Beginners drawing & painting. Characterful building in ink & watercolour. | Cally Lawson | Skillshare

Beginners drawing & painting. Characterful building in ink & watercolour.

Cally Lawson, “Paint like no one is watching"

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8 Lessons (49m)
    • 1. Introduction

      4:44
    • 2. Measurements in pencil

      9:31
    • 3. Ink drawing part 1

      5:21
    • 4. Ink drawing part 2

      5:49
    • 5. Ink drawing part 3

      5:14
    • 6. Colours

      5:19
    • 7. Watercolour painting

      11:43
    • 8. Conclusion

      1:20

About This Class

Beginners course, learning to draw and paint a characterful building. Creating detail in the building and a focal point, with pen drawing, followed by adding a splash of watercolour. You will start by carefully measuring the building and creating some pencil guidelines. In the second stage, you will take some time drawing in the detail in ink, varying lines and shapes to create more interest. Once the drawing is complete you will add watercolour in loose washes of bright colour.

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Transcripts

1. Introduction : Hello. Welcome to the skill share cause I'm Callie. I'm based in Cumbria, in the north west of England. On I enjoy teaching beginners in painting and drawing, and in this particular course we're going to be painted a building in ink watercolor, just with some very light Washington water cooler, using only a few coolers preserving the detail for the pen. So the man objected. The project that you're going to be doing is to get a really nice detail pen droid off the building before we have just very loose washes to add a little splash of water cooler. So this is a picture of chosen to do today. The reason I chose it was a couple of things, really. It's such a charming little building that's got lots of character in it. So that's one thing we want to look at is getting lots of character into the building because it's obviously quite an old building and it's quite derelict. It's got lots of wheat things growing over the top of it, and the second thing was the light. We could make a nice like cool follicle picture because of some sunshine going on, so I do believe this is probably taken during the summer months when we've got a very high sunlight leaching out a lot of the colors in this guy and giving us those really dappled, lovely light through the trees that we've got, Senator, obviously in full leaf. So really charming little picture to do on the object of the project that you got doing really, is to keep the building as the focus and to have everything else quite impressionistic and then going out to some white paper around the edges. So just let in those outside edges of the painting be very own focused. I'm very impressionistic whilst that detail is in the center. So you're the main part of the work that you're going to be doing really? Is the drawing, which is gonna take some time getting all that detail ing off the leaves on the stonework, on little building itself, on the tails and all those bits of ivy and things climbing over the top there. So when you finish it, be nice If you could look up load, you work for everybody else to see for myself to give you some feedback. You can also ask me anything you want as you go along. So if there's anything you want to actually ask that haven't addressed, please feel free to get in contact with May and I'll get back to you as soon as I can. I would put a copy of the photograph itself in the reference section for you to print stuff . If you can't print it off, don't worry. You can have a look at that on your phone your morning. So your tablet, whatever you've got available to have a look at that picture that I got there in the reference section. Also, they will find a list of the materials you need. It's a very brief plate. You need a good watercolor paper always above £140 in weight, if you can. I'm using a hot pressed paper today, but you could use a cold pressed. Just don't use a roof pressed is that will make your drawing difficult. Second thing you need is a pencil on a razor to do some guy lines on. Then you'll need a good drawing pen. I'm using a few different wants today. I'm gonna use different sizes, but don't worry if you've only got the one. The main thing with your drawing pen is that it needs to be what proved on. It needs to be like fast so that we work isn't going to fade over time. So just check those two things when you buy your pens to see if it's water proof. You could always test it on a little roof piece of paper, allow it to dry, and then go over it with some water and see if it leads or not. So once you've got your drawing there and that's dried, we're then gonna go on top of some pain. So you need a couple of pots for your water. A synthetic watercolor brush on you will need you paint themselves. Other than that, things they may need our awesome tissue, which is always handed to have when you do any water coolest next to where you are, in case you need to lift any of that cooler out if you make any mistakes or anything. But I think that's about it for the materials. So the paint application is just gonna be all in one wet on wet. Not doing very detailed paintwork. We're just do the emphasis on the drawing off the bound or not sure whether it's about actually the little building itself. It's a tiny little building. It might be folly or something. I'm not sure you let me know what you think. What it is. I'm not sure. Okay, so the cool is really up to you give you an idea of the coolers I'm using, but we're making a picture. We're making an outward were not copy and exactly what they're watching. That those callers a little bit lighter and brighter to make a pretty little picture. OK, so enjoy the rest of the course and I will come back to you at the end for a little bit of a summing up. But in the meantime, getting tortured me whenever you would like, and I'll get back to you as soon as I can 2. Measurements in pencil : It's important when drawing something like a building that you get the measurements right on the angles, right? Because otherwise it might look unbelievable. It might look as if the roofs gonna just fall off or the building's gonna fall over. You will actually often see paintings where the perspectives wrong, and it really jumps out to your eye because it looks as if the building isn't gonna hold itself up. Obviously, there's always exceptions to that. You know, we can think about the Leaning Tower of Pisa, for example, on a lot of old buildings will have bulges in the world's and things like that and little quirks to them. So one of the reasons I picked this picture today was because it's got such a lot of character in this tiny little building, quite an old little building. I don't know if it's a folly or somewhere where Huntsman might be. I'm not entirely sure what this little hot is in the middle of a wood, but it's absolutely gorgeous little building and a lovely, lovely picture to work from. So I must say, to begin with, I'm using £140 watercolor paper. The one I'm using today is a hot pressed. You might like to choose a cold pressed that's entirely up to you. The main thing is, have a watercolor paper and have it above £140 in weight and have one that's relatively smooth. You don't want to buy a roof paper because the ones that to called rough you do struggle if you want to do a precision drawing. So if you want lots of detail in your drawing, have a smooth ish paper. You don't want your pendant bouncing across the paper. You want to be able to get that detail in. So the idea today is to have the detail in the building on leave the trees and things there outside area a little bit more impressionistic, with not as much detail. So this is the focal point, and then everything else is going to fade out into the background. So with the pencil guidelines to begin with, really, we need to just concentrate on the building now as a beginner to build confidence, you might want to measure those, so if we look at this main line of the I'll do it in centimeters rather than inches, the main line of the roof. There it's 11. So you could if you want to do it exactly the same size as the photograph that you've got, or it might be nice to make it a bit bigger so you could double that up, or you could do it by times and 1/2. So I think I'm going to just do it by a times and 1/2. So I think, to begin with will get the line in off the bottom and decide where the bottom of the buildings going to bay. So that's 10 so we'll do it. 15. So, whichever you decide whether you decide to multiply it by 1.5 or two or three, just make sure you do the same every time with every measurement. So we'll get that one in at the bottom. I wouldn't usually use a ruler. I am usually do things by I, but it will just help to get things in the right place on all those little quirks and bumps we cannot. Afterwards, when we're doing our pen, another mostly if we look at that, it has got a bit of a dip. We're just getting in the main areas of the main measurements. So now we'll look how far along that little window is, and it's four centimeters along. So we need to do that six centimeters if we're going by towns and 1/2. So it's six centimeters along that way on the same at this side gain for it's quite Hunde cross symmetrical little building. And then we'll look how far up that window starts and that we can actually see the sill. So that's where we got some Perspective is in, Can you see that's going away from Was that line there? And we can see the sales a measure to the bottom of that cell. Then it's worn on 1/2. So let me think. That's actually two and 1/4 isn't it? So get your calculator. If you can't just worked out so two and 1/4 on, then the width of that game. 1.5 such Lexuses working out quite well this because we've got equal measurements, okay, and then we'll look at the depth of the window to we can do this by I. We don't need to to a list with the ruler So then if we look at this so I talked to just a little bit about perspective. I picked this building because it's not got a lot of complicated perspective in it is very simple for a beginner to do. But we have got some perspective here with the window sill going away. So you just need to get that in. So we're not seeing the inside of there for the top. We're just seeing those two sides, and then it's actually showing right through to the wood behind this leaves and things behind here we can pop this little box, this little box or whatever it in a swell that if we look at that, it's just a both the line of the windows, so we don't need to do everything without really weaken. Get that in there. Actually, I've got that wrong. Don't make my mistake what I've done there. I was doing this within this line, and it's coming out because of that perspective that it will do this line here. So that's 7.5 to the You take your time over this, my brains having to really think this morning. I'm a little bit roasted with my maths and that's bobbing out from the side and then down here on a lot of this here, I don't if you can see bits of leaves and things, you're not gonna need a lot of detail there, either. Okay, so we've already got that line there that can you see how this is much shorter than this because of the way that the ground is going. So let's measure this 15 That's 10 12.5. So we need to go down from here 12.5 to there and then that gives us that shape of the ground going away. We're going to put that in there, and we can start to build up the shape a little bit more, so I don't really need to measure this. We can see it's overhanging by one, and then we'll look at this. Measurement will be the easiest one to do. So. 3.5 with five Andi Quarter won't it? So let's do that five and 1/4 I think, to the and then if we look at this measurement, that's nine, so it's game. It's in the line, really, with the just a little bit in from the wall. It's about there somewhere. Gives us a top line of the roof. The overhang is slightly less on one side than the other, but not much. That just looks a bit of a sharp angle to me. I think I've got these coming out too far. Did that calculation room looks better, doesn't it? That that angle. So actually what you could do is get your ruler and look at that angle and then transferring across. It's quite steep. You'll have time to take your time over there, such as once obviously work through it quite quickly to show you what I was thinking of, how many guidelines we need to get in there and how to measure and everything. But you could take a little bit more time getting that exactly right with your ruler, a new calculations than I have. It will take your little while to do that and then just wrote about some of the ones that you don't really need. We can actually see one or two of the stones down this side, but that can all go in with the pen, and that's enough for the guidelines. We don't need to do every little area on every little detail, as long was we've got the window in the right place, on the roof, on the build in the right size compared to each other. 3. Ink drawing part 1: for the draw, and I'm going to use a few different pens if you've only got one. Don't worry, that's absolutely fine. But I wanted to use a few different sizes, so I'm going from extra small there on then. This is a chisel brush to get some of those darker areas a lot more quickly. If you've only got the one pen, don't worry. You can just build it up and put the lines closer together to get those darker areas. So these are the Faber Castell Pitt pens. You can get any brun that you want as long as it's waterproof. Unf aid proof. So we'll start at the top of the painting and work down. I'm going to start with, I think, a medium nip. We can't actually see the whole of that roof. So this is going to be quite tricky because we want to get the feeling of these tales in there on all this weed and everything growing over the top, but still have that line of where the roof is there. So it's got a little bit of a ridge on the top of the roof, where it's slightly darker, and then, obviously that breaks where the leaves come across. So this is all going to take time. So practice you mark making if you come on a scrap of paper, So think about the shapes of the tiles and try out different pens. If you've got a few different ones, see what sort of marks that do make. So if we think about the roof tales there, it's going along, and then you're gonna have a break where the symbol leaves coming down. So don't be doing don't set off and draw a solid line for the top of that roof set off at this end. If we look at this end of the roof, you can't see, really. You've got all these leaves and you're not gonna draw every single leaf as you see it. Just get a feel for the shape of the leaves. Your eyes would go fuzzy if you tried doing every single little leaf there that you can see on the photograph unless you print the photograph off a lot bigger, and you really do want to do it just exactly as it is. But I really wouldn't do that. I would just get an impression of the shape of these leaves, and I think it's some kind of an I V. No, it's not ivy. It's actually the tree leaves from above. So some kind of a Nacer maple there with those distinctive shape. So just have it. Have a bit of a practice with your shapes and things on a different piece of paper before you start. And then we've got lots of bits of twigs going across. We've got lots of bits of moss, all sorts. So as you start across the top of the roof, you might just see one or two bits of the line of the roof there that you're not going to see a solid line like that. So just think about that when you set off with the roof and then when you come down to the building itself, always. It's very dark under here because that roof is obviously overhanging quite a lot, so you need to get this really dark to get those shadows on. Look at the stones. It's got quite a lot of pointed in between, so you're only seeing the edge of the stone on. They're all different shapes, and they're all different cause so look at those make them quite believable. It's an old building, the not all the same size, even going down the side here, the very different sizes on shapes. So carefully. Look at that and then the other shapes that we're going to be needing to draw a game. We've got lots of weed coming down here, so at that point you might want to change sizes of pens to a few different sizes. Lots and lots of tongue. Glee weed there. But don't go. Be careful not to go to dark overall that because obviously that's catching the sun in places to do. Leave some sunlight on there as well, by leaving your paper white. Okay, so I will carry on now and draw the house that I'm calling a house. I don't know what it is. I'll carry on and draw the building, and actually, I'm just looking now, and I think there's a line up here where it may even be a little chimney, but it could even be a branch is very, very difficult to tell, but we'll do lots of lots of detail on here. Get all these lovely leaves and things hanging down on the shapes of the stones on the textures in the stones and take our time drawing this quite precisely before we come on to do in any of the trees and things behind, because we're going to do that a lot more loosely. So we'll just concentrate on the building for now and get as much of that detail in there as we can and try and maintain some character. So the lines that we've put there with the pencil were very straight because we did them with the ruler. But they don't want to be a straight is that we will get rid of those pencil lines afterwards. We want some, you know, little bits bumping out here. We can see the edges of the stones there and not straight. So don't just go straight down like this. That's one thing you really need to avoid to get the character into this building, which is what makes it such a lovely little picture. So I'll go ahead now and do the building, and I'll come back to you when we're going to start drawing with the ink, the trees and things around 4. Ink drawing part 2 : Okay. Okay. Okay, - way . - Uh - uh , . 5. Ink drawing part 3 : you will have noticed there that I swap my pens quite a bit. Don't be afraid to go nice and dark. If you do have a darker pen, you know, with a thicker nib. Use that to get nice and dark in some places. But just don't overdo it on. Be careful that you don't get rid of all that nice detail that you've put in there. So I'm calling it detailer is still quite impressionistic. I'm not doing every single little leaf I've done a lot of sort of squiggly shapes on. I used a small a pen to do a lot of these kind of ivy stuff crawling over. You'll notice I made a mistake. I followed the first pencil line that I put in of the bottom of the building and I missed this curve. You know, we decided this side was a lot longer than this side and it curves down. So you see, I did easily correct that at the end there, and actually I notice have not put that shadow over that which will help with that as well . So you'll see one thing I did do waas do the drawing of the form So we've got a few things going on. We've got tiles, moss, and we've got the leaves. And then we've got all these lines of the ivy, and then we've got the shapes of the stones. So those are the main things to look at once you've got all that in with those impressionistic shapes as a news little sort of round shapes for the moss on different shapes for the leaves on the I V once, that's all there if you want it to be darker in areas. And this is especially good for those of you that don't have different pens and you just using one pen, don't be afraid to put a little bit of shadow over the top like I have done here. You've got the detail underneath and you just going back on the top with a bit of shadow, and I use parallel lines are used in either direction. You don't have to. You can use whichever method of shade in your life. But you know you can go a little bit darker just by popping some lines over the top, and you still got those drawing showing through because once we come to put in the paint on . We really do want to get this feeling of the sunshine. So we got the sun on this side of the building and not so much on this side of the building on this area. Here is very much the like to stay area, so that needs to be the lightest area on your drawing. And actually, I do think that perhaps need a little bit more shade over this side so you can see how it could be very, very light. This is a very small nave on this pen, just to make it so that this bit looks lighter because if we don't put the shadow on the darker areas, the highlights aren't going to show up. So now, for doing a few little marks of the trees going out on. I really don't want to put this detail on because the idea for this painting was to have some color on the drone on this focal point of the building on let in the rest of the paper be very impressionistic and leave some white paper. So we're just gonna have in the center here on then leave some white paper around So we're not gonna do all of these edges here of all this foliage and trees that are going on. But we do want it to feel like it's in the wood, so we'll just go around popping a few lines of the trunks and things like that they're going off on. Vary these a bit. Have them going in different directions. I might actually swap my pen stop. Depends as you're going along. Have some bigger ones. But don't be put in every single warning. Let's just pop a few leaves in, and some of this congest come in with the paint. It wants to be much different to this. We want it to be really, really brief, an impressionistic, so I'll go ahead and do a little bit more drawing on this, but keeping it quite simple. So you'll see just how brief that Waas Hardly anything that just a few lines and squiggles. No detail whatsoever, not going darker with different pens of things. Just a few little lines on shapes to give that impression that it's in the woodland, which is also going to come with the paint as well. But we're going to try and keep the pink right brief as well. So again, we can put some shadow on the top of that if we want to, so that we know that it's a dark, wooded area. But just briefly keep it as brief as you can. The details should be on the building. That's the focus of what we're doing now. You can allow that to dry a little bit before you go ahead and read about those pencil guidelines. They're not really showing actually that much, so don't worry too much about that, but just be careful. You don't smudge a pen. Do allow it to dry before you get rid of your pencil guidelines. 6. Colours : it's important to get your colors ready before you want to apply them to the paper so that you're not having to stop a mixture cause halfway through and then your papers drying out. So get all your colors ready first, but we don't want a lot of colors. We've got all the detail on all the focus in the drawing on the color is just there to brighten it when you do in an income wash. If you're doing a full watercolor painting and not doing being drawing, just doing everything in paint, then you would probably have a lot more colors in this. Because if we look closely this, um, absolutely gorgeous colors in all the stone and things. But we will make up a few cause of the stone. Some of the stones here are a very similar color to the tales, and then, apart from that, obviously it's gonna be green and yellow. This is very, very virgin, a lot of green there, So we will mix up some really bright cause and perhaps brighter than we might normally use to get this real feeling of sunlight here. So I'm gonna be using the Cinelli a watercolor set. You use whichever watercolors you've got. Whatever you've got to work with and pick your own cause and practice them. Try them on a little scrap of paper to see how they go before you apply them to your pig. Painting two pots of water, one for washing your brush out on one for a plane to the paper. Obviously, we need to be careful that we're gonna leave some of this light in a swell when we apply the paint. There's no blue in the scape. Seems very light. It's very it's obviously midsummer. The delights very bleached, the skies bleached out. Okay, so we need that kind of ready limey color for the stone and the tails. So let's see what we're going to mix. So you're three primers, a great for making stone colors, paths, walls, anything like that. If you mix you three primaries together. So some yellow, some red and some blue, and you can get all sorts of grays and browns from that. But we want this to be really on the ready side, and it's going to be slightly brighter than the picture itself and test them to one side. But that's I quite like that. That's quite a nice warm color. We wanted to be a warm picture, and if we look at this pink stone here, you'll see this. When you look at it more closely, it's got a lot of pink in it. We all see cooler, different little. This is one reason why I don't tell you exactly which colors to use every time. Really, you should be choosing your own coolers because our eyes are all different. We see them all differently, and we're not. Paint were not. When we're painting, we're creating an artwork. Were not taken a photograph. If we wanted an exact replica, we would take a photograph with making a cheerful artwork so we might want it to be considerably brighter than what we're looking at. It's kind of an orangy yellow is this like and here. That's why I just popped a little bit of red into their And then we'll have some of that blue that were used earlier for some of those stones. But a game make it into a grey blue buyout in the other two. Cause in the yellow on the read. So you're three primaries just try with the different primaries that you've got different combinations, so we want to Blue Grey. So you usually three primaries, but you have more blue in it than the other two colors and then the green. We've got a lovely bright green. In fact, I'll put the green in the center here because we're gonna need quite a lot of it really bright green. And we could actually leave it like that for that moss area and things. But if you wanted it to look a little bit more natural, you might want to just add a tiny touch of read into that. Red is on the opposite side of the color wheel to green, so if you feel that your greens straight from the pan are a little bit sort of false looking aggio read just to make it a bit more natural, and then we'll make a darker green as well. So we'll use that green, and then we'll add into that the blue that were used earlier. So you'll see. I'm using the same colors over and again rather than introducing another blue. So I got some very, very bright colors there, but not too many off them because we're just popping a tiny touch of color over the top and allowing that drawing to show through. 7. Watercolour painting : to begin with. I'm now going to use a nice big flat brush to put some water on to the paper. This one is a one inch flat brush on. It's a synthetic one and some nice clean waters. A. Swap your water after you've major colors up and set off with some nice clean water and just gently put that over the top of the whole of your picture. I'm going to just leave a little bit of dry paper in this area here, where the sun shining. You don't have to do that. You could easily lift out with tissue or work around the area. Go a little bit past way foliage comes to, because we will allow those callers to sort of shift out printed up. Now, if you can't see where you've missed, just put your head to one side and look across the surface of the paper and you'll see where the light shining on it. And then it will go a little bit dull, and that's because it's sinking into the papers. That's what you want. You want it to start sinking into the paper for that shine to slightly go off it and then you know that that's kind of the right time to be working on it when it's gone, a little bit dull just started sinking in. So the actual application of the paints quite a quick process because we're not doing any detail. It'll we're just adding a splash of color on. We've got the detail. We've got the drawing. So I'm using a size six round sable brush. You could use a synthetic one. You might want one that's a little bit larger, actually, but I'm just are quite like this brush. It's one of my favorites, so I want to go with that slightly different dark, agreeing for some of the outside to begin with. I'm just going to drop it in, but look how I'm leaving little gaps in between. We want some lights. Like I said earlier, it's a very, very sunny picture. The sun streaming through those trees don't block the whole thing in green. And don't forget that this is going to fade. So with water cause it usually is about 50% lighter once it's tried, and that's as far as we need to go out, we can leave the all that paper white around the outside, so you need to work quite quickly because, of course, this is drying on. How fast you paint paper is going to be drained depends on a lot of factors. It depends on the paper. It depends on the temperature of your room on the time of year. Because obviously, if it's mid summer when you painted, you got hot weather. It's gonna be drain really quickly in winter. Not so much. So you've got to change the way that you work, depending on how quickly it's going to dry. So I'm just using the other green now, just so that we've got a variety and pop in some of that in on a little touch of that yellow in places as well again, that just gives us an impression of a little bit of sunlight. Don't overdo this. Just let the colors running to each other. Don't fiddle with them. Just leave them to do their own thing. If it is drying out too quickly, you can feel with the back of your hand if it's still damp or not. Never use the front of your hand, always the back. So this second green this brighter. One is the right color for the mop. So look at where the mosque is on the roof. The leaves go over the whole area where you've got the mosque in the leaves there little bits of like and and all sorts going on. Not so much on this side. Like I said, don't forget that this side is a lot lighter. So we're gonna put people to know a lot less paint down upside. These aren't the same planters. We've got the top there, the leaves of these air slightly darker. So it makes a little bit of that and as well again, allow those coolers just go together. If you've any areas where it's pooling, can you see here you can, just while it's weapons, lift out a little bit so that we don't end up with that going back into itself and causing what we call cauliflowers. So do just left that out. So the tile cooler, quite bright color, but again, it's going to dry a lot lighter. We left up dry there because we wanted the sunshine on that end of the building. It was down here, wasn't it where we left it a bit dry, so just pop it in between the plants got tails in between plants. Let those colors mixed together. Don't try and keep them separate. Let the mix together. That's the whole idea. And even here, can you see where it's going? Out into the background? Don't worry about that. That's the whole style of painting wet in wet with something like this little building where we're just adding this touch of color so that the stone colors mixed together. I'm just thinking maybe this is drawing a little bit too much. No, it still still damp. Leave plenty white. We've got the shadowing already with the Pim, and they saw the Stone caller that we had let them mixed together, not really painting within a sort. You just drop in the colors in. I might even put some of that blew into the Rufus. Well, just make it but more uniform, especially here, where it's darker as well all the time. That's building the fact that this is darker and Mrs Lighter. Now for some of that yellow that we made, that's a gorgeous cooler. We've got quite a lot of like the moss and things on this building, and that's picking up the sunlight as well as have been not real bright yellow color itself on. Our picture's gonna perhaps end up a little bit brighter than the original. But like I said, we're making an artwork. Were not copying exactly a photograph. We're not taking a photograph. We're making something that's pretty and interesting as we can get it. So lots of little bits of white paper shining through there. He where left it dry. It's perhaps just a little bit too harsh. The difference. I think it crops needs to be. Just wait a little bit and allow that to be a softer Reg there. She's still about that wide, but just electing one of two laws. Colors mixed together a bit more. She can just tweak things with a dump brush. But never do that with a wet brush is a big difference between having your brush damp and wet. Don't be introducing more water to your picture. If you introduce water to this now it's going to make a mess. Anything you want to tweak, you have a clean brush and you squeeze out the excess. I was putting a little bit of extra green in again. We're not really paying. Team were just dropping it in on at this stage while it is still dump. If you wanted you, could you start some extra bright areas by picking up the paint straight from the pan? So if we look down here, you've got this moss where it's extra bright on a long here where we've got this son. And because this paint is thicker than what we've already got on that will work, don't ever add an extra layer that's thinner, Okay? And I think I want to do the same with the green, a little bit of a nice thick green, just to get a little bit of form here and there with some of these Morsi's because the Mosses are really picking up the light and I could fiddle all day and end up making. It's completely the opposite of what we said it was going to be, which was a nice, simple picture. So what you need to do now is they leave this to completely dry. If you do feel you want to alter it, don't do that straight away. Property up on the side somewhere. Keep looking at it. Come back to it in 12 hours time are a couple of days time on, then alter it. If you go into soon altering things, you can very soon make it a mess and spoil what you've got there. So just be very careful about that. One thing I could perhaps think about doing will be to put more shadow here and here. Can you see all that shared their from the roof? And this is very dark and it's not here on the only thing that would need but would be for when it was completely dry to get the pens out again and do some more of this shadow in like we did before. But I think we should leave it, take my own advice and leave it so I'll let that dry now and then I'll take a photograph of it for you to show you what it's like. Once it's dry 8. Conclusion : Okay, so you got there. Finished our now You should also finished yours and love to see them. If you could not load them, Boris Tall Have a look at that. Great. So wanted two things I would perhaps ultra about this lack said a little bit earlier. The shadow behind here. That's what's to be a big dark. I was sort of want indicate withdrawing his lying to secluded the whole thing with a live faded. But I feel I'm not going No difference between my darkest areas of brightest areas. So in the shadows are perhaps, should have gone a little bit heavier. But actually, you can do that afterwards. You don't have. You know, if some are drawing you want to do at this stage, you can go over the top of you. Want to call the paint with your pets. So don't be afraid to do that. But by the same token, don't overdo it. Don't. Overwork inspired me, and I swear that you've got okay. So I look forward to seeing all your work and giving your feet back on it. I hope you enjoy doing this. If you've enjoyed it, have a look online. and get some more pictures of buildings. Have a go a few different buildings, maybe some that are a little bit more complicated in this same style. If you do want to a little those as well that we nice to see those if we could. Okay. So thank you very much for taking part of these calls. I'll be with you again soon in and of the one of asking share courses. Bye bye for now.