small cracks and do some good dry brush strokes and things like that. But this number two is amazing. And then I have my pointed rounds. These are Skoda. That's well Prato, but number 12 number 10. So that covers my brushes. I have my number two pencil, which I will use to lay out my design. Two reservoirs is a class. Collapsible reservoirs. I can using the studio. And then, of course, I can travel with them. Always have a sponge there. Have another spawned. You can't see two under my top part of my board to keep it tilted. Anakin. Always gonna have one of those or paper cow. Rather have a scrap piece of paper. Here are keep right next to my palette for testing colors speaking a palette. This is my leakproof palette. Great for studio. Great for travel. Um, I use whole line. What are colors? They're absolutely creamy. Very, very good. They have a wide selection of Hughes. So again, I use whole bind. This is surreal. Ian Kubel, Which Marine cat Red deep Elizabeth Crimson Burnt Sienna, Meridian Nuke Ambos or Gamba's Nova And then yellow ochre, a neutral tent and lavender 16. Second Demo - Design Overview: I will quickly lay out my design here basically will go starting this section. And I have a tree coming off here. Say the bottom of the building is right in this section there. And for this one, even though it's not there, I'm going to do a crosswalk has basically breaking about right in here. And that's just taking a little bit of liberty here with my creativity there. I think I will put vehicles over in here, but ever in this section this it must be all very flat. This not really trying to be too concerned with it, Uh, would do an umbrella right here and just keep this all very simple. And now to bump that umbrella up a little bit, put a couple of figures kind of lurking in the shadow over here, and one more what? And there they will have something years crossing here, lose in the beginning. You know this nbr It's little vehicle back in there. Something like that is good. Probably have some poles and wires and different things happening in here A little. Maybe a little street light again. A lot of this stuff is made up as I go. But I had a general idea of exactly where you the main elements are. And that is Ah, a huge plus for Theo details. Once you understand the main elements and where that's going to go, then you got it made its cars going off in the distance there. Time soap in there about that umbrella may not even need that. You know, any time you can eliminate details, you want to do it. All right, so that kind of covers my layout here. And I got quite a few more courses on design and composition on how they recommended Check those out. But for now, that's pretty much all you should know. 17. Second Demo - First Wash: all right, I'm gonna start with relay wash to lay in some warmer values. So I'm going to clean this side off palette here and using my number eight start, uh, lay this in always keeping him on some no leave a few areas off white space that that's something I want to do, which I do. Spilling the these areas, especially with the crosswalk there. I get very weak. This is just set the table for what's gonna happen later on. Now, I must not touch a little bit of Sienna on with this and get a little new gam Bhuj towards the top. This for really variety seek. And that was going to drive this up a little bit, were really pick it off, and they go into my crimson's. Now I know the building here is fairly orange, but I'm not going to try to match that for this demo. I'm just going to kind of soften a little bit with some pinks and all right in here. Where have the umbrella will go ahead. Put that in nice and strong as you can see, and that will say And now yeah, it's a little Hugh on the sky, and then I'll occurred This to bleed a little bit. I'm referring to the wash on again. Well, I have that down. I'm going to go ahead, dive into these neutrals and get a little bit of a color here that No, I will be nice for the street on. Get a couple of hard edges in the air and that worked at this stage, it's gonna let this wash dry and again, as it does, I would do exactly what you see here. And But before I do just want to mention this, I try to mention this all of my pictorials you want, you always take a paper towel. Here, you get this excess all so it doesn't believe back into your, um your nice clean colors. Okay? And they build up this time. Go. So you don't want that building up? OK, so I use a hair dryer and get this dried off, and then we'll come back and start having some fun 18. Second Demo - Second Wash: all right. Now it's just time to do a little bit of buildup. Start here with the main building. I'll go ahead and stick with my big brush here and always think about your fuse. And you know, if you want to keep him, Chris, But you want to keep him neutral. In this case, I'm gonna keep fairly crisp. Okay? Someone get with my crimson, even touch of my, um can't read deep there. And I can already tell. That's probably gonna be a little too strong. Some. So soften that distance smidge. And now just touch a little bit of this warm human there that probably pushed it a little more to away from what I wanted. I would drive it up just a little bit. It's okay to be picky. I kind of know what I'm after. One of warm pink and getting close and needs to be weak. Okay, I don't want to overstate theme building because it's just simply not going to be a focal point and, um, keeping it simple. It's got some interesting details all over the place, but really, the key there is we don't need all of them, so I'm not going to include them all as I get to the umbrella. Um, I'm going Teoh Teik A little bit of my ultra loved him a burnt sienna. I'm just gonna carve it underneath something like this, and then blend that right into, uh, this, um foliage action there. And now, um, I kind of let that rest to see what I have with it. I would just try, and I kind of keep pushing those. Hughes. I'm gonna go with more of a blue, though, and start to strong it up a smidge. I work in this section a little bit. We cannot just a smidge and again, we have all types of details and clutter and traps in here. So we're going to do my best to avoid him now, just switching that you up a little bit and just kind of create some light, different things happening in there and now just connecting with these cars and figures. And now I'll push that more to a blue again, this variation. And if you get those drips which I do all the time a little bit loose and to lose sometimes even with my brush just try to connect those two something. The main thing is, just don't panic. Go with a smaller brush now and work with the same Hughes. And for my shadows start to just develop anchor these figures a little bit. Getting those shadows down and making things is interesting as I can, and that's Kage a lot. That out. Sorry for the shake their And now in this kind of, uh, finesse, few details and is breaking up some of the equality in there that's all looking pretty good for now. I think I can maybe do some continuation of these shadows running over ball that's on the brush. And just so we have a little variation in the foreground that's going to add a little bit of a week value in here as well. What? Something like that. And now getting back into my shadows, I'm gonna go and push this, um, that toward towards more of ah Pincus shadow. Here again, Variation is all I'm looking for, and now I can start adding some of these figures in here, and maybe we'll switch this 12 more blue. Always join when you can, and that's all I'm doing is just abstract shapes trying to make it interesting and joining things. Yeah, joining shapes. And you really need to do that. So you work doesn't become too stiff, and so that's all going pretty good. You can see I got a lot of build up here, Um, in terms of the washes. So gotta be careful Teoh not get things too wet. Never worked. I got one more figure here. I'm gonna go to my softer brush here. I've got some blues working already, so I think I don't want this thing to be a rainbow. Eso I would just again use similar Hughes. I've already got and out that will keep it from getting too colorful. I don't mind color, but I think I think it should be used somewhat sparingly, you know, And, uh, that way where you do decide to place color, it's got, um, got some pop to it. And now just kind of sprinkling in some different little reds in there to tie things in. Gonna read a wholesome face here and letting those colors bleak. Okay, Now let this dry. And when it does, I will come back and do a little bit more. But before I do just want to clean this up a little bit, and this will show some of the durability of the paper as well. So for you guys that may be looking for an alternative paper to try to do a little bleeding or washing out there lifting, and you will be able to see that it holds its ah integrity pretty well. And now just, uh, it's coming back in and adding a few little hence of detail in there. You know, I think for now that that's good, that this dry off camera and then we'll come back. 19. Second Demo - Third Wash: All right. Now I'm going to start anchoring a little bit of these buildings, so I'll go to my lovely little number two here and again. Uh, no, it's not about matching the things we see in the image. It's more about trying. Teoh, keep the detail subtle and do what works and write with terminal making the decisions based on what we see in front of us. Okay, eso make some decisions on what you want to do and this you try to be confident with it. And that's basically all I'm doing here, and that is putting a little bit darker value in there, too. So everything's I want to have a little bit of shape to it. Something like that is fine. And do a little bit of dry brush here, maybe some shadows coming down. And all this stuff is ah, it's loose details. Anyway, tryingto I just give it the painting a little more body and death. And now I get to some nice, rich dark So ultra sienna now pushes to a blue Since we already got these reds right here to make it interesting and, um, his touch some negative space painting is what I'm doing. But to do it I'm using Use it. Identify these figures right here. What kind of connecting that Negative space painting to the figures. Basically. And it's touching some shadows and we just kind of dissolve this. We're gonna run it up into the buildings over here like that, and that is getting a little bit darker in here. It's in a few places, and now we can start to bring some of that darker value. Maybe down into this figure and now this. Ah, putting some clean water on my brush here. I'm able put a little briefcase like that and just a little bit of dry brush in here that's looking good. So just given that background a purpose, but we're not getting too fussy about, that's the key. Now just give this a little bit different look and value and color. Put a little yellow shirt on this figure. That's good. Now we'll go to my point around here and start to use some of these darker shadow Hughes I have gone. This would bring a little more clarity that these figures and I just think overall just seems to be a little bit darker and here. So, uh, that's going to drive weaker. So, uh, I think something like that is good, Grandma fan. And it's heading out a little tree in here, actually coming down in here and course, all that could be It's kind of bleed down now, using these darks again. And while these shadows got washed out a little bit, that's all right. So what is run a few back up in there? - Good ball. That's still nice. And dance. When Grandma rigor it's in these blues left it too strong. It would have run some details on this boning, even though again, while this stuff is not there, that's all right. You are new problems. But being creative and using some imagination and any of this stuff, So okay, use it away. He can use it. Find a good spot, for that's all looking pretty good. Now I'm going to go to my number 10 and start getting in some verticals. Kind of appearing from the shadows here. Maybe, uh, my that put a nice shaper in here. Ah, okay. To a little bit of bleeding right in here, soften it. Just so we get some variety in there. You know, all these up from make a mess. - And I just touch a thing. A few darker hues here in there. I say we may be good to go here, so I think at this point, um, I let this rest a little bit. And then when it dries, we come back and make some assessments. If there's anything we need to do now, this kind of take a little more of a darker value here on this kind of fudge, some trees or some shrubbery going on there. All right, we'll be back with this dress. 20. Second Demo - Fourth Wash: it's not too shabby. I use my number 12 here. Just go and do a little bit of detail work. So to stop right there, we'll do another one in here. Maybe just for fun. And there and now this a little bit of Dr Russian here, change it up a little moment. Blue side and just trying to nail a few highlights. Now, that's the one is just, ah, having a little more interest on, uh, definition. Really? Some of these. You just kind of smudge a little bit. It's all pretty good. Maybe we could put a little like time on this figure. Get back to my needle. Um, it's a little have a handsome trees and branches in there. All right, I think we are ready to take the tape off. I find the stage of the game if you I mean just absolutely have to do it and do it. But if you could get away with not doing anything, you're better all and I'm gonna take that route. So I go and put signature on it. The one world probably think I would be on this. No, pop, this little focal point. I want to use my Kalinsky. It's nice and soft, and that's what I want. I just want some nice soft, Not not too jagged. Ah, no, Too much paying their It just didn't pop this off. Few figures right here a little bit. Clean that off. And now I'm just kind of blend. Bleed that out a little bit into this stuff. Yeah, just like that little area Pop a little bit more and I'll give you a little tour.