Easy Urban Landscape Sketching | Watercolour Mentor | Skillshare

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

15 Lessons (5h 35m)
    • 1. Introduction

    • 2. Materials Required

    • 3. Sketching: Tips and Exercises

    • 4. Beach: Draw and Paint

    • 5. Bologna: Draw and Paint

    • 6. Dubrovnik: Draw and Paint

    • 7. Morocco: Draw and Paint

    • 8. Old Buildings: Draw and Paint

    • 9. Store Front: Draw and Paint

    • 10. Street and Car: Draw and Paint

    • 11. Quiet Street: Draw and Paint

    • 12. Street Scene: Draw and Paint

    • 13. Japanese Temple: Drawing

    • 14. Japanese Temple: Painting

    • 15. Class Project

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About This Class

Hi, I'm Darren from Watercolour Mentor and welcome to Easy Urban Landscape Sketching.

Urban sketching with line and wash is a fun way to create fresh and spontaneous works while enjoying some time outdoors. It combines the benefits of both ink drawing and watercolor painting. Urban sketching is a great way to learn and improve your drawing and painting skills.

In this class, you'll learn how to transform day-to-day scenes that you observe into beautiful line and wash sketches that you can hold onto and treasure.

This class is aimed towards beginners with 10 line and wash demonstrations which I'll help guide you through step-by-step. There are scans, drawing, and tracing templates included as well for each demonstration to help you transfer your drawing over quickly and easily. You can follow along to my real-time drawing and narration videos for all of these demonstrations.

In this class, I explain every technique I use while I'm painting, such as using watercolor to paint shadows on a building. I'll be going over the basics of line and wash sketching. I'll show you how to sketch with a pen quickly and accurately using a variety of techniques including drawing lines in segments, hatching, and using different sized nibs to your advantage. I'll also talk about what materials you'll need, your options, and which ones I use and recommend. If you have a pen, some watercolor paints, and paper, then you're set to go.

In this class, I will cover basics such as:

  • How to draw simple to complex buildings with a pen, and how to use watercolor to imply light, shade, and mood with a variety of color
  • How to sketch figures and people.        
  • Materials - what paints, paper, brushes, and pens you will need.
  • Hands-on pen sketching techniques - follow along and sketch with me. Learn how to hold your pen for different effects, draw basic lines and shapes, how to create depth and light/darkness in your drawing through the use of 'hatching'.
  • Understanding light sources and how to paint realistic shadows.
  • How to sketch a subject easily by simplifying a landscape into basic shapes, and using a combination of loose and accurate drawing styles.
  • Hands-on lessons on essential watercolor techniques such as wet-in-wet and wet-on-dry.
  • How to paint skies, buildings, land, figures, trees and shrubs, and other objects.

So let's get started and create some beautiful drawings and paintings that you can be proud of!

Included demonstrations:


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Watercolour Mentor

Art Classes, Mentoring & Inspiration!


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1. Introduction: I'm Sarah from watercolor mentor and welcome to easy urban landscape sketching. Urban sketching with line wash is a fun way to create fresh and spontaneous works while enjoying some time outdoors. It combines the benefits of both ink drawing and watercolor painting. Urban sketching is a great way to learn and improve your drawing and painting skills. In this class, you learn how to transform day-to-day scenes that you observe. The beautiful liner was sketches that you can hold onto and treasure. This class is aimed towards beginners with ten lot unwashed demonstrations, which I'll help guide you through step-by-step. There are scans, drawings, and tracing templates included for each demonstration in order to help you transfer your drawing quickly and easily. You can follow along to my real-time drawing, a narration videos for all of these demonstrations. In this class, I explained every technique I used while I'm painting, such as using watercolor to paint shadows on a building. I'll be going over the basics of line or wash sketching and show you how to sketch with a pen quickly and accurately using a variety of techniques. I'll talk about drawing lines and segments, hatching using different size nibs to your advantage. Also talk about what materials you need, your options and which ones are using. Recommend. If you have a pen, some watercolor paints and paper, then you're set to go. So join me in this class. Let's create some beautiful drawings and paintings that you can be proud of. 2. Materials Required: So I thought I'd do a little video on materials and just a really quick presentation what I use so that you can understand the materials I used to get the results that I do if you are looking to buy materials as well as some of the information here may be useful for you. If you can't get all these materials, then always remember, you use what you have, I think, and use the best materials that you can afford it. So basically, on the paper side of things, I'm using a 100 percent cotton cold press or medium textured paper. That texture is good because it allows the pigment to sort of disbursement when you're using very smooth or hot press paper. What happens is that you tend to get pooling and inconsistent drying. So I tend to use hot, cold press or medium textured paper. For the landscapes. It's a lot easier to draw and paint on. And also, I do find having cotton paper makes a real big difference when it comes to painting, because you're going to be able to get a lot more vibrancy on cotton, watercolor paper than you are and other types of paper. It's one thing I've noticed. So sometimes if you're feeling your painting and interest not getting enough contrast or enough vibrancy could be due to the paper that you're using. So yeah, have a look into that. Now, the pens that I'm using, basically pigment liners, I've got a.3.8 and appoint five pigment liner. You can get these down in normal art supplies, your office supply shop, they have a kind of felt tip nib. They only cost a few dollars each if you get them separately. And they're really good because they allow you to get in a variety of marks on the paper. Just check that they are waterproof or they state permanent on them so that they don't run. When you go into the drawing with watercolors later, do you have another pigment liner here, which is basically it has a, a flat tip and a flat edge tip, which is really useful for getting in some interesting looking shapes in here. So things like, for example, edges of windows or areas of darkness, it really makes a difference. So consider getting one of those as well. If you can only get one pen, I probably just get to a point a or 0.11.08 pen. That's gonna get you through pretty much this whole class. So it's about it in terms of pins. Now, I do have some paints as well, which I'll talk about. And there's a lot on here. But just keep in mind the main ones that I use for this course. And so I do use some bonus ones. But really at the end of the day, you only need three primaries and convenience color neutral tint if yeah, Basically if you're pushing it. So I do have some yellows. I've got yellow ocher. I've got a bit of Naples, yellow, a bit of quinacridone, yellow gold over here. I've got a couple of other, I think a Hansa Yellow Light bit of gamboge here. I've got an orange power orange, red. I've got a few darker greens here. So emerald green, Hooker's green, and phthalo green. I've also got some of the, the earth tones here, and I'm very top of that yellow ocher, but brown ocher as well. So these are really good for trees and just some of the building colors as well, I find that's really good. Also, burnt sienna is really good for buildings to some of the areas of the buildings. Sap green here is really good for really light and vibrant green areas. So little shrubs and things like that I find that helps quite well. And I've also got neutral tint. Neutral tent is a color essentially, which is just a convenience gray color. So you can mix your three primaries, yellow, blue, red together. And you're going to be able to get a pretty dark gray or neutral color anyway. It's just that if you're looking for a convenience color that sit there in terms of blues, I have cerulean blue, I've got an ultramarine blue. And I think that's about it. I think that's all that I really use it to have some lavender here, which is a kind of a light purpley lilacs sort of color. But really that's about, about enough. Like I said that so many here. And I've talked about the mall because I do sort of pick stuff up from a few other pants here and there. But predominantly, I go basically with a bit of yellow, ocher, little bit of Naples, yellow, maybe a bit of this, a little bit of this color here, which is, which is lemon yellow, and go with the permanent red or a bit of Pi will read bit of cerulean blue and a little bit of ultramarine, and just some of this neutral tint here and there. Those are my go-to colors, probably about five or six colors maximum in most of my paintings, and it keeps things easier for US. And then you don't have to keep on trying to balance out the color, the color composition in your painting. The more colors you use, the more complicated is. And it gets tricky because you start getting things unbalanced in areas. So keep it simple. Get you three primaries. That's all you need. Now in terms of brushes, I've got a few here and always go to the same old brushes, mainly these round brushes that I have here. Okay. And for detailing, normally, pick up a few of these smaller brushes. Apart from that, I do use and flat brushes every now and then, not so often anymore these days though. So most of the time I'm using these seven brushes. So I've got a, a column mop brush. Again, just a very general mop brush which allows you getting large areas of color. Number 10, watercolor brush number 8, round brush as well in number 6, round brush, number 4, round brush, you can see little round brushes are reducing the size. And then I've also got a number two rigor which helps getting little branches and this bonus brush here, which is a fan brush. And that helps me getting some little textures on the ground. And if I'm drawing grass, painting grass and getting little bits of grass poking out here and that makes it a lot easier. So that's all that I wanted to talk about it That was helpful. And if you have any questions, just let me know. 3. Sketching: Tips and Exercises: Okay, Before we get started into any drawing or painting, I want to talk you through some basic urban sketching techniques, how I use these pens and basically convert reference photos into these pen and wash landscapes. Okay, So firstly, one of the things that give my eyes, I often use a few different pens over here. I've got a liner, not a 100 percent necessary. But if you're going to have two, I'd probably suggest getting a 0.8 and appoint three liner. You get like a 1 O and 0.30, something smaller. Reason being is that when you're drawing objects in the front of the same or people, that kinda thing. So for example, if I go ahead and draw a person, just standing here, for example, a couple of things here to the sides and something like this. And then we get the yes and some legs in here, for example, like that. If you've got someone here in these sort of thicker sort of pen, what's going to happen is that if we start during a smaller person here in the distance, in the same pen. Okay? It's still, it's still not looking too far back. Now if you use a pen that's a little smaller like at the 0.3. Okay, What happens is that the lines are a little bit thinner. And what that does is that it makes it more pushes that figure further back. Okay, so it's just a little thing that's important now if you only have one pen, just use the one. But that's a little thing that I'd say is pretty crucial even if you're doing things like buildings. For example, if you have, if you start off putting a building here on the left-hand side, for instance, little bit larger building and something like this. Okay, right next to this figure. Maybe it goes out further actually up in the, up to the back. Okay. Now because we're using this thicker sort of liner, this part of the building looks a little bit closer. Okay, Same. Here we go bag and move that building a little bit further back again. Okay? And again, we're getting this sort of, you know, we're getting this sort of effect basically. And now if we start getting in a smaller building here in the background, you'll notice, because those buildings are a little bit thinner, lines are a little bit thinner. The buildings go back further and they just received further back. Whereas if we start using this large appendage or buildings here in the back, that's going to draw attention is going to look too close. So that's just something to keep in mind. That perspective isn't 100 percent perfect here, but it's more just a highlight effect of objects in the background versus objects in the foreground. There's also a way that you can shade and imply a bit of tone, okay? And sort of push objects back and move some closer. And it's called hatching. So if I just start drawing lines, for example, in this one direction and this side of the building here. And maybe on this one, just going one direction, you'll notice that this starts to come forward. And that's because it appears a little darker. Now, the one to the back, we don't have much going on and so they generally look further back. Another thing you can do, you can hatch with, again the same technique like I was telling you before. Using this other pen. And we can actually use persons now floating in the sky. But then if you catch with this pen and just the lines are smaller, thinner, and that looks slightly lighter than that one. It's hard to see. Another thing you can do is create a bit more distance in between the lines like this. That looks a little bit lighter than that as well. So in the same sort of context is what I was talking about before. If you have a thinner liner hatch with a fineliner, all things being equal, it's going to look lighter than if you hatch with the darker liner. If you increase the distance between the hatching marks, the object or whatever you're hatching is going to look lighter. Whereas if you hatch closer together, that object is going to appear darker. So a couple of little things to certainly keep in mind. Also talked a little bit about drawing and how some little tips with figures. Now for figures, I always try to start by putting the head in first. Now if you're looking at a flat landscape, okay, if we start drawing a scene like this, okay? And we've got the horizon line over here. Okay? We've got the person's head basically over here in the horizon line, just smaller pigment liner so that it's easier to draw head there and then the legs here. Okay. So we basically got a figure in the center of the scene. Everyone imply that this whole land as errors flat. We want to make sure that the heads of all the fingers line up on the same point. So you might have some that are slightly bigger, slightly higher than the, than the others, and slightly shorter here and did generally speaking, you want to have them around the same height, even if we have a figure. Close in the front like this. Okay. The legs are coming out of the scene like that. So that's all going to look like this. Scene is basically flat. Okay? So very important because a lot of scenes do appear flat. Now, the opposite happens. Basically, if you start, say if we have another scene similar to this one here, horizon line here, and we start drawing people. For example, here with the head, maybe their heads here, okay? And the horizon line as usual. And then the Head Start, go further up, as basically further up as we go into the distance. This starts to look like we're going on a kind of inclined, okay, so we're going up a hill or something like that. We might have figured all the way down here that's larger. Okay. Stock to go into the scene. And they all look like they kind of again, just walking up a hill or something like that. So you've got to keep in mind what type of scene that you want. And it's the same thing if you make the heads go further down as you go towards the back. And I looked at the figures are climbing, going down a hill. So those are some important things to keep in mind now, oh, another thing that I'll talk to you about just quickly is drawing and how to simplify shapes. Now, essentially, we want to make sure that instead of drawing a whole, a whole building, which can be quite complicated, we've got start here, then you can draw it in a topic here, one window here, and another window here, another flaw and other window here. The main thing we wanna do is just look at the shape of the building. Normally speaking, when you're looking at man-made objects, they going to have, I'm more of a, a, a, an obvious structure and more of these geometric structure. Something like a box kinda shake for a building. Okay, so something like, like this for example. So if we can reduce it all down into shapes like this becomes a lot easier. This can be a good square like a box. Okay, and then we've got a rooftop here. Like that. There's another, another sort of building. So you can have one that's taller, just facing towards us and another one in the background. These are just rectangular buildings. Okay, Sometimes they got a little bit of an edge that stick out on the back like that if you're looking at it from an angle or sometimes they can just hook. I'm completely flat like that if you're looking straight on and you've got more simple buildings like that, sort of like farm houses or just a general has kind of thing that looks straight on. So try to find the shapes in buildings. You know, sometimes you're gonna get domes okay, like these. And then they have a loose section and the like these with a couple of little windows. This comes down and then the top of the dome sort of goes up. And there you go. You've got a little tower or something like that, just by drawing a half of a circle and then a rectangle with a couple of smaller segments and little beads in there. So it's super important to make sure that you're trying to find just, I guess, patterns in these things that you're drawing and reducing them down to shapes. Because if you don't do that, what's going to happen is that quite often, quite more than an often it gets very, very complicated and can be disheartening, especially if you're comparing to the reference, you just want to get converted, make it simpler for you to draw, especially when you've got things like domes. These sort of buildings are a little bit easier. Sometimes you get buildings kind of on an edge and they have a section like that and have like a triangle there. And you've got a door here at the front doors here on the side of the building as well. So It's all just the triangle here and kind of trapezoid, their rectangle here. And then a pentagon pentagram here on the front. So that everything is composed out of shapes and just reduce it down. Once you've got the main bidding, you can start putting in little shapes inside and then creating more detail. You might want to add some more bits in the roof. You might want to add some shrubs and things here. There could be some fence, can be some fence posts here or something like that. So I find doing it. Doing it like this makes it a lot easier. Also in terms of drawing. If you make a mistake, don't go over the top of everything. So say if I do a logo and autonomy, you don't just sort of scribble everything out and try to hide it. So for example, if I do say if I put a person here and I make the body too small like that, and then the legs too short like that. Okay. There's a few things we can do. We can change out, we can just put the the shoulders in. Okay, We can put in the body here like that. And then suddenly, you know, maybe the person's wearing some kind of a jacket. Okay, draw over the top of the head, couple of arms in the front like that. Get the legs in like this. Okay. Just like this. And there you have it. So one of the biggest mistakes you can do is you have the figure and then you start scribbling it out. You think I'm going to put that here or I think it just messes it up a lot more. So go over the top. I make mistakes constantly all the time, even when I'm drawing things like buildings, for example, I might put these often a wrong angle like that. And then on my thinking, I'm just going to correct it. And then it looks better than if I had gone in and started to scribble this out and change that around that kind of thing. So that's another little tip too certainly keep in mind. And another thing is don't worry too much about getting all of the details in your pen now, a lot of the stuff, a lot of the detail can be done with watercolors afterwards. And I do have some other pens which create a more sharper and a kind of window shape or these kind of flat edged pens like that which we tempting at times I tend to go in and try to getting a little more detail with those pens, just going to use them sparingly as well so that you're not doing this all over the place and eliminating the feel of the same. So it's just a little, little tip to keep in mind and remember, the watercolors certainly allow you to add in much more detail afterwards. So if you end up, you know, the drawings not looking entirely as planned, remember, you can change that around later as well. 4. Beach: Draw and Paint: Okay, We're going to work through this line and wash same here, It's beach scene of a couple of friends. And it looks to be just sort of walking along the beach is a pretty simple one to sort of do. And what I wanna do is just really mark the center of the page where the water sort of bisects. So here's the sand really. So that's what I'm trying to say. Yeah. So about halfway like this down the page. Pretty pretty straight-forward type of stuff. Can all start working in the background as well. We've got a tiny bit of this kind of like a bit of headland at the back. I'm coming down and hitting here where we've got bits of waves crashing on the shore, that sort of thing. So it's a little bit easier when it gets down here, we've kind of got bits of blue and stuff that come into the, into the foreground. The main thing is those two figures here though. So I'm going to actually move them, make them a little bit closer and detail them a little bit more as well then in the reference. So I'm going to put the head of this one just kind of round here, are still facing left a little bit and bit of the color of the shirt. And then we're gonna get in the shoulders here. Okay, just the bit of the torso like obese. They're here. And then we've got his arm sort of coming down like this. Okay. The other arm here like this. And let me go to another bit of the arm like this. Here. It looks like he's holding on to or, you know, holding on to anything on this arm. But he certainly holding on to some shoes or something here and this arm. So I'm going to just draw in. I see just indication of some of these shoes or something these probably holding onto while he walks down the beach and maybe some shoelaces, that kind of thing like that. Now the, the, the shorts that we're going to put some phenomena just, just like these. They're kind of color over the top of the of the shoes as well, kind of in front of the shoes and the legs. A little bit little bit chunkier on top. And we've got the calf that just comes up here and this one's lifted up, foot's lifted up a bit more and innocent, facing onto the ground like that. So it looks like he's kind of walking forwards. This one here, this, this foot's just on the flat preimage is flat on the ground and you just put put it on like this. Okay. So it looks like he's kind of taking a walk. We can tidy this tidy this up a little bit as well. So she would the shorts, I do think they need to be a little bit chunkier out to the side now, kinda like that and the bottom of the shorts. So you kinda work your way through and I'm getting a bit of that detail now, remember that this is a promise shirts. We're not really going to see much of the yards except where the coffee is there, the sides. So I'm gonna just putting some little marks here indicates really the details of the clothes that shorter, just a bit darker like that. Maybe some years there, but he's facing forwards. And then we can get the friend again just a good, good distance apart as well. Walking along. We've got the the color of the shirt like this. And it looks like the backpack here. I'm going to get in just the torso first, kinda like this. Just makes it a bit easier. And I can just put on some of the details for this bag to make it three-dimensional, going to have that back past, didn't like that. And then I'm going to try to get in. It's almost like a rectangular solid shape. There were actually sticks onto his back and then we've got bits connecting on like that to his shoulders. And then we've got running out the back like this. Okay? And another Pi, the arm here and another triangle for the hand that's reaching down the other the other arm, you can't really see it. So yeah, obscured. But he does doesn't look like he's got some shoes as well that he's just holding like kind of tied on to the to the back of his the back of his call bags. Just going to indicate a little bit of that going on there against shorts coming down and we're going to put in and that's the back of his leg there. And then we're going to have the calf that just sticks out more like this, similar to this one there. Comes all the way down and then the foot here, and that comes out like this. There's just walking forwards. And we've got the other leg again starting out a bit larger at the top, kind of like this cylindrical shape or conical shape coming down smaller. And I'm going to start out. As well for the other calf kind of bulging out the side of it like that then comes down to a little point here for the foot. And then I'm going to go ahead and putting the put in the foot there as well. So it looks like it's facing forward. So they're both just walking. Since you just walking forwards in this, in this same kind of a detail that's shown to be too much, but it doesn't matter. Bit of hair as well. It looks like just darken that down this side as well. Maybe just shading that side of the side of his head. Really. But that's about all that you need for these, for these feeders. I mean, really you can start doing things like putting this bird is a tiny bird up here. I'll just reduce that down, uses small and nib like this and see if I can just put in an indication of a bird is flying through the sky like this, here. Tail like this, and then this other wing kinda coming out like this and going in. Bird flying a little closer. And just some shading underneath that bird as well. You can have a play around and just try to draw in some of these figures. And he's bird, this bird years just over, just like over the top of the water with the wings underneath like this. And the head a bit too big, but it doesn't matter, something like that. And we've got some off in the distance here like that. Just a tiny bit more detail here. Normally I draw birds very, very small, more sort of off in the distance. And these, these aren't doing tiny bit more detail just to show you what, how you can imply the birds of the wings facing downwards like this, kinda similar to this one here. Except I've made hay probably what it should be, but we can fix that up later. There's also birds on the just sort of standing around and things here on the, on the water. So we can have a, have a bit of a play around and putting a few, those few those birds just sort of and on the water like that. And they do make a difference really. They, they really helped to give this scene a sense of sense of life. It's like the figures, right? So there's a few here, maybe got another one here like that. It's very, very basic sort of stuff going on. I'm just going to draw around the air at the back where the water meets the sky, somewhere around there and a pan. We can simplify that down to a lot of that's blew apart from those little bits of white running through. We do have a bidder. Bit of blue running through here as well, just in front of the figures right down here, which we can just try to get him maybe a big down here as well. But were they working over? But I think good for this sketch. So I'm going to start off with the painting. And what I like to do first is I really like getting in the sort of sandy areas. So all the yellowish sort of areas first makes it easier and less likely for for me to mix up any greens I find if I try to get in the, the yellows first, so I've got a bit of sort of golden color here. And I might grab some burnt sienna. A little bit of this, basically titanium white. So if I use some titanium white with a bit of the quinacridone yellow, I think I'm going to be able to get a nice sort of wash running through. Now I'm director, Remember to try to leave in some bits here so I can mix a bit of blue through with it as well. So that's why I'm just trying to be a bit more careful. So she ran the links here where they're walking around that we're going to have a bit of blue for the water just coming in like this. So I need to leave a little bit of that running through. But apart from that, the rest of it here, there's certainly going to be a bit of water running through like that. And on that side we just want to leave some areas where it skips over and we've got some water and this is where the waterline just starts, just directly above this line that I'm drawing now. But notice I've just left some little areas in the in the in the sand which is slightly darker, and also some areas which I haven't painted at all. Okay, so we've got some variations running through like this. Fantastic. Now what I wanna do is start getting in some of these blues for the water. That. And I'm going to use this round brush as well. And I'll pick up some cerulean blue. Let's just drop that in it, but it's really in blue and running through for the water Pretty lot kinda color. I don't want it to be very strong at all. Okay. But something like this and having it mixing a bit with the, the yellow as well in some areas. Bit here, but here maybe a bit around here. It's very likely for it to turn a kind of a greenish color at some points and we just got to be careful. So just a bit of, a tiny bit of blue there, like that. Now in this section here I'm just going to put in a bit of just a bit of neutral tint and maybe some Payne's gray actually. But a Payne's gray in for these mountains or headline at the back here. So just using that same, same round brush and shaping that so that it goes into the, into the water. And it's pretty dark as you can see. It's pretty dark all at once, coming in like that. Now while I'm already in this sort of section now I do like to just grab some, if I can get some more of that blue and mix up a little bit of that here on the side. And I can drop in a bit here just some, in some spots of the where I want to imply a tiny bit of that blue or water mixing in some areas, but I don't want to go into strong. So just being careful bit here, for example, coming in at the side like that. They're okay. Nothing to think too much. Good of this splattering effect, which I really like as well to add textures to this area of the front. They couldn't be footprints, so just just little bits and pieces on the on the beach. I do help. Okay. So that's looking good. I'm going to let this dry for a little bit while that's happening. I can have a play around with some of the colors for the figures. So I'm going to use a bit of red and a bit of this gold sort of color to getting some flesh tones, some very quick flesh tones for the figures. There, just to be there for the arm and neck. Neck for this one as well in the ear. But mainly the legs because that's the main area that you've got exposed. So yeah, the legs and the feet. I'm just trying to drop in some more in there as much as I can so that I can imply that sense of peace, a sense of flesh tones, I guess. Okay. Into the body. I'm going to drop bit of purple perhaps for this figure on the left. Just grounded bit of this purple that I have here. And it's a very muted down purple. In fact, you probably can't even tell that's purple. Now I'm going to let that kind of mixing like that. And for the shorts, perhaps a bit of blue in here, getting a bit of mixing things as well there which you can do this lifting out technique, just dry off that brush and then just liftoff, liftoff like that. And you can get a bit of that color back and we'll just remove a bit of that color is one it means even on areas of the arms, if you feel that just looks a bit you read or there's too much color in there, you can just pick a bit off using the same sort of technique and just work, work your way through and doing this same sort of thing. Certainly not going to overdo it though, just have to be careful. And here we are. Maybe put it in a bit in neutral tint for these persons bag or backpack and the shorts. And it just an industry scripts sort of color. It's, I don't want it to be too vibrant. Now moving into the sky now this is where we just want to put you in a bit of water for the base here. And hopefully as areas dried mostly. Okay. And I'm going to pick up a bit of this lavender color and drop that into the base like this, can just leave it as lavender sort of color. Move that across if you've got ultramarine, ultramarine, but if viscerally in as well. And that's a good, good choice for this section. So just like that, I've left a tiny edge here on this part, but I didn't know you can try it on and off and see what happens and some points that's still okay. Here. It's probably going to mix in some areas, but because we have let it dry, we're less likely to have this. Happen too much. So we're still going to have a bit of an edge here for this is been a headland. Certainly there will be some mixing around there. And as we move up the page, we just want to increase the strength of this, of this blue. So this is just Ultram, sorry, move and cerulean blue. So I'm trying to say so, really blue, darker up the top. I do have some ultramarine as well, which I find does help if you want to darken off the top section a little bit more. But we want to keep it generally, but the entire scene generally pretty light, but if you want to document off the top areas where you want to dock and off not near the bottom. The bottom is where we want it to just sort of fade to a lighter, lots of sort of color. And we're going to definitely get some granulation in here with the Certainly in swirly in blue and also a bit of that ultramarine blue kind of joining on. So that's a bit of neutral tint in there, for example. But like I was saying, you can just drop in a bit of extra darkness up the top there. I'm in bits, but apart from that, I wouldn't touch certainly wouldn't touch anything else in that scene. So let's give this a quick dry and get back to it. Yes. So I'm pretty happy with how this is dried off in the last remaining part is really just getting some dark areas, some shadows. Now in the reference, the shutters are kinda running behind over to the right. But I do think if we haven't, we're running over to the left or even in the front left, create a bit more interest and more dimensionality. So I will give that a shot firstly with the figures. So I think we'll get, I mean, kinda coming like this to really kind of how should I say very, very subtle sort of shadow like this. And that's where the foot is. And then they kind of, oops, we're going to be the shadow. And we can have that kind of connect up and go over that foot, come over here forming a kind of larger shape. Shattered. They're running towards the front. This okay. And this one is, well, just joining up this other figure here. I think this would be good to create a secondary and shadow that just joins up very thin. The shadows as well. I don't want them to be too overpowering. I think that money Even, I mean, there might even be enough. So you can also dry brush, beautiful shadow one if you want. But the interesting thing is that you form these kind of areas around the foot, which look a bit like yeah, they sort of draw out the contrast and the feet as well. So a few more things that we can do, certainly with the bags. You might want to put in some more contrast here in the bags. And this figure here. Okay, But I'll leave in bits and pieces, for example, for the shorts, I might just leave that in a lot of sort of color, or just dark and Dan on the left-hand side. But for the shadows and things like that for the legs, I'm could put a B there would have been just sort of on the left-hand edge, left edge of the of the lake to indicate a little little bit of shadow, little bit of detail for that lip for the foot and the calf muscle there. Okay. Then bit behind that. But behind that food as well, I'm casting a shadow across. We're going to have some more, maybe a little bit of darkness with this coolest sort of darkness for the shorts of this figure here, like this. And then this shirt, which again, it's kind of a warmer color. Kind of like a pink most I'm going to just dark and that offer little like that. The same thing goes for the arms. You know, it's good idea to Michigan, this area where there's not much light, we might want to just darken off some of that here as well. I can just sort of try to do it there. And here they are for me. Coming down, It's very, very subtle. Not much, not much at all, but it does make a difference. Maybe go bit of bit of red still left on the back of the heads. Now the hair I'm just going to getting with a bit of kind of brownish color for this one. Pretty dark. Pretty dark, but still transparent enough so that you can see the line work behind the one to the left. I'm not adding some of these neutral tint. Get it in a bit darker and mix that in like that. Okay. Bit of work there. Fantastic. So that's looking pretty good. Now the last thing I wanna do is these little birds and, you know, oh, actually get the mean and the same brush and I'll see if I can swing it. Normally, it'd be better to use a smaller brush if you can't getting the detail on it. But I don't want to also be careful in not wanting to overwork these birds. And I find if you use a larger brush to do it, it's impossible to ever work them. So they just look at, certainly look a lot more, more abstract. Some something like this, this sort of shape. They're on the ground that could be the only things that are there on the ground beside seaweed. Some birds here in the sky. I don't think that was one, but I turned it into one. Now, the few more here on the horizon line, things like that. Another thing that might be good as just some dry brushing works, some of these sort of detailing here on the ground, but he dry brushing for indications of texture and footprints. Stuff here on the ground as well, just using that brush and like these to create some sort of footprint like shapes and areas and then bits in congruencies and things like that here as well. It's all there is little textures and things in here and it does help to draw some of that out. And again, I don't want to overdo it. Okay, so do likely softness in here. There's an extra step you can go in and put a bit of whitewash in for the wide of the waves. But I think I'll just finish this off. I'll call this one done. 5. Bologna: Draw and Paint: Okay, So today we're going to be sketching beloved know. It's an area in Italy. Never been there myself. I like this photo I thought would be nice to do this for urban sketching demonstration. Put a bunch of these pens here. I don't know exactly which ones I'm going to use a person pigment liners from 0.05 up to 1. I've also got these other ones down the side, years of brush pen and a few other interesting nibs that are kind of flat edged. So, you know, look, I'm gonna give this a go, and these are waterproof inks here. And then I'm going to go ahead and get their watercolors. And so hopefully I can get these little sketching about half an hour and that's my aim anyways. So not aiming for complete accuracy, I just want to get an understanding of the scene. Some of the features, areas of light and dark and some of the shapes. So really just quickly I'm putting in the horizon line here, new horizon line there. I know also we've got this bus shape here. I'm going to go in and just put in a quick little indication of that bus. And I know it's sort of comes out of the reference photo, but I'm going to I'm going to go ahead and just try to put it in any ways is something more present in the scene that I know we've got a little wheel here, maybe a wheel here at the back as well, sort of touching the ground. So it's really just a rectangular shape like this. And then on top, I don't know what that is. Some kind of some type of air compressor or something something like that. The air conditioner. That's it. That's the Rat Line of the of the bus and windscreen is just a square, little square like that. And you money for a couple of lights and that's pretty much it. I mean, it's really not the most perfect looking bus, but it certainly looks like a large vehicle or a bus coming down like that. Another thing is that we do have a person in front on a bicycle and a might just seeing as I'm in this area, I'll just put as an indication of that person in here. And the bike is like these. Just a little quick couple of circles like that for the for the wheels there. Maybe just riding that bike is truly been a little bit big. I'm just reduce the size of that body down a little like that. But the ego's quick little indication you might have another person also hear just the head and walking across the street. There's an arm there like that and legs coming down. They're really screw in that figure. And another figure here in the background. And sometimes if you leave your pen on the paper as well and tronic to lift off, you get some interesting shapes and interesting looking figures and they join a bit more on to the rest of the scene. So there's a bike here, which I can just indicating that the the spokes of the wheel spokes like that. I'm going to draw them in just a few of them there. And I can't even really see what the handlebar is, but I know it's up here. There's a looks like as a table or something here. I'm not exactly sure. We've also got some bits and pieces at the back here. It looks like there's a van off in the back like that. And another thing I might do is swap rover to this pen and see if I can just get in some darker bits here for the windshield there, and a bit more here on the left side as well. Normally I leave all this stuff with the watercolors, but I thought, hey, let's give, let's give this a go. Let's put him on the wheels. Wheels here. But if darkness underneath the back of that bus like that and goes fairly way down the back like that. And I know that probably should have a little bit higher there at the back to like that. So that's looking, you know, that's looking. Okay. Another thing I thought perhaps this figure. This figure is a little bit too large for the bike, but I'm just going to leave that in. Okay, don't worry too much about that. We can also do things like coloring the legs and in one of the legs there for that figure. Maybe for this one, we could color in just the top part of this shirt like that. So this is a interesting little pen that it allows you to get in some dark areas quickly. So in the center we've got this Towers is enormous tower. I'm not sure what this has done some research but goes all the way up, had the page, let's say just the bats. More than three-quarters of the way. But you could say about yeah, about three-quarters to more of the way up. And I'm just going to indicate it like that. Okay. Just to kind of rectangular like shape. Very long, rectangular like shape goes all the way up there, got the side of it in like that. Move that ship that old way down here. And then we've got just a rectangular kind of shape. And if we look in a little bit closer, there's a few other shapes on top. Another couple of these shapes here that comes down like that. Now we've got square bit here. And then of course, the kind of dome shape on top, few bits and pieces on top there. I think there are some windows in sections like that too. I'm not entirely sure, but you can definitely see that it depends how, you know if you alter the flow a little bit and get some more contrast in UB out and made more sense of that. But yeah, I think that should do the trick. I'll also put in another car here. I know there's not a car here in the reference photo, but I'm going to put a car here anyway, just so that I can get another shadow maybe moving over to the left-hand side. Now all of these buildings, that's one of the things we're gonna have to do is just simplify them down. Now, there is some type of some type of buildings here as well. We can just see it peeking out behind. And I'm going to exaggerate that more like this. So just down the bottom you can see it's just catching the light a little. And then All, and then you've got these larger buildings that just go ahead up, up the scene like that. They can't disappear off. They go further up, quiet on a on a large steep angle all the way to the top. And I've haven't got it exactly in mind, but let me just edited a bit, something like that should be fine. If you make a mistake. Just drawing the line where you think it should be, don't go over and start scratching out that line or doing anything with that line. Otherwise, it's just going to look more obvious that you've made an error and that section and going to come down like this, That's the edge of this building here. Getting some features on top of the building, something like these, these little triangular bits and that beauty. It doesn't really matter. I'm just looking at shapes, just quick shapes and we've got some of the rooftop. Rooftop. Yeah. And I know there are some dark areas underneath that rooftop. Another thing I'll do is I'll perhaps indicate the side of this building more than that is actually indicated in this scene. There are all kinds of bits and pieces in here that it's good stuff, but I don't want to spend all day drawing and all those windows and everything like that. But I like having some of these overlapping shapes. You may have even got windows on here as well, which I'm going to use this pen. And I find that it's actually called a really nice pen to use because the shape of the nibs, actually they create these window-like openings. I don't know how to really 100 percent explain this, but usually when you're using a pen that has round nib, it's little bit more difficult to getting its kinda like the only thing I could compare it to. 6. Dubrovnik: Draw and Paint: Myself, a fun little rooftop seen here in Dubrovnik that we can sketch through. And one thing I wanna do first is getting that horizon line and it's very, very high up because we're kind of looking downwards down with sort of view, top-down view. So I'm just going to put that area and ride the back. That's the sky on top. And we've got a slew of water just underneath here. And kind of to mock the area. We've got these kind of dome just over in this edge, like this kind of sticking out of the sky there. So that there is the little part that's sort of cuts over the water. And so I thought I'd stop there, actually say, bring this down like this. Okay. Now what we're going to always remember is that when we're sketching, when looking at these, everything in shapes and there's a triangle is a triangle. So these little windows have triangles on top and then we've got squares underneath. So just like that, we've already got in a segment there. So we've got the DOM, which is a semicircle, and then the bottom, which is almost like a squarish kind of shape. Okay. And then we've got other buildings that kind of overlap with it. You've got this building here which overlaps with that. You've got section just coming out like that. Then that's the kinda of rooftop and I may not get everything down the bottom. So this is just a starting point. And then we can decide how far we actually want to take these later on once we continue, continue on down. But now I think this is a good place to begin with. And then we can go in just getting this other side of that left side of the roof in a visionary measuring the distance there. That's a case like this Connect Zone. And we've got this section here. So everything, as long as you do, you draw everything in relation to this dome, It's going to be roughly in the same proportion. So look at that sort of building in the back. It's hitting its own. It's actually a little bit higher than it should be further down, but it hits the top of that dome they started doing here. And then we've got another section here that sort of runs down there like that at the back and he says Actually to be, but it doesn't matter. So we've got that then we've got a few other houses here. They just rooftops really in wifi can reduce them down to just these little rooftop structures. You find that's really all that you need to imply via these houses and things going on in days. So there's one there, we're going to add another one here, the back, and another one here. This well, then what else do we have? We've got another sort of house here and running over on the right-hand side there. Then we've got what else do we have? We've got a bit of it, some shrub behind and we've got this largest sort of building that extends rod at the top and comes down like this. They're kind of a trapezoid shape. It's like a large house to pretty it looks like a large house, but it's not what it is. Here. We got another kinda of a square there and then you go to a section of this house that sticks out, the rooftop that sticks out like this. Okay. And then again, we're just going to continue on and just draw everything in. There. We've got this rooftop at just at the horizon line where the water meets the sky. We've got another rooftop of another building running over to that right-hand side there. And just like that. Okay. And did a bit of sort of shrub or something like that. They're the bottom of this building here. That okay, Then we just, you know, it's essentially just repeating the same process and looking at the shapes and drawing the shapes rather than drawing the actual building itself. I mean, here is another one. He is as a sort of building and it runs down as a subsection there. And there's another rooftop behind. Another rooftop behind there as well. I'm going to actually start drawing some of this stuff at the front too, so that I don't end up missing out. Are these overlapping sort of stuff going on. So that's again, a little dome here in the foreground and make it a bit bigger than it actually is. Maybe going to start drawing. It's a statue here. Then another curves sort of area and another curved area underneath there with a bit of darkness. Okay, something like that. Some two pillars that run down like this. We've got capitalists, six sections that run out like this. And then here they fall off. And I'm constantly looking at my scene and then looking back. And the reference photo, just to double-check the relative position of everything. Okay. Then that's actually another and that's, I thought that was a figure on top, but that's okay. This comes down. This is the side of this building here. Okay. And again, we're going to just get a little, it looks like as a balcony or something here in front of the stability. What swapped to a.8 somewhere? Yeah, this is better. Point h is going to kill me getting thicker lines and bring this building forwards more. That's the edge of that kind of balustrade or balcony area comes down. And then this comes down. View is even a section that comes out like that. And this comes down, this comes down, this comes down here, here, here, here. It seems to be kind of flag out in the distance like that. And then we've got the rooftop of a house and just in front of everything. Okay. So that's pretty much that section. We've got a larger kind of house here as well, which I'm going to get in on this. Okay. It's coming out of the whole scene. And this actually comes down like that. And we've got some darker areas at the back here. This section is actually, if you look through it as a kind of courtyard area where people walking. So let's bring this down first and we'll try to get this whole section. Yes, there's a, there's a rooftop here, like this, kind of joins up in incomes, disappears behind that structure. Looks, looks like actually leased building kind of interacts with this one a bit, but I've missed off a section, but we can actually add another one like this, something like that as well. So we've got another building there just close up by in a few little chimneys or something like that in there as well that we can add on and create some extra details. He is It's for that building and it comes down to have a look. So essentially extends off of fair bit more over to that left-hand side. This is just the shadow actually that's being cast from right to the left-hand side like this as that operated at here. And we can actually start by putting in the southern kind of doing like structure here too, like this. And just a bowl on top really. And then we've got some a section there. The base is a kind of a square shape like this. So I'm going to simplify that down into a sort of squarish shape as well. And, you know, we've got a sectional view and we've got a couple of little smaller windows there. Number 1 here on the side, like that. So that's about eats section here that kinda runs down now the part of a building. And then here's low kind of section that interacts with this rooftop like that. It's kind of an overhead view. And I'm just putting some lines that indicates some just directionality to the tiles and stuff on top. So this actually comes down and a fair bit here. Good. And then this connects down. What have we got? Again, this, this section here just needs to be done. Gonna get some more. Given area here. We do have a sort of house all the way up like this. And the and again, this forms part of other kind of rooftop areas. To the left hand side. Doesn't quite matter what's in the air, it's just shapes. This is a triangle with a red square, the bottom like that. And then we've got a bit of shadow that's cast to the left-hand side of it. There could be a shadow there as well, and we've got a shadow sanctions on there. So let's bring this one down a little bit more and then we can get some kind of areas like luis and create these kind of opening. At the bottom. Over here. We can getting perhaps movie a few figures walking around or something. But the interesting thing is, is that we've got kind of a solo doc and then this six sections of light, Chicago's by the buildings. So that left-hand solid, which is really going to be fun to play around with. But we've got a little fetus, little people just walking around in this area, which I'm just going to indicate. Okay. You barely see what's happening to you because it's just so small. Like that. So just putting a tiny little figures and but not much details at all, just a little indication of where they stand. Okay. We notice here 1, 2, 3, 4, like this. Just scribbling and getting them some of those windows and move it rooftop here. So Windows running down like that. Then what else do we have? We've got another sort of building to that left-hand side, a few running behind as well. There's a there's a sort of push behind to the wrist is just that, hey, it's really just the same stuff. And let's have a look here in that this building is a little window here, the bottom like that, which we can get in Section year. And we've got to kind of gauge or something. Then this pod in that right-hand side, it's another rooftop like this and join up sod of that building. And it's kinda cuts down and then ties into another side of the sort of structures on top of the buildings like that. And it's not exact, but it's close. A couple of these lines and marks like that. And again, that's putting these type of roof top here for this building. And this comes down as well like this. But a few windows here, there's a square window here, a couple of squares here. One here, the bottom. There. There. There is couple of sections there. Like this. Part of that roof top and gins forms part of another, yet another building. Say, everything just turns into the same. Everything revolves around these sank shapes and we just got to repeat them and look at them as shapes, triangles, and rectangles. And they'll form shapes. And that's all we have to, to put in there. Okay? They've mostly just rectangles and triangles. From what, from just looking at it and drawing them. Just a combination of them in various forms. And that's another one here. You might have another roof tough here and the background and that forms another building. Another building and kinda comes up, comes down like this and then another section, or at least a passing shadow. What else do we have? Another rectangle then another rectangle day, another house like shape, then the distance, it's all pretty similar. So once he had, once you're happy with how it looks, which is I'm going to stop right here, then you can start to paint everything in. So first things first, I'm actually getting a wash of color over the top of everything. And mainly we've got oranges, we've got and we've got sort of creamy areas. It's just warm colors. I've got the beauty of quinacridone gold, which is going to be great. I'm going to use, use a fair bit of this actually. And some of the tau is they kind of, they just this kinda this Naples yellow, kind of like a creamy white color. And just go with that and continue on. And I'm mixing a bit of mixing a bit of that with the Quinacridone to get in some warm colors for the buildings. At this point, don't worry about any of the cool colors or the doc collars. We just getting in a light wash of color over everything and making sure that we've got yeah, just the warm colors in let's say just any warmth and let us know sort of brought on colors, put them in. I've also got some burnt sienna which is useful for rooftop areas as well. So I can put in some there. Let's have a look. It's kind of reddish brown color. Okay. Which I can just drop in like that. Now from a distance, especially some of those ones, some more orange, more orange. And a lot of this stuff will also be colored in later with some of the dogs. So we don't have to worry too much. And I've had it being out of place or you want to leave some bits of white on the paper, just so that it looks more interesting. But for most part of it really, you don't need to just go to. Coloring and I'm going to put a bit of darkness on this dome just to let sinking. They went into wet and, you know, like I'm saying, it's just getting a lot wash of color over. We think it's mainly just oranges and browns and then CNRS and maybe yellow in here as well. So long as you've got warmth in there, you're going to be fun. That's all we need. Just some more. Okay. The, the, the, what have we got? I think that's about it. So last thing we wanna do is now adding some of the water and the sky sections. So I have myself a bit of 11's of paint here. Let me just draw some of these and see how it works. Now, the sky, we do that kind of 11 that I've kind of color that top section of the sky there. Okay. Granular sites as well, nicely. And as we come down, I'm just going to drop in a bit of Cyrillic in blue, the base, and maybe a dark blue as well, darkest really. Just here to cut around the bit of the yeah, Just getting some of the water I suppose the these effective water in the distance. So I'm just cutting around the dome as well. But the DOM actually needs to be colored in a little bit darker. In fact, I could just do it with the blue and a bit of neutral tint like that. Okay, Great. Let us stick. So I think that's I think that's good to go. So I'm going to leave this and let it dry off. And I'll actually go back into it in a moment with a bit of darker colors to getting older. The shadows. Okay, so we're gonna go get in a gentle shadow, share a lot of these buildings. And I'm really going to mix up just a bit of this Payne's gray here, okay, and keeping it pretty, pretty dark. Let's firstly start off here on the dome. Now I'm going to just go straight into the dome point in a bit of paint on that left-hand side. Remember that the light sources coming from the right. Okay. So we just want to indicate some of that light on that right-hand side of the building. Kinda like these. They're soft and off that edge a little bit like that. And then we can connect it onto other parts of the building. So for example, this part here to the left-hand side, this is going to be shattered. Alright? But not only that, it kinda goes all the way down as well, as well as cutting around parts of these other buildings. So let's go, Let's pop that in like that. This edge of the building here, that's going to be DACA. And then a lot of these here just comes down and joins all onto the same section like that. Down on the ground. But the rest of it is just the left-hand side there is leaving that. But really a lot of it is just a same sort of shadow color. And I'm putting through now I'm going to go down also in this area, it is slightly darker sort of section as well. So I'm going to put in a little bit of that Payne's gray there as well next side of the building. And keep that fairly fairly dark as well. And we're just trying to look for areas essentially where we can get in a little bit of darkness underneath to indicate yeah, essentially just indicates some some shadows. So I think this side of that building, I want to soften off a little bit and get into a bit of color in there as well. And you go to areas here as well, which is again just darker. And, you know, you've got bits sticking out and they I'm just leave some little highlights. The speeds dark as well, joins on. So we're just looking at the darkness of a lot of this stuff in here and seeing yet essentially whether we can create a little bit of contrast in all these mix. So let's go through here. There's a bit there be here. A lot of this year's just, it's just darkness inside in this sort of mix anyway. More Payne's gray. Okay, Just trying to get a real quick shadow of a is over this whole section. Now this pod here, the bottom. One thing to remember is that we've also got some shadows running across the ground. So I'm going to just indicate some of that. And even the shadows are formed on by these buildings. Just casting a bit of the shadow on the ground like that really does help. So some of that going through. And here we've got a bit of that rooftop as well, which has a shutter running towards the left. We've got bits. Here. I've been here as well because shattered running across the roof top there. And here's what we've got sort of shadow on that left-hand side of this tail off like that. K I could have shuttered behind that building and just finding places where we can join them onto each other as well. And really makes a difference. Please there. And let me just quickly cut around this one as well so we can get a bit of that roof topping. And it just having a look at this building too, we've got some areas of darkness just running through that left side of that building. Um, and maybe I can get some just normal neutral tint. Have a play around with the staff as well. Then your dogs, we see on that left-hand side. But a lot of this building, really just this left-hand side of the building is what I want to and getting k then underneath here. Yeah. In here. That beat underneath here. Yeah. Here. And just trying to find it, a really quick shadow shapes running through all these buildings. Here. Here, I'm left-hand side of that building like that. Be running down the rooftop. These okay. Here we go to here as well, just inside these buildings. And some here on the, maybe some shadows here on the ground and things of these buildings in the base of some of these buildings as well, that's going to have formed, suddenly swarmed some shadows as well. Just do the darkness like that. We've got a bit of this building here in the back as well, which is going to be fairly dark. And I'm going to create some extra darkness on that, like this. Good, good mole here. Schism these windows and dark areas in quickly. And just the areas that you might want to draw attention to. Additional darkness. Even in the back here, we can darken off that one of those buildings. Looking for a few other areas that we tend dot and down. But essentially, and we've got that shadow all running across, catching the light on top of these buildings. And it caused a bit of shadow over to the left. And I think we've certainly got an indication of that already. So yeah, Essentially all I'm doing is just trying to connect some more font, extra bits and pieces that I can draw out of this painting and add some more darkness, especially into the shadows here I feel like we're missing still a little bit more contrast. I do like how this has turned out in this section here, this yeah, this shadow here on the ground. It's quite nice and even a bit more darkness in the digital route. Extra, extra sense of shadow and depth. I'm just running across the ground. This motto. So play around with a bit more orange in some parts of the buildings. Here's some orange I could just dropping to sushi, some of these ones that are a bit closer to see if we can create more contrast, a little bit of mixing as well, going on with the colors and extra vibrancy. This one here, I think that would be no acid. I have some more, be more orange now. Just a bit Good of additional contrast in that section. And really for most of it, I think we're pretty safe to go with what's that's essentially they are on the page already. Sorry. Yeah, just a few little highlights. Beats in certain places, but I'll call this one finished. 7. Morocco: Draw and Paint: We're gonna do a sketch of this saint of Morocco. It's very interesting scene, we've got buildings all across the left-hand side with these little areas here if shade, we've also got some figures and it's a really bright and sunny day with the light source coming from the right to left. So we're going to simplify this down. I'm going to start with the 0.5 liner. And we'll draw a line roughly around just underneath the middle part of the page. So approximately here, I would say just underneath the middle part of the page like this. And what I want to start doing already is marking that sort of middle section of the page at random at here. Sort of you can use your hands and just sort of marketing. He hasn't even need to use the liner. Now we know this building to the right-hand side, the one not closest to us, but just behind that. It starts just about halfway through the pager. We are halfway to the right. So I'm going to draw some quick little indications like that and we want to make sure it goes up and we've got a bit of sky as well, so we can finish it around about here. Okay, really simply goes to the right, comes down like this. It's actually quite a few different components of this building, but I'll kidding just the basic stuff. This little separators kinda like the halfway point of the building. And we're gonna go across like this, bring that down here. Little sections on top of the building as well like that. So just simplify that down really. Now on the front end you've got a bit of this red flag here. Sort of comes all the way up. We're going to another bit of red here for another flag or something like that. Running. They're very simple kind of flag like shape. And then I'm going to bring in this building which comes all the way through the top of the same. Another thing we've got is also we've got these signs here. And I remember the sign is about halfway down the page where the horizon line is. So I can just start putting in that sign something like this. Remember, we can always move that horizon line a little bit further down if we find that there's not enough space to continue on this section here on the wall. We've also got another sign here, which I'm going to just create a little overlapping structure like that. But for most of it really, it's just this sort of shape. It comes out like that. We've got these kind of sections here run across like that. These little windows or what have you there underneath is a little bit more detail here as well, just as kind of doors, interesting sort of door shape. So I'm going to put it in a bit of detail there. But also what we've got is a bunch of cars and things underneath the building. So there's something I want to certainly draw out some more details. So if we go down here and I'm just going to start off again with this sort of shape here, these kind of arches that are running across the edge of that building and bring down this kind of pillar or behind. We've got a car sort of here. And it goes up like that, comes up to the back like this. And then we've also got the windows which we can during getting a bit of a little bit of detailing like that as well to just indicate the side of that car. So bringing that down like this, we've got a wheel here, just at the front cursor there. We've also got one behind, but this is kind of hidden or some type of shape here. I'm not sure exactly what it is, but I'm going to simplify that down and just basically just draw that carring the wheel sort of sticking out behind as well. We'll notice that there is a doorway here which kind of sticks out the side of the building. So I'm gonna go ahead and emphasize these doorway and there's a sign up here. We can get rid of that signing like that, you know, this section then in the rest of it is kinda just hedge dean because it's darker. So I'll imply bit of darkness behind there, something like that, kinda similar to how I've done that window up the top. Okay. Another thing we've got is these cars, so we've got a card just sort of coming out the front like this. Again, similar to that one, but closer to the viewer and there's another car or so in front, which I'm going to get in something like this. Okay, bit more detail on that car, maybe a light or something. There. There's also a figure that is walking through the scene. So I might put in that fear like that just kind of overlapping with that car. And here, and we'll get into a leg like these. Now the one perhaps moving forwards, coming down the side like that. Legs are a little bit shorter. We'll make do with that to begin with the painting afterwards. You know, we've got this car here and just a bit of darkness around that calf with a wheel is also a bit of darkness here for indication of this window or what have you here on the cart sooner just dips, goes behind the scene here, a bit of darkness again for the window. Now the beat here for the other part of the window now goes just behind. We've got other shapes here. I mean, this could be part of the building. A lot of this stuff we're just trying to indicate. Okay, we know that there's some darkness underneath these buildings, but it's not a huge deal as to how we put it in there. And just be because simply go down to just a simple group blocks like this on the ground. So I don't want to, again, I don't want to really imply too much engages the few little shapes, especially to indicate a sense of sense of dimensionality through here some 3D shapes. This figure is important, it's going to overlap. We've also got these areas and I just began these windows where I can start hatching in some detail like this. Okay, we will be live little bit of that coming through like that. And even another sign you could pop in over here as well. Okay. In front of that window, something like this would be would be nice to, again, just complement the rest of these other signs. But really underneath, we don't need a whole lot of detail there as well. So it's just this just enough to imply that maybe there could be some doorways, that sort of thing running underneath. I'm going to just straighten this side of the building up a little bit like that. Okay. There's also these buildings in the back. These tiny little signs that stick off the building, come off the building like that. Here we've got some sort of doorways or insurances that sort of pop out the side of the building there. So then we've got we've got pretty much the stuff on the right-hand side. I'm going to outline more of these buildings as well, just to add a bit more, little bit more structure to them because I'd gone over them quite lightly before. But apart from that, we are almost done with these buildings here on the side. And again, look at how they all join up as well. It's a little trick. As semen and lanky, you can barely see it, but there's some kinda lamp here. There is a bunch of cars and that sort of thing. There's even a car here. I didn't see it before, but there's certainly a car that's behind there. It's just overlapping with this car, the front. So I'm going to just draw in quickly, something like that. Maybe hiding behind this car. Another shape doesn't matter all that much. Maybe lower this tire further down to the ground. So it looks like it's cutting in front of this other car or shape there in the distance. Another important thing is fingers. We want to get in some small figures here just walking around in the distance in different directions as well, creating some shapes, overlapping shapes and figures like that in some small, some big. This one here is kinda getting a little bit closer. We've got a lady here. Say, I think it's a lady kind of interesting. Dress on legs coming off the bottom like that. Another figure year and the distance reaching out to like a motorcycle or something here. So I'm just going to really basic premise. Ad is basic shape of a motorcycle and then put on the gear that this person's wearing. Little bit of darkness like this. Okay, So coming through and again, some of this stuff here in the background, it's just barely visible. One Mona swap to a smaller town. I've got a 0.3.3 just allows me to get some very basic shapes here in the background. And we can really start doing the stuff on the left-hand side. Increase the size of this figure a little bit as well. And EH, probably should be at figure should be slightly bigger. But I'm just going to go, I'm just going to go with it. That there is this figure here in the front of the scene as well, maybe this section here. So I'm going to bring a bit more, tiny bit more detail. It's kind of a guy with these boxy sort of suit on. It looks way too big, way too big for him. But that's what the reference kinda looks like. I'm going to go with that, put a video here on the back of his head. And then we'll carry down. The legs is one leg like that. And then we've got the other lakes or comes down here and then we go to the back of the calf and then obviously the shoes facing in this direction and very, very rough, but yeah, definitely looks like a person. So there's another person and it's up to you. You can put it in some more. You can add in another person here, for instance, and often off in the background. This little scooter or whatever it is, it's kinda looks like a skewed is still stretch of the imagination. Definitely looks like some kind of screwed up. And some more cars here, which are just box, boxes sold is shaped objects in the distance, a bit of shadow underneath them. And I'm just simplifying this down really as much as I can. And you know, these buildings here the story gets interesting where we've got one coming in from the side, like this, the closer ones anyway, coming down there. This is a really big building, comes out like this comes down. But we've also got this section directly underneath, which is kinda just part of this marketplace and is a great opportunity. He had to get in some of these bits of cloth and things just hanging hanging around. And underneath this section. It is drinks machine, looks like a Pepsi machine or something like that. A lot of overlapping shapes and things which I am not going to bother too much about getting the exact details. But I'm just looking at them, essentially just the shapes. And they actually come down pretty far. They come down here. I've not gone far enough because I need to be around where this person is. And so there we've got one over drinks machine here like this. Then it kinda comes towards that left hand side, couple of shelves like that. But yea, on the ground is really just a bunch of bits and pieces. And this isn't just going to get into some colors and things in here. Okay? You can spend as much time as you want on this area. I don't want to stick around too long trying to like draw everything and just really trying to get a quick impression of what I think is happening in here. Okay, if the darkness and stuff that's going to create a sense of shadow once I get through there, but I don't want to put in all this detail. So that's a sign of this building. And this is going to be the side of the building that's in light. And we've got another section on top will be winning here comes down like this, comes across the, well, suddenly satellite dishes on top of the building as well as three satellite dishes, the couple of windows here as well. So we can just put the scene quickly. There's some shades on top like that. And this building here, which again, it kind of goes up and then disappears on here, and then comes along the side again and that sort of comes down, forms a slight edge on this building. But what are the stuff underneath the building? It's just it's just kind of a bit of darkness and it could be a doorway or something like that and it's a shadow casting long, I mean, this one here I can take the opportunity to do this shape, which is, uh, this looks like it kind of shade. And then we're going to have darkness underneath. The same thing here. We can put in a kind of a shade like object like that. Yeah, with a bit of that section, again, costing more of a shadow mix here there's a window, looks like there's an open window there. And let's have a look. What else do we have? We've got another section that actually just pops out here, can really see it, but it's certainly rid of that building that's sticking out here. It's just kind of repeating structure. Just goes all the way through to the back. And it gets a little bit simpler as you go further down to just draw alongs. Draw some of these shapes and objects certainly becomes a lot easier. Notice that there's also, yeah, Again, areas of darkness here at the bottom. And I just turn these into very basic so to shapes the, this one here is again building that kind of comes down like this. There. Another square foot for the signs of the buildings. We've got a Another building coming, coming out of the solid like this. And then we've got an edge. So that's a side of a building. And having a look, what else do we need to put in here? A lot of it's just the same sort of stuff. Mean, go to this other building, comes in front like this. Oops, it's kinda comes out like this and then it's got an edge like this. And then behind we've got this one here, which then forms another edge for the sod of another buildings and something like that. And then the buildings in the background that just kind of phase out because they get so small back of this. And, and that's basically about eight. I mean, I know I want to put in a car here as well because there will there is one in that stain, but it's kind of hidden behind a few bits and pieces, but I'll emphasize it. This could be a car in that sawdust section near the near that screwed up. Here again, we've got few bits and pieces, few objects. We could even have a person here as well in the store and heads a little bit higher up than I wanted, but maybe he's standing on something. Another figure here perhaps I think this kind of overlapping with everything. A little bit closer also to the scene. Another couple of lakes, one coming out here and then one coming out towards the back like this. Whoops, I want to sort of, and that's okay. It's gonna kinda towards the back a little bit too much, but we've got a person or another person. They're so good a couple of things here, feel these ones more or less done with this drawing that I think I want to make it any more complicated than it is. Sorry. I think I'll call it at that. And then we'll get a few little details in a few little. It's a long work as well as some of this stuff here is good to just implies some of the perspective. So how I do this is that I will pick a point out here, roughly around here and the horizon line, vanishing point, and just draw some lines coming out from that point. These cubes, the Santa bit more dimensionality to what we have going on. Amman actually put the front of a car and another car here. Just hiding behind that one. Yeah, this one here. I think I've actually added in the editing slightly too high, but we'll make do alternative and I'll make it sort of a, maybe a logic collar or something like that. Here in the back-end. Little finishing touches on here and got other things on the rooftops that we can continually can really sort of work on that night because a point in which you have to call it. Okay, so for this first step, well, I'm going to do is actually go through and put on all of the warm colors. Now I've got a bit of quinacridone. Gold color here is caught similar actually to yellow ocher, um, but it does have a bit more of the sort of Spock which what I don't know how to how to, um, to put it, but it's definitely yeah, definitely a little bit more vibrant than a yellow ocher. So it's about a walk in the way that I could explain it. Just a very vibrant yellow ago. I'm coming down and I'm just getting in pretty much all the buildings in with this color. We can change it around. For example, here I've got a bit of Naples yellow, which really putting here, let's have a look mod putting a bit of brown as well in the buildings. It doesn't matter all that much. We just need warm colors running through. Yeah, you can mostly mixing some of that. And the browns in here as well. Just as long as we've got this sort of nice kind of golden color, as long as it's a warm color, we should be fine. I'm going to carry this all the way down, even to the edge of the page like that. And let's go ahead and just really just a quick wash over the top of all this detail here. And we'll go over on that left-hand side as well, a little bit more here. And more of that yellow go up. Some of it's going to go up into the sky. I'm really concerned about that. And we just want to get a really nice warm color over these buildings. Just a really quick color as well. Nothing nothing too detailed at this point. So let's bring that all the way down. You know, even down here, there's a few things we can do. We can add enough pizza color. I'm going to be bluish color. Here. It's a bit of lavender which I can draw pain. I've got some neutral tint as well that we can play around with and drop that in to just sort of underneath like that. Just in some of these areas, it's BD really, we're just trying to get even a little bit of contrast down the bottom. And remembering that we're going to go over this whole mix anyway later. So it's not, it's not essential to be worrying too much about the docs just yet, but I'm now at the bottom of these buildings is good to have a little bit of mixing going on. Also, if you've got a bit of these Italian sort of burnt sienna, you can just drop a bit of adding in some areas like C here on that side of the building. Getting a bit of variation running through these. And there were all these color. So fantastic. So I'm going to mix up some little bit of Payne's gray on this side of the palette. And there's actually a bit of these leftover from my last law, sort of painting. Mixing a nice sort of combination of it and getting that just blend down through some of these yellows and things as well. So remember, we don't always have to go over some of these stuff too, so we can just sort of cut around bits and pieces, leave some white. And for the lighter essentially. And I've also got a little bit of blues, so I'm a bit of cerulean blue here, which I can just dropping to the figures, you know, kind of another bit of sullying belief of these feeder here as well. Maybe just dial it down actually with some of these dark color. Mixing that through. Maybe we've got to be a green here for that figure. It's not a huge deal exactly what column we make these figures is we just need to make them slightly darker in areas and you can even leave leave some of them. Why is this well, when that SOD, if you'd like. I'm fantastic, because he's another sort of thing that we can do. So, for example, this guy here might just put a bit of color there, but of color here and just leave those wind screens and white like that. And the same goes for some of this material and thinks he had just going to join it on to the sod. I mean, it could be just in descript bits of stuff here on the ground. It looks like a chapeau marketplaces, something going on here on that right-hand side, we've also got cars running through that left hand saw the sort of shadow running through for the car. I'm going to just emphasize the shadow on this one as well, just running across the ground. But I've probably going to go through this one more time later. So let's go through and get a bit of color in the ground. Just the quick drop of these, all of these yellow in here and I'm going to just cut around some of the other stuff in there. Bring this wash down the page. We also have these nice, nice kind of neutral teens which I can just play around with and mix up some of that through here as well. But we care to keep a free lots of color through the ground. Probably a tad darker than the buildings. But really it's similar to color any house. So let's bring that whole washed down and I'm going to let it all mixed together. We're going to have some interesting, certainly some interesting sort of mix running down the page. Okay, So that's pretty much it now the sky we're just going to need to do know and I'll be picking up a bit of boost in for this. Okay, Just a bit as cerulean blue drop that in there and I'm going to just print that around in the sky. Get a bit more running through there. It'll be more running through the MOOC, bit more here. On this side, running through the sky as well and decide the, the HEA specially running through that, the buildings there. And you can also leave a bit of watts on the edges of the buildings lock. I have them here as well. And that's pretty much about eat. I mean, the rest of the cause we can skill putting a bit of blue or something and date it gets some color in full, that sanction hue. And I'll put a bit of that yellow for this cow or turned into kind of more of an orangey color in front of you. Just go purples and some other neutral color like these. Just cutting it around like that as well. A little bit big deal. We're just going to get rid of some of that some of that color, and then I'll give this a real quick dry hay continuing on now I'm going to be using a number eight round brush. And what we can make use of some of these neutral tint that I have already pre-mixed and adding a teeny bit of that yellow. So we've just got a kinda Yellow kind of tone running through. And it's just a dark room. Mics really say, we're going to get this building in fairly, fairly dark. Also cut around some of these signs and stuff here on the building as well. Really simplify this down a fair bit. But I want to leave some, some of that, some of those signs and things on there as well and become more neutral tint, mixed in here. Neutral tint and then some more. What do we have a bit more of that yellow. We've got just a warm sort of gray color as opposed coming through. Fantastic. So that's a bit of color running there. I'm going to soften that edge down a little bit on that side as well to kind of make it look like we've got some sunlight maybe running in from that age, but we'll let you know some of the bleeding like that and see what happens. There we go Just a bit more than I'm going to bring this across some of these down here, especially mixing up more of these colors and interesting kind of color. Really it's a year, it's really just a bit of neutral tint plus neutral tin plus some of these interesting yellow color. So it's stock, but we're still retaining those warm hues back there to do a warm. So the gray color, I'm still leaving, leaving some bits and pieces here as well. And just to imply some detail and that sort of stuff in here. There's also a bit of a shadow here on the ground, which I'm going to imply like that just coming through the scene. We've also got a bit of shadow for the car that's running over to that left-hand side. I'm just going to exaggerate some of these a bit more, certainly more than the name in the reference photo. So that's a little bit of that shadow effect, I guess for that car. You know, we've got a bit for this figure as well. So I'm going to just darken this figure down, connected up. Also a bit more to the stuff in front, cutting around these cars. I'm going to just do that for the side like that. Bit more neutral tint. I'm going to go a cooler now. And near the base of the buildings as well. Yeah. I'm just going to dock and a little bit more. There's some fees here. Who can the ground just some shadows running towards the left. Very basic sort of shadows. They don't really imply that much at all. But this is where it gets interesting when you start coming over to these buildings on the left. And we want to preserve obviously a bit of that color on there. So what we wanna do is just underneath the buildings where we can picture a little bit of shadow. That's where I'm going to go in with my darks. A little bit like this, kind of maybe some cars casting shadows on the right and left-hand side that chi here for instance, there's, well, that could be bits of darkness underneath this building around this figure, around this figure as well. And carrying this shadow all the way through into the left-hand side where we can just sort of make some decisions again as to where we want these dogs running through. So for example here, now I've left a bit of little bit of detail and stuff. And below a little bit of darkness below. And up here there's some darkness because we've got section of the shadow, kind of the sun's hitting that right-hand side of the buildings and it's leaving the sand like that. When I have a bit of a shadow just cast downwards like this. Soft sort of show their tiny bits, rooftop and that sort of thing as well over here. And what else do we have many, couple of little bits and pieces here as well on the actual building itself. Then it could be just on the buildings. They're still going to be shadows on them for sure, but there's just them. It's going to be less less sort of darker bits on that part. So good. I'm just going to try to lift off a little paint here in that center just to show you maybe some light running through that area. Quite soft and it's not too detailed at all, but something like that. And then we've got the shadows with these figures here running through on the grants. I'm just adding in some bits and little bits and pieces in the figure there. Here is that sort of motorcycle, whatever that lady was holding onto, which has now turned into not really that much at all. But it goes to show just how much sort of in terms of the same we can get in just with a few brushstroke, just with a little bit of darkness running through top of a very, very warm sort of area. So yeah, I think that's, that's really about it. I mean, the only other thing you might wanna do is you can put in, say, blue directional lines in areas like, like what I'm doing here. But it's not super necessary, is just one of those, one of those things to help guide you into the painting. Some people may also prefer to add on extra darkness, extra, extra details for the legs of some of these figures, especially in the background. You could also adding some hair and additional details for these figures. But really, I'm quite happy with how this has come together as a general, general sort of sketch. 8. Old Buildings: Draw and Paint: I'm going to do a simplified Same here of this reference photo. And it's a very complicated reference with all these buildings in the background and the left. But we're going to show how to reduce this down into some real basic sort of shapes and get through a sort of story of light and darkness written love this tree also running through. So first thing I'm gonna do is put in the base or the base like this. And that's just really way I want the buildings to finish off. Okay? And what I wanna do also is maybe start off getting a bit of this bridge and the railing and it kinda goes all the way out there. Like that. I may actually change change this bit. So that is it goes up with a slightly higher like that. Okay, We do have some figures and it's often, I put figures in a bit later, but, you know, they're quite small here. I think it'd be nice to just put the main just for a sense of scale. Couple of just walking along like Luis next to these sort of bridge. And then the interesting thing is that there are these lights, LED lamps which Coming up around the edge like that. It's really hard to see exactly what there's three sort of three sort of bowl-shaped areas of that tab, lamp, street lamps. So just a bit like that. Here. They are fair bit off in the distance. There's not too much to worry about tens of drawing. We've got another figure here, also closer to the scene and just scribbled in a figure like that. They kind of all walking into the same direction, the same sort of runs down like this, okay, here. And then we've got over on this side. Another sort of what do you call them? Problems running down the side as well. Just real quickly I'm going to put them in then really see exactly where the bases in the photograph. But I can just put sunrise ones further down here. A bit more with more detail and a bit more strength is also, it looks like something coming out the side like that. It could be around the corner. Okay, now, the simplest way to do this is just to start getting in and doing the big shapes. Now know, this is kind of looks fairly complicated, but what we can do simplify it down. So we've got an error here, which is essentially just a square. And that comes down. And then we've got so the rooftop which runs towards the back of their finishes like around here. There's actually some of these little spires on top like that, which we can get in quickly is a section here as well, like that. I think this could be a church or something. I'm not sure. I'll have to look at the the details later. The front of it like that. Here. Slide details of the building. Okay, and let's have a look. So running down the edge here, we've got that side of the roof top. I've got another section here running in front and just comes down like that. There's a lot of light. I've noticed as well. Just on the side of this building, which we're going to be able to get in with a lot more detail later on. Now this building kind of runs all the way down the back like this. And now I've got this larger sort of shape building in. It. Comes and touches this area here, goes all the way up. It's around the same hot is that building. And then we'll put it in and just put it in a bit of that spire at the top like that. Okay, there's another one here. Okay, so maybe these, so I'm going to move along to the right there and bring that over, that part of it down, part of the side of it here as well like this. Now the spar off the back, like that. Fantastic. Then we're going to come down putting a bit of the details and notice some windows. Window like couple of windows year as well. Couple more here. Here. Okay. Fantastic. Now the right-hand side, it's a little bit more simple to be honest. We've got section that's just runs almost up like that, comes down to this side in relation to these building, hits the top of the roof area here, sorry, the bottom part of that roof. But it's really just this triangular shape like this. Okay? We've also got these little spires off in the background. And here we've got. A bit of a dome up the top like that. There is a let me just have a look. Bring this down to the ground first so that we've got a base for it like that. That's section off at the back. This part here kinda just joins up like that. So that part of the building, we've got a few small windows here that I can hatch away and some detail like that. Okay? And really all this stuff in here is just a smaller details that we do not really need to put in there, but it's a good idea to just have a bit of a play around and indicates stuff on the sides of these buildings like that. But it's not a 100 percent necessary. We've got a lot of stuff going on in here and we're going to be able to indicate everything that's going on. So there we go. Something like that. I'll just straighten up the side of that one. Ted that it's got so much you could add in here. And the point is not to add everything is to getting an impression and have some fun sketching essentially. So having a look, again, this is how I should draw this warning. Now, we know that there is a sort of line bisecting this building ran about halfway here. Okay. And then we've got another line kind of around here. So I'm pretty kind of draw it in bits and pieces, but we do have a window or something there. And then over here we've got a window around this section as well, which I can just sketching quickly like that. Further on down, this building is divided up into two. And then we've got 3123 sections like that. And then we've got 123 sections here where we can get in some of these windows, doors, whatever they are like that. Okay. And we've also got some street lamps and things which we can put in like that. Just scribble a few in on the side. There's a section here also with another dome and structure like this. Another area at the back here. I'm going to just imagine some building here on the side as well. That's not really there or it might be behind the tree. What I'm going to get that tree when we have that kind of going in all the way from the edge, essentially we can use a larger pin. I've got a 0.8. And for this to just come through and basically just add on that large tree shape. While we have a bit of time like that. And, you know, all of these is going to be pretty dark. I'll leave this for the watercolors, but this is really just the marking. That's the edge of where it begins, like this. And there is also a kind of shape here. It looks like a building and the distance, it's hard to see exactly what it looks like, but I know it kind of looks almost like this. So I'm just in a simplified it down. It's just a building off in the background. That's probably an important doing historically. But for the sketch, It's not a huge deal to really get in all those details. Okay? So that's pretty much done over on, over on that side. So here over on the left-hand side again, we're going to simplify this down. And we got a rooftop that kind of comes in and ran about here. Okay. Just a roof top comes down like this there. Then we have the rest of the building that just comes all the way down the page. Like this. There is a kind of structure here and this side it's called, it's fairly complicated actually, but for most of the parts really just a, just a triangle. Just think of it as just the sort of triangular shaped like this. And I'll just add a few more bits and pieces running through it. I'm like that some little openings as well on it like that. And there's also a smaller one off in the background, which you can be a resource to see, which I can call that one in as well. Darkness there to, here. We've also got to section of the building. Just runs through like that and comes down and behind everything else like this. Let's have a look. Again, just some small details like that. Mole. Again, structures like these on the roof top which kind of just join onto the back of the building there. But you've got a load of darkness essentially just running through being cast along the back, the back end of the buildings. That's the trick to his old really is a trick of it. Little chimneys and things here as well, which I can just scribbling in little step, sort of pet and up the top here. And I'm going to try and just see if I can get some of that detail. Lena, I do like the light patent as well on the building which is cost sort of shadow, which is cost Oliva, and then comes across the ground. Okay. I'm going through putting a few more details on the building. Especially section here which separates the building and kinda hot, There's also it became which joins on, kinda joins onto the buildings. So the rod, it's kind of important. Add on a bit of detail. I'm going to hatch away at that section too. Just so that I can create more contrast and more contrast with these buildings here on the right. Even more darkness around those figures as well. And I think we're almost done. Really just going to put in a few more window is running down the sides of these buildings like these. Quickly destroying the mean. Increase. And at the base we've also got some done shaped sort of doors. Shaped doors and main. And this new kind of railing that's running across folded reach. Here. I've just scribbled in more detail like that. And I think for the figures, I'm going to have to get in some more extra details, lights her on. So one thing I'll do though, is getting a figure here on that right-hand side because just lacking a bit of detail here. And I'll maybe have another one just to be closer as well. Down on this side. Whoops, just kind of walking on and a bit of an angle. That's okay. We'll fix that up probably later on in the water cons. And I think we are ready to get started painting. Okay, First things first I'm gonna getting a lot of wall and color three here I've got a bit of this golden color, quinacridone, gold. And I'm going to just drop that in this whole section. I've also got some browns and reds as well, which I'm going to mix into. Most of it is just essentially these golden color which is going to permeate through most of the scene. So going across the tops as well, but I will actually drop in some cooler color over the top, lighter bit of that, just bring that down into the the base like this on that Ryan saw. And I'm just going to connect up everything as well like that. Here. Even on the tree, we can sort of putting some in a base color to it, like at least just some brown really. And to get rid of the color and be okay, just get rid of the white of the paper here as well. Just some little bit of color through there. Okay, so I'm gonna go through, and that's putting some more of these Kronecker down here on the ground. Here. We're going to put some on the building here to the left. Okay. Also got, I've still got some of these titanium white that I can use in some areas as well. It's really just quinacridone and most of it. And I can drop that in. Yeah. Yeah. Yeah. Yeah. Yeah. Then Kerry and then on the ground, crucial just to have some more lines here. Say Quick Sort of dash on the ground. And as we move towards the front, I wanna get a soft edge here for the doc sections. So I'm going to pick up a bit of Payne's gray, just drop that striding like that. And hope for the best will be fine. It's pretty dark and it's a very, very watery. Not only makes it thick mix, at least at least 50 percent paints and running through there. Okay. So I'm going to actually extend this up, more kind of come up like this on one of the yeah, I just want to create a bit more and be more of a shadow it going in. So that's about it. I'm quite happy with how that shutter, the fall with that shadow has taken place. Fantastic. A lot of the other stuff we can get in lambda becomes the shadows and stuff like that. For the sky, I'm going to be using a bit of lavender here. So just applied directly to the, directly to the paper and then get some water and spread it around nicely. Like this. I'm hoping this will granulate a bit and creates an interesting contrasts. And it's just move this around. It's just a very lot kind of cool color. You know, as you, as you go into the yellows, you find that it does tend to mix around a bit. So just gotta be careful that you're not touching onto a too much. So I'm going back picking up a bit, little bit more. I'm going through here like this, leaving a bit of that what on the edge of the buildings as well. One, to create highlights and two, just to make sure it doesn't all mix together to quickly. Okay. Here's well, just bring that down. Here. It more, it more here. I'm gonna get some nice granulation, the fix, and running through it more here, maybe. Fantastic. Now I'll also start dropping in a little bit of Payne's gray and a little bit of ultramarine. Just to cool it down a bit. Some of these areas of the rooftops to here, maybe here as well. Then there these duns little bit there. They hear as well. Not overdoing it of course, but just just some software on wet work I think would be nice to help. Okay. I think that should be it for that pod. Full the figures we can put in a bit as smoothly and blue. Like this. I'm going to go to the vibrant with that one. And then we can also mix up a bit and purple from these greenish kind of color for that one. I'd just like to go Cool, cool colors and we should be fine. Okay. Like that gives us a really quick dry and we'll get back to it. Everything is dry it off very nicely. And the last part is just putting on some shadows. So I've got myself a number eight round brush. And I'm going to keep it simple and stick with some Payne's gray, which is like a really cool sort of gray. Okay, and I'm going to start off actually hear rod in the foreground where we've got one, the tree and also these little post coming up. So I built it is coming through like that. I'm also pick up some normal neutral tint for the tree so that we've got extra, a little bit more darkness running through there. And maybe some browns, brown mixed with neutral tint this I just wanna getting the shape of that SRY, go all the way to the edge of the paper. Okay, and then we can actually go ahead and do this sort of thing here where we can essentially just putting some branches and things coming off the side like that. Bids coming on over to the left. Like that. The quickly we do this, the better as well. Bit more here. Here we've also got sunless go all the way across and just pass that, just come over, even over to this side of the page. And if we find that it's getting too much or too heavy, you can also pick up a rigor rigor brush and play around and get it get through more detail with the rigor. I just want to do this really, really quick so that it just looks quite spontaneous. And we've got some larger branches as well, perhaps running through like that, disappearing off the scene. There. This kinda connects up more. And these rigor really helps to get an extra detail. Join that one up a bit here as well. Some of these comes downwards. Let's just squiggles like that. Okay. So that left-hand side. All right. Some more darkness here. Right? Now, the trick is, is basically just integrating that onto the buildings. So we know we want a bit of darkness here. Now I don't want it to be as dark as the trees, but I'll try to exaggerate the shadow pattern. So we've got a bit of darkness here. Becoming over that side as well. Here we've got maybe a shutter cost here on the left side of that building. Okay. From something on the right-hand side, then this might be a bit of the roof, so some burnt sienna through this nice notice how I'm joining up all my shadows as well so that it's not all just one more. Try and create a shape of a general shadow shape running through, makes it a lot easier for one and then it joins the painting apps. So important to do. Okay? Yeah, just bring these down like this. Yeah. There we go. Those are some sections here which are kind of in darkness as well. Then the here. And now over on the side, a lot wash over the top as well. And I'm kind of joining on to the rest of the tree and the scene here, and that's sides. I would leave that structure there in the background a bit more strength than the top as well for the little details like that. Yeah. Yeah. Okay. Another thing I'll do is start joining up ears on the ground as well. So we're going to have shadows on the ground and it's again pretty doc. So a shadow is just running through the same like this. And then we're going to have a bit of lots and cutting across like this here. That maybe this will be dark shadow here. I'm trying to just be careful so that it doesn't. And this figures too much little slither of running through the center as what we can see here. Joining. Just create more contrast with the figures, especially in the background. To like that. Good. Some more darkness here, especially just to get that tree to blending that are sticking out too much. Then we've also got, it kinda comes all the way onto the onto the building like that. So you can see just formed a shadow on the building. So does the trick. Pretty doc and shadow. And even comes down here further on the ground. And in fact, I probably will. Animals kinda tossing up whether to go further down, further down or not. I'll do like these sort of soft shadow here. So what I'll do is just spray down that area one more time and redo redo this so that we have a soft does shattered and running through this section as well. Okay, beautiful mixing going on. And little softness like this. So I can kinda have both. The bit of shadow on this side of this building as well. To indicate this, this, whatever that shape is coming in and casting a shadow there. Okay. Great. So the rest of it is, is just looking at areas of darkness. So even behind here, I can already pick out some bits behind the building. And thinking this is going to be darker, this is going to be darker. This is going to be dark in there. We're going to have maybe a softer shadow running underneath here like that. This sort of exits off the back. We've also got some shutter running for that building that connects on to this one here in the background too. So let's try to find connection, connections between the shadows and simplifying things down. I've gotten rid of a lot of that lot actually, and I would have preferred to keep a bit more of it. But I still think that it's worked. I'm going to give this a real quick dry and then get on with the last final touches. Okay, so for this last step here, I'm just going to put in some follow Doc since neutral tint and we'll be able to call it a day. So for example, here we've got a bit of darkness in the windows. We can emphasize just like that, using a little, little round brush and just carving out some areas of darkness. You can do this in some parts of the bits and pieces on top says there as well as, oops, probably a bit too much there, but just these windows as well. Tiny bit of a indication like that. On the sides of the buildings, little little bits like race as well. And kind of just use dry brush where I picked up the pigment and very dark pigment drop that on a on a bit of tell. And I continued on such. It's like that sort of bottom of that one is some little bits on these building here as well, which I'm just going to indicate very quickly, the few and ocean grass strokes like that. You even find that times that there are sections, there are loose sections like this as well. Sticking up on the top and parts of the building which is separated out like that too, which you can have a bit of a play around getting some darkness. Here, I'll put in this the indication there, that section. You were trying to find a balance as well. You don't wanna go too dark. And I have at the same time, you have to make sure that there is enough contrast there in the background to create a sense of an interest in contrast in that pot. And you know, you've gotta even bits here. We should quiet dock behind a very kind of gone through and put bits of that in before. Then. There are example of this sort of top part of the, um, yeah. Few more here. Yeah. Just just to draw out those windows and here at the bottom as well as Dawes section like that is always good. Here on this slide is just a bit of that detail. Then of course, the figures I'm going to put in some indication of the legs like this here and this one as well, which I messed up the drawing before, but we can go in and get in a better indication of that figure through the brushstroke, like what I'm doing here. And just carrying that shadow over to the left-hand side like that. Join that onto the feet as well. Bottom of that figure bit here for these ones too, off in the distance, there's a figure here, bit of that shutter there. Another thing I want to do is just start putting in little kind of guiding lines and ears of the painting like this. I'm few more quick perspective lines running around from the back all the way down to the front like these. More darkness on the tree. Especially around the base here. And maybe a little bit of red called the heads of these figures. Yeah, yeah. Faces, the fantastic. And I'll call this one finished. 9. Store Front: Draw and Paint: For this one, what I'm going to do actually is get the border in. Normally I paint all the way to the edges. But for this one, I do want to create a smaller Borat just for stylistic reasons, I suppose. So, let's bring this all the way down. Okay, I was kinda be careful with the edges as well. But yeah, just create a sort of border like this and bring this all the way down. Fantastic. Now what we're gonna do is we're gonna first thing, put the front part of the building just where the building hits the ground. So I assume it's around about here, just a really basic one that goes across. And then we've got a section here that sort of cuts off. We've got another building to the right. So I'm gonna just draw that in first. I always go with the easiest. Its first so area where the buildings hits the ground, this building on the right there. The next probably the next easiest thing is to look at the building segments. So we've got a door here which runs up about two thirds of the building. And what the other third up the top, so we can finish off the door around about here. But what we can do instead is just put a line, little mark like this on top to just indicate roughly where the door finishes. Same with this little shade. Here. We've also got another line up here indicating where the window is. Begin. Okay, so that's another marker I suppose. And I think that should be okay, so we can start drawing a few things in now. So I'm actually going to begin with the door and I'll put it in a red here that's just bring that down. And we know it's pretty it's pretty large, so it towards the shore. And it comes in like that segment that goes in dioxin. It's how wide it goes, say rather roughly that wide. And we have it come down. There's actually a top section that's like this. So look. Yeah, it's a kind of a top section in the door. And this comes all the way across tiny little section Aflac that the loops down. And then we're just going to draw a line running across like that. It's kinda like the little top part of the door, Rican and glass and the top section. Okay. So that's all I'm gonna do for their part of the door. Then as we move further down, it's the same thing as another segment like that comes in. Here. It comes in like this. Then we're going to get, again the edge Talk join in like that. So we look to, we have here. So the inner part of the doors, so I can just draw it in another line. Remember, it doesn't have to be exactly as per the reference, but a little bit of that 3D sort of Luke is important. So, so almost as if there's an inner part of that door, it's curving going going in basically. Then we've got a little part of the door actually that comes through. It's hard to see. But before I do that, I'm just going to draw the bottom part of the door is a step, semi step right here. And it goes all the way up to the edge of the door. It comes out here like that. There. There. It goes across like this K seven book. Actually, such as a first step that's out front here. Such as get the scene like that, comes down, that's one step, essentially like this on the ground. And then we've got a step out the side like this and yeah, I think this is the this is basically it. So we've got the door, we've got to step in there. Here is basically we've got part of this wall and there's a plaza, something here which I can just indicate quickly. Okay, just the leaves and the base of the bonds. Kinda like a black shape coming down and base here. We can simplify this down as well. Don't have to create them exactly as per the thing reference. Um, but yeah, simplify like that couple of plants. And that's going to be casting a shadow even on the walls that you've got these little pots of electrical boxes and things coming off the wall. You know, you've got a pot coming down the world here. So just take it to home to join some of these little pieces, bits and pieces in here. That's even on. The dole is a kind of a curve sort of structure. That and then what it is, it's just the design or the door, I suppose. And you've got these kind of own him into like structures here as well. So we don't have to put all those in, but it's just one of those, one of those things even here, for example, looks like a some kind of lamp. So I can just put in a beat of that lamp, draw in, I just draw attention to it a bit more. You know, there's another lamp here. Make it bigger than the reference. Okay. There's a lamp there and connected onto the wall. Okay. Some of the stuff is going to form a bit of a shadow running across the same just nice little vision. Is brickwork. Here. Do it all over the place, meeting and putting a brick yeah. Like one break. Another break here. One yeah. Yeah. Yeah. And the one hand notice I haven't even change my pen. Still the same pen. One thing I do want to put in you that was a figure and logic figure, maybe just walking towards the door. And we can just make a hub and think of how we can get the feed is walking walking towards that direction. We've got another one yeah. In front. Maybe they're having a chat. I find figures always they really helped to bring life to is saying give it the contexts. This is something that I love, I love doing. Trying to invent a few figures, tell a story, I guess, of what's going on. I mean, this, this one might have a child or some some child he or something just standing, waiting. And at the same time. Something like this could be a family nurse. And from this point we can start drawing in a few more details. Now, looking at the Dole, you notice that this part of the door, if we draw this across like that, stats to form this line here in the building. And this will kind of separate out these top part, which is the shade. And we can start drawing in the shade as well. Just coming across little bit DACA that, and it come to like these. Then we'll just draw that line across like this. Hit the shade underneath like this here. And we'll move this across here, that and upwards like that. So we've got a little area, little shade there, and we can cut around and then we can do the windows so we know the dole. There is a line here at the bottom of the DOJ by kinda cuts at around a third of the way up. So that's what I'm gonna do, is just draw that line in my bat. And we'll carry that curls all the way to this other side there like that. Okay. And that coincidentally phones the section, the bottom part of the weekday. So we can use that as a reference, as a top. How do we name an important part of the window here? So I'm just going to put it in very, very basically like that. I've got a longer sheet of paper as well. And so what's what's going on is that there is extra space, nice online. I'd actually put in three windows, one to his head and around the same size as each other. Three. Something like this. Maybe a bit more of an agent, this one like that. And talk Pong kinda underneath the shade like that. So we've got three windows and we can just say again, I didn't some more details. These are two separate in the center like that. Now that we've got edges for the windows as well, we put those in a few more breaks and things here that you might want to consider adding. The wolves do use a small append from town to town as well, the 0.3. And I find that can really help. To get into some smaller details. I'll put a 0.5 as well. But some of these stuff and just begin just makes it a little more interesting. So for example, here, she got logic bricks on the building. If we look very carefully at the bottom pot, john, that logically strike kinda separates out these boring part of the building actually. It's further up. Kind of wrap yeah. Yeah. Contents some of these into bricks that are up there. Notice they are the largest sort of break like shapes here underneath going through. And yeah. And I'm I'm just being pretty pretty loose with them as well. Okay. Fantastic. Okay. Okay. Then if we look to prove in the door, It's actually door and just kind of language cyclase, you'll just get that name. Comes up like that and maybe got an entrance of a door here. And there's a big bits and pieces and things on the inside as well, and maybe some notes and stuff on the door. And I just leave it like that. And having a look, what else we want to put in here. Some of these same sort of structures. And she looking things, decorative things. Another kind of imitate that one there on the left. And I'm making these pretty simple as well. You can put in more detail in these if you'd like. But I don't really feel the need to know what this is. I think it's it got her or something like that on the side, which I can mostly put in here. And I'll use a pin light to actually call up onto the scene. Okay. But this can signify obviously the bottom of the bottom of the buildings. That's just define that more. Hadn't had that to define initially. Okay. And we've also got all these directional lines that just run through the same. So as you can see, what happens is we get to the center point. Lawns goes straight. Then as we get away from the center point, they kind of flare out mole on the sort of angle. It's probably the top of patent that you want to indicate with this. And fully a female we know is up the top here and we should be ready to get started with the painting. So there's a we did and yet they line up as well. Which will make sense. Again, I've got one more window then it's actually may determine that actually comes in. This side was the frames on the side like that? Okay. Ledge, window, ledge here. Like that. Okay. Fantastic. That there are a few of the shapes and things in view and shine it in. I hadn't put in and they don't even look like these, but just one out. Let's just putting something in yet. And I'll just mark off the agent disability would be better. Okay. And I think we are ready to get started with the painting, warmer colors. And I've actually got some nice yellow ocher here, which I can move stuff going in. I don't want to go into the shade, not just yet. As strong kind of yellow ocher. And I use this as, it's really nice for me to get on which I love to use and getting the sides of buildings and that kind of thing, even with a tiny bit of Naples, yellow as well, it works quite well. Oh, I've got some buff titanium which works, also creates a slightly similar color. Buff titanium as Naples yellow. And you can put it in a little bit more yellow in there to create extra contrast and extra saturation. I mean, but a little bit of that then, and I just Coming through. And one thing to remember as well is that we we can leave areas of white on here. Now I haven't indicated it's so well, but you notice that some pots here, for example, we're actually white lines in even in between, in between the windows, which I haven't actually done. For example, here, even on these top parts of these buildings. Here we go like that. That cut around beats there and here. And you can add bits of white in there. And so I'm going to just try to preserve and little bit of it, hey, like that and then we'll just cut directly down so we'll just skip over that area are essentially, again, I do have a little bit of this other paint here. Let's get quickly, get some pie we read and drop. They didn't before I forget. Just a very quanta dark mix of Pi, rid. Ok. And I just wanted to kinda male teens. I don't just drop that in here. No problem. And then back to that yellow America. And again come cholera, this name doesn't matter. Coming down. And having a more of these happening further down. This is just yellow Erica, and also some titanium white noise just to create some different kind of contrasts. And here, I think is important, some different hues and interesting bits and pieces that often, when you are painting things, we need not exactly the color that you can pick up straight from the palette. They are mixture of a lot of different colors. And so this is a really quick way to indicate what's happening. And I'm going to draw these down like that. The more that wall will remember. Just because it's there, it doesn't mean we have to paint it exactly as it appears as well. So now I know I've got all these yellow are occurring here and I've added in a bit of buff titanium, come down to the ground, probably bit of this gray color here, the bottom would be Moss. Bit of brown mixed into it. Basically put a jihad. Okay, just carried out across it. It's got to be pretty low as well. But more yellow it has well tuned. That should probably get a bit more yellow in these doors to just like that, just draw that down. Sort of get a bit of a nature that building on the rod. It's more, it's kinda cool down a bit. This many because there's actually a shadow on it, but we'll document off more like that and look at the windows. My pickup beliefs are really a little bit of sertraline and just drop some coolness in day like that. Okay? This one, these two, these two here, here and here, and here as well. Okay. Fantastic figures as well could do with a bit of work. So some cool colors going through the fetus is not us, just a bit of lavender and the one on the rod of goods and maybe a bit of brown. And I'll just dark enough around some of the areas as a little child, put it in a bit of this color, just warm it up a bit like that. There. We've got some green for these little bits of trees, shrubs, the side. Probably some bright yellow for the lance tiny baby and they like that. Okay. And we will leave this to dry like that, so draw it off and I'm going to go in and immediately adding shadows. And you can do this ONE very, very quickly, only a dock areas and all the shadows. So we're going to pick out some of the shadows here on the wall. And I've actually, neutral tint is great. If you've got some of that. Well, if you can mix up the three primaries together to come across something like that, I do have other, you can use sort of bluish colors as well. In a putting a budget. Put it in there. Yeah. And let's have a look. So you've got a little bit of a shadow running across the window here, just underneath the shades and the kind of cut across the windows. So you kinda get a beam running across here like that. Just to cross the figures. Shop a con of shutter running close this window there. Ok, and you can leave beats of Lights peeking through any areas as well like that. Oops, kinda gotten rid of that one, but here, here. And let's do it again on this one. So I have a little bit, yeah. Let's get a bit more gray color. I'm going to darkness on the heap that's casting some shadows to that building to the right. So you can see like that. Okay. And then the rest of it just kinda cuts across the windows like that. If there's a beat underneath that here, for example. And it'd being underneath here. Pretty quick with this. You know, some, some of them may have some darkness running above it like that. I'm not going to overdo it. And test stick in here. And we're just going to get in some of these shadow and stuff occurs for these pole or whatever it is like that and that neutral tint, that polarity like that. And then of course you've got shadows for the plants. Kind of cost across the side and even HEA here and a wool is a bit, and then Cass on the ground. I mean, this whole area is actually pretty dark inside anyway, so I can just move that up a little too. We're going to go through with a third very fond of light on some of these some of these steps and inside the doors. Well, but before we do that, we just made this light sort of shedder running inside and dark areas. Some very lot bits and pieces for the, for these dark areas. And K. And it's kind of like you meet times like you're not the strongest shadows, but certainly certainly all the shadows that a bowl with the way in the middle. So these lots of kind of shadows underneath here, but not as dark as in the window here, in the door here, which we can't getting the mind, we're going to have to go in one more time. However, what I can do with these figures start to get in some of the really dark. It's because there's nothing wet on them at the moment. So I think I should be able to join them together. So for example, I can get in more color on the legs for these, for these figures here, just to anchor them to the ground better. Okay, just somebody who I'm and then I'll draw some shadows running across here, running across the ground as well like that. Nothing too obvious. Okay. But see how the leg so join up. That's what we want. If we come to get these air and this amino sanction. Yeah. Just to add a little color in there. It's probably too light. Yeah. There we go. Got a few figures. And then there's opportunities to just get in some extra bits of color and shade on some of the figures if you'd like as well, something like this. But apart from that, I think we're good to go. I mean, you can also do things like add shadows that come in from outside the saints. That's one there. And things like a bit of video. These are marks on the ground. I think that's help with the perspective of the scene. Finally forgotten that there's a bit of a shape here, shadow underneath there. So I'm just going to paint that in quickly and it actually softens off. Soldiers, soften these age kind of like this. There. That's known as dirty it up a little bit as well so as not to know kink. And yeah, just really any place that you think that you could imply a shutter, quick shadow, it's a good opportunity to go ahead and do that. Remember that was painting pretty loosely in the light. The, the, the, sorry that the lines are quite visible. So whatever we do here, we're going go to dock, will be fine. We'll still look like what is going to light up. Okay. So quick trial for finishing touches. I'm just going to use really the the loss DOC very dogs sort of bits of paint I have left. Okay, I've gotta kind of bluish colored paint here, very dark blue with some neutral tint. Mixed them up together so that I can get really dark sort of areas. And let's try, for example here, we know that there's a window here. The trick is is to getting areas of sharpness and in areas where the edges just disappear like that. The bottom there. But the colon is, for example here I'm going more stronger and then I'm stopping around here like that. And I say contrasting both because that helps to maybe create a sense of different kinds of reflections. Different kind of reflections in the windows. We've got just some contrasting bits and pieces, which is super important. The window just doesn't completely dark and out of place. Okay. So look at that house, just kinda come down these ones. I haven't really done little too much, so we can just scratch in a bit of detail or something like that. And then some pots. There's not all that much I want to put in there. Okay? So I'm looking here as well in this dough, this is pretty crucial. Just have some little darkness running three nano, just really quick sections like that. Okay, and the door is actually quite dark as well. And I'm just going to water off this paint around here, so it's not true dopamine as dark as the background region. Yeah. That's gotta be the dock is pot. And then you get a lot students on there. And I can even redo some of the shadows, but I don't think it's so necessary with the fetus and stuff. We can just leave the fetus how they are to be honest and accept them. The moment that there are. These, are these little grooves, the podium as well for this bit it, they gotta, which I've forgotten to put in before with pen. But something like that. We'll get the trach, get the work done. Bit of red for the faces of these figures, certainly helps. And a little bit of maybe brown for the hair and stuff. Or some whatever color that you want for the age is pooping. Put it in like that, something just quickly. Their shirts of scientific, it's just called the same solid. Just add in a bit of color for that one. This just so that there's a bit more darkness on that figure. And we're finished. 10. Street and Car: Draw and Paint: Okay, bit of sketching practice today we've got this interesting little saying here, the Carter BTO, I think it is one of the old ones and there's a building behind in a tree sort of running through the back. So we could just start getting these little sketches done to begin with is always a good way to get the creative juices flowing. So actually we need not sure exactly what to kind of draw. Just start with something. Really just pick a random photo from these reference picture websites and really get stuck into it. So I'm putting in the wind screen like that. That's the mean intuitively, that's the first thing that I want to and check in there. Usually I do start with horizon lines and things like that. But the car is the sort of interesting part of this photograph for me. So that's what I want to start off doing. So you know, I'm joining that windscreen and once you've got that one in, the other ones, generally speaking, should be placed in relation to that one. So you can see this windscreen and this window to the left is slightly lower than the front windscreen. Okay. It's actually straight or up the top as well. Kinda like that. And this one kind of comes up and literally straight to like this. Those sexual coming down here. I'm really basic, like a vase and then that is like the hood of the car is coming up like this. Now I've got a lot just popping out the front here and do the circular sort of shaped like that. One thing you notice is that this line here with a bumper is it's pretty much running parallel to this line underneath the windscreen is completely horizontal. So we just use that as a bit of a guide. And we've got the other light roughly about here as well, you know, I'll just place it somewhere there to get it in essentially. And I'll just put it in a little bit more of that detail there. You know, if that bumper as well come sort of run straight underneath for light. And even on this one as well, runs just underneath like that. And we've got this place that just runs like this across there. And then I'm not going to really put anything on there. Just use it as a teeny little indication of what I've got. And what I'll do now is start putting in further than most of the next intuitive thing, which is the wheel here on the side. Now we've got this area that runs kinda directly underneath the number plate. And it comes all the way up right about here. And then it just dips behind like that to give us a nice little area for the, for the wheel. And I can also start placing in some of the details here for the wheel, roughly about where I wanted to finish, but I'm not putting in the final details at all. Just some a little bit to start off with. I'll come over here to this other wheel and we want that one to sort of deep behind behind that part of the car there. I'm just putting a little bit of details, not accurate really at this stage, but it's just getting myself going and came and we've got the, the window here running in from this side like this. All this stuff helps to improve your drawing bit by bit. Okay, there we go. There's that window here, the back. And you can see the ID of the car just sort of dip down the back section like that comes all the way down and inwards a little bit more like that. Then again, you've got this wheel that just pops out, the back section that runs down like this here, joins up here. Kinda like that. Little step, little step the, and then you've pretty much got the general shape of that car in. So from this point on, you're just looking at adding the little details and things. I'm just going to put in that wheel there so you can see it kind of coming in from the back like that. And you seeing the front of that wheel a little bit more. And that's a lot of darkness in underneath around the wheel, especially at the front pop like a piece as well. And so I'm just giving it a bit more, little bit more detail and a little bit more darkness in there. Even in here, there's a bit of darkness for that step as well. And I can just go in and put in this part of the wheel here. Just again, it's just darkness straight underneath and also trying to gauge if this wheel is too large. So just gotta be careful as well that it's not sort of an enormous kind of wheel. I think that looks around about I think it looks around about right. And what do you think this backpack needs to dry out a little bit more like this? Okay, Just like that. And I'll connect that onto the wheel, something like that. So just getting a bit more darkness for the wheel. And there's bits in here as well, but it's not a worry. We're just going to get in the main sort of details of that type of thing. Keep you keep it pretty dark underneath like that. Okay. Good. You can sort of keep going and outlining and doing as much as you want really. It's not perfect, but look, it's a bit of practice. That's what is coming down There you go. You go to the door handle there and one side, you've even got a bit of a, looks like there's a section here, sort of all Jews out, like these joins on there. And we've got a bit of a light or something there that can be indicated more with some color later on. These little lights just outlining them a teeny bit more. And we do have a budget is the front part of the car just sort of dipping underneath like this here. And that be it just sort of comes up here. Yeah. I like that. Here. We've got obviously the the mirrors are quite important. I'm just going to put them in an exaggerated that one a little bit in that Ryan side. And the wheel here on this side is a little bit easier, is just going to be darkness. And I'll say, hey, it's easier, but we'll see how we go. Just like that, just the wheel in the front that's mostly dark, this bits of color in there, it's white. But I'm not going to bother too much with that to get that circular sort of shape. Now we can do things like just tidy things up in detail a little bit more for the car. Um, I've got to get these bidding side running around the edge of the light. You can put on a bit of 3D, sort of another layer up the top there and make that look a bit more three-dimensional. Bit of shade the underneath the car as well, we getting a lot of shade and they just darkness. Say we've got indicated a little bit of that light source is coming from the top right. So we've got to lot here, a lot in the top and then a little bit of darkness here on the left and the shadow directly underneath the car, which is going to be interesting for us to getting lighter. And another thing also is that the window is a fairly dark, is air is in there, which I'll also a little bit lots of other bits of the car, but generally speaking, that they are tonally and darker than the rest of the car. So I'm just getting in some more detail for the for that wind screen. Like this really goes all the way to the top and runs down the side like that. Topic. Tiny bit more structure there. Okay, Looking good, looking good. So I'll probably leave that for now. Getting some more, little bit more detail afterwards, I'd say. But i'll, I'll go in now with a bit of detail for the background, the this tree running around in the back. I think that's going to be good. Stick it in a bit of here, just a bit of detail in a bit of vertical running through here like that. I'm not going to go through the whole thing. Yeah. And it can also play around and thought to add figures and stuff like that as well. But we've got some and this is some kind of arch door or that kind of thing. Yeah. The B of detail inside, the kind of rounded around the edges like this. So the stuff in the background, I'm just making a bit more subdued. And the way I'm doing that is just using a Athena, Athena sort of law. And I like these, which helps. So thinner liner. And putting a bit of detail there for the clean sides of the windows. And we can just hatch away some darkness and things as well. Little bits of darkness inside the windows. Here. Yeah. Yeah. Around the tree as well. And then if I want to get another bit around that lifts on the Ross out of the tree. I think I'll think I'll just leave it. And in it just because we using the building, there is a bit of a reference. Okay. And I'm not going to try to get any Exactly. It's just going to. Just getting any indication of this building in the background, really. I don't want it to be too too detailed. And I don't want to be sort of torture sort of situation. We're trying putting huge amount of detail and get it in exactly as you see it. You remember just use it as a reference as what's called a reference. So for some of you this mod already be a little bit too detailed. But, you know, go with Goethe, he got go with what you want to emphasize in this section. Here, there's a bit of sheep will show something on that running ran that side of the car. Um, I don't know what this is. It's kind of maybe it's a plot of something. Pop plant the garden bed maybe here, please. So just indicated a bit of stuff running over there and there's even a window which is pretty much at a subnet edge of that building there. And few people window is up here. This is a good practice doing. Windows are just seeing them and the shapes of them so that you can get a bit more comfortable drawing them in lighter. And notice I'm not certainly not getting them in perfectly in the lines out. A 100% straight. I thus, he missed the boat on some parts of it, but it's still going to look fine. If you give it a good and getting that general structure, that general perspective. And when I say that, I mean just the size of the windows, you don't want them too big. Kind of just gauge them in relation to the car. Just look at the car and think how am intensive ecohealth lot in DOC, how large the air is out of the back as well. So a font that's a really great way to sort of gauge and estimate the darkness even on the windows. Notice like that. And I can also pick up all the pins. This is just another sort of pin I can use to color in some of these windows. Bit of darkness in the back, like bad. It just makes it a little quick. I mean a collaborating with the pain with the pigment liner, but this makes it quicker. Also, need to be careful that you don't overdo it and get too much detail in there. I think I've already done that on that right-hand side. Even in the car. We could play around and put a bit of that in here too. So being careful not to overdo it again, this slide in that car. I'll put it in a little more here like that, and leaving some parts as well in that sort of lotsa shade. So it doesn't all look the same. Okay, is a top part of the H here then is that kind of that we call it the mirror. Their's well, is that mirror here? There might be some darkness around the edge of that car like that. Who knows? Just something like that? Or even q, we can sort of experiment and put some darker beats. Also, this windscreen wiper, at least it just runs across the front of the car like that, which I can have a play around to see emphasizing some of the darks underneath the bottom of the car. Just a tiny bit of this dark color using this pen in it. It just also helps to create more structure in this scene. And I also want to be careful with it. I'm not over doing it as well. So and when I say that, I mean basically that I don't have everything colored in with the pen. And we picking and choosing which bits we want to stick out, which bits we want to. To obscure a little bit and play and down. So there's some bit of darkness in here running just underneath and cross, joining up in bits and sort of places like that. Yeah, that's a good amount of detail, I'd say for this stage. Now, we can even get an, a person just walking towards the car. Thank these kind of lose that sort of style. Person. One arm behind, one on the full widths. And one of the legs here and the other leg may be moving in the backward direction like that. Okay. We've got a bag or something that they are holding on to here like that. And a bit of Hey, that could they hits? That's okay. And then we've got to figure that starting to kind of walk into the scene as well. As telling a bit of a story that will shading, teeny bit of shading on that figure as well. And help that figure kind of blend in a bit. And let's have a look little bit more bit of this line coming down around the solid. We can make things up in another unit, but in another window here. Now that we've done there, for example, smaller pen and just grab that 0.3 La Nina. Hey, you got a tiny bit more here. These might be another set of windows and stuff like that. We could have a door or whenever you hear just a really simple kind of dual. Never here I'm starting to get a bit lazy and I don't want to also put too much in yeah, where we've got basically the edge of the same. But a great thing is again, just using this docker sort of macaca. We can getting a bit of that. I'll just call it color it in if you've got a bit of now if you go to pigment lawn and just coloring with the pigment liner, Here's the inside of this opening, this door. And kinda just something like that. Yeah. I've left a lot of this out to be honest, even in the ground, there's not much in here at all. And the scene almost just moves like this. So we've got a bit of these directional or some of these directional lines just running through the same like that. Which helped to lead the eye into into the same. Okay. And I'm actually thinking how about put a person who use, well, it could be just waiting, waiting for this other person to arrive. For example, like here, another person kind of arms crossed or just sort of waiting, looking at the phone or something like that? Yeah. With a bit of the jacket. So E is and getting some lakes, something like this. This could be short, so something that we've got a person up the top here as well. And I'm just waiting around in the back of the scene. And I'm going to make some creation distractions back here of more trees and stuff like that as well. So we can't down. You have just a bit more in the background really say, Yeah, that's getting perhaps a tree. Then it kinda crossing this one kinda exit exam. And I give that more windows. We've already put them in on the other side, so we've got to put the mean. Yeah. So you've got like kinda imbalance something years. Well, I do few of these and we'd done that should be there. And it's putting some more trees, like a tree running over to the edge like this. Okay? And so it's kind of going over that side like that. Then the data that he do this here. And you tell me grab that lodge sort of pen again and have a flat pan. Where is it? Here it is. Some more darkness and here's just a couple of bits and pieces where the windows out and behind the figure in the tree, that kind of thing. Now forgotten this one as well. So move there too. And then perhaps there's one even here. Sort of skewed. Doesn't mean you don't need too much at all. I need too much even like that. We do that. I'll even put in your day with us too much work whatsoever. And it's that general structure that makes a difference in a bit of darkness, leaving that white in the middle. For them, the edges where we've got the kind of frames. Okay? Um, I actually just dock and down this figures shorts as well, right? Sung a little bit of darkness within that figure. Okay. A few more bits. I keep getting through the windscreen them just where is well, not to overdo it. Okay. So I think that some I think that should do it for now. So let's go ahead and get some colors in here. Start off with a bit of warmth in the background, buildings. And pickups. Got a bit of quinacridone sort of color here for those, for that building. But I'm actually going to dial that down and put some Payne's gray in the edges to create a slight DLA section in the back. I still wanted to be fairly a warm up in the back those so I'm just being being careful. That's already kind of down a fair bit. And just little wash over that background area and move it up to go over the whole background. But just in places I think would be pretty, pretty good. So here, here, here, here, and we might even have some green running through here for the plants and stuff like that here, the base. And I have some over here as well, but if green here, but really for the most of it is just going to be this yellow color running through that building. And Daphne, the edges, I'll just finish it off like that soft did that off there. And as we go across the same same sort of do a bit more yellow, running through like that and cut her and some of that green. Then then he does the trick. Then grab some more of that neutral tint and drop that in as well. And over this side, just to dull it down a little. Don't want too much saturation in the background anyway. Bit more neutral tint. Put something over on this side. Like that. Great tribute to that and running through. Fantastic. So now with the car, I'm going to use some books, some kind of 11 to color actually would be nice. So I have some kinda believe it or not, on the page already. Let me just on my palette. I mean, just pick up a business and drop him in. Yeah. Like that. Pretty pretty a lot sort of color. I'm going to paint that whole car pretty much even the top of it. They're running down through the back of it blends into the background. That's okay too. Just let it okay. Excellent. Hey, we got going on on that left-hand side as well. I'm going to pick up a bit of neutral tint, dropping a tiny bit of that to create a slot Sort of darkness on the left side. And that some of the features as well here, some of the features on the car as well. We'll just dial that down a little bit like that, as long as it's a cool color, I'm happy. Okay. Now the figure is another challenge. We want to put in some, some cooler colors. I think that these figure here, because we've got all this warmth in the background. So just having some complimentary coolness and they will be nice. I'm going to warm up the area way the length of the person's legs up here as well. Doc and a gamma little figure here, which I'm just painting in one color and beautiful for the face of these figures. Let's have a look for the ground as well. I probably want to get into a bit of color in there, but I don't want it to be very vibrant at all. So I'm just going to use a teeny bit of neutral tint and which will create a kind of grayish color, which I can bring it and bringing in and mix everything, blend together nicely like that. Remember it's just a first, initial wash of color. We don't really want anything in any details or all that kind of thinking here. Just a light wash. Maybe some warmth would be nice in here as well. Tiny bit of warmth and testing file from that were pretty good. The tree, the color of the trees in the background, some brown to go in there. Okay, a little bit like that here. This one here as well. And letting them blend together with the other colors. And I'm going to leave that one to dry. Taught to finish this off and we're going to keep it simple. I'm going to be using some. A Payne's gray to really getting some dark areas in this nice mix. Okay, so first thing I'm gonna do is exaggerate some of that darkness underneath the car. So just to here, underneath here. And we're going to try to get a shadowing joining on to everything. So nice sort of shadow shape would be great. Just like it shows in the reference here. We've got darkness underneath that car and then all of a sudden it sort of gets me a little bit, sort of goes straight into the ground and forms a bit of a shadow, connects onto the ties as well. That's what we want to getting. Okay, so let me go ahead and cut that back. Tyrion. And I'm going to draw in this song with a bit of that shadow again leaving again that little sliver of Lot in the background. So something like this. Then. So we've got a teeny bit of shadow here on the ground and that perhaps moves a little bit to the left hand side as well. In fact, I'll be good if I just exaggerate that moles had emerged to that left-hand saw to be mole. And then we've got the figure here as well, which I'm going to just put in a little shattered joining, joining the shadow up with the car and the figure like this. Okay? And this figure here is low. You'd have darkness there. And knowing the ground, you might have some little directional lines like this. Like we would kinda doing the full but just trying to join them on a little to the other bits and pieces in here as well. Okay, Just a little bit like that. Maybe got the shadow is 0, stuff in the background. This is going to be interesting, I'm thinking. Yeah, I'm going to get into a little bit of shadow sort of around the left and underneath the window is. But apart from that, I don't think I'm going to create too much too much contrast and stuff running, running around the place. I mean, we could do we could try something like this where we get handle bunch of paint and just cover that window and create a sort of shadow running across like that in areas of the windows and something like this in areas. And I think the advantage of this is that we're going to be able to bring out that shape of the car bit mole. Okay. Yeah. And it could be some shatter running down across there as well. Like that. Cross the same. Yeah. Okay. Again, just to draw out that calm, it gets sort of help out mole that their bit of shadow underneath those windows. I'm bit more darkness in the cow Windows as well. What kind of forgotten about these, but there is extra darkness. That should be the answer. This one. These kinda lot on that right-hand side as well. Little bit here. 11. Quiet Street: Draw and Paint: OK, so we've got another scene here in this scene, we've essentially got a portrait style orientation. We're going to change into a landscape orientation and add in a few more details, probably on the on the left, a little bit on the right. But yeah, let's just simplify things down and see how we go. We'll grab the point eight liner and I'm not even going to draw a reporter for this one. I wouldn't go straight into it, and it's just putting the base of the buildings roughly around here. So more not like a third of the way off, just a bit less than a third of the way up. OK. And if you notice here at the front, we do have a couple of people sitting at a table, which we can add is basically just drawing is some of the details and getting a little bit closer in the scene here than than they actually are and the the reference for it. But I do want to just emphasize this more and here than actually in the reference. So any guy whose arms, couple of arms and the side like this might be another person just here a little bit closer, as well to the scene and the chair that they're sitting on just at the side. Dig at the chair, this person in this well and, you know, legs bent here to the bottom like that. And something like that, you know, the chair leg or something and someone's sitting here and skinning the couple of legs as well for the chair and have the legs sort of poking out the front. It's a lot of little bits of scribble and things, but it's not a huge deal. We can always get in some more detail on the watercolors and later. Now what I want to do is just create some a bit of this perspective coming on. So kind of just going towards that vanishing point over here. OK. Now also what we have is all these kind of buildings which are running up, OK, at the bottom of the buildings. We have these little shades as well. We do have this larger building that's coming in right from the top. Like this? OK. And then I mean, if we simplify it down on this, I mean, this is just like a triangle shape, right? So that comes down there. And then we've got a section of that building that kind of goes out behind like that there and kind of goes down the opposite side like that as well, kind of just triangular like shapes. And they finish off like that. They have little sections of windows, quite complicated Windows Manjhi, but we simplify these down a fair bit first. But before I do that again, I just want to draw your attention to some of the buildings here. So this is pretty much the look, you know, before they get smaller at the back. One of the larger ones. And so we just want to create some little bits of detail. You know, there this is just the top of that building here. You've got another one that comes up here and then, you know, these interesting little. Parts of the roof that just go, I like that like that. OK, so we've got a few of these buildings in already and again again, it's going to get these lines running through the buildings like that to help me to work on this perspective a little bit better and separate out this building as well. OK. I've actually got a door that comes up like this. And then there's a, you know, there's a there's actually a section here which runs down the side looks like a sign or something for the building, but then there's an entrance, a door like that there. You know, there's even two little sections here. Not sure what they are so dark enters the windows or something like that. And again, we can do this. Get this in with another pen in just a moment, just going to outline generally where they are. And then I'll go over them in a moment and let's go through it a little bit of a little bit of this stuff as well like that. Yeah. And bring that down, that's sort of the side of that building this building as well coming down like this. Yeah, and that's another side of that building, which is tidy that up. I don't know if there's this sort of panel on left hand sidebar. Tidy that up a little bit. The windows again, get in with another pin. But I just want to get in the basic outline of where they will be and go from there. So, you know these ones? Yeah. Let's have a look. Good this side of the building, and that's the front. The order page just kind of disappears off into the trees. Enormous tree here on the left, which you now. I think it's time to sort of put it in. So let's put it in the trunk. It's kind of coming up like this and this comes right up here and you created it just created a little bit larger than it actually looks, and it would just overlap with some of these and bits and pieces here. OK. This will cost quite a large shadow as well. So I'm going to get getting some more details with the second pen moment. OK. I think we could also have another tree here, given that we've now got extra space and put in details of a second building here in the background as well. That could be kind of there could be a roof or something that could be casting a bit of a shadow to the left hand side, too. But most of it is just going to be obscured by these trees and here in the in the in the back and said, Well, look, we probably would like to have and see what I'll do is I need to just lower these buildings like to come out more like this, like that. That's better. That makes it a little bit more sense. And, you know, we can get in some figures, maybe a figure here. Walking into the scene. The leaks are coming out as well towards the front. Another figure here in the background of the two here help kind of overlap with everything else that's happening and. These figures, I'll probably have to reduce the size of them a little bit as well. Just like that. And we should be we should be OK. And another one here as well may be just coming into the scene, just larger bodies coming out like that, the couple of arms they're. OK, that's very good. And we'll go in now with some of these other pings that I've got these picket lines. And that's just basically to get in some of the windows and extra details. We're going through this one medium sized three millimeter nib and it's going to actually start with the group, the four millimeter nib. This will make it easier. Then there's the bit of darkness there, maybe a bit of darkness here and cutting around some of these figures here in the foreground, especially now the dead and cut around that person's head to like that. And. So you can change things up still in a bit of the detail for the table as well as to make it kind of a different, certainly for later on. The chair has this person sitting in as well. A little bit of detail for that. Yeah, OK. So quite it's still looking pretty abstract at the moment, but you can at least see that, you know, it looks like there's a person sitting there. OK? It's kind of coming out like that. Okay, fantastic. So now that we've got some of this stuff in again, let's go back into the building's little details for the windows and. Here, for example, there's this whole sort of sort of rectangular shapes in here. Then you've got kind of top you like that you can just simplify down and. Mainly, it's these four windows that come through the bay. And certainly a little bit more important to indicate that and maybe go a bit of that coming in and some of these bits on top of the roof, just some more detailing in there and be detailing here for some of these. Bits and pieces of the buildings like that, the. Like that? He had this section like that. There. Just a bit of darkness underneath this shape, really, then we can dark and often energy and then light and off again. You know this bit here, we're going to indicate some windows or something here on this side of that building. And that could be a figure walking through as well. Like that? OK, so that's something. OK. Fantastic, another bunch of windows here on this side of this building. Maybe some smaller ones as well up to the top like this then. And there's a couple of windows up here as well, which just the detailed extra extra details like that. The. The. Perhaps we're getting some darkness behind these buildings, I don't know how exactly this will try and think that the smoke doesn't look too bad. Probably better if we could get it in with the water comes, though, so I'll just put in a few little lines like this on these ones almost to just darken it, but not darken it as much as that one there. Then we can go in again, just the same thing as before just putting in these little indications with your pin. One two three two three windows there and just make sure they're running up the perspective. OK? You know. Bit more bit more structured. And let's have a look. What else do we have? Maybe you've got a few, you know, bits underneath here like that, and there's a bit here, a few little bits here. So it's just it's really just trying to find out if we can add in more details and in a few little marks like that, essentially. And again, it's putting those little lines. If you start feeling the pins, getting too much, just swap to a smaller one, a couple of lines like that and a few here. I think these pens. I think it's about close to drawing out shows like. Probably, I think it's maybe just just going through a few more lines like this, just indicating the windows. And I use this pen because it's just so easy to put it in the windows. And she go back further. You notice it's easier to do on the windows, get smaller as well, so you don't have to put in all that much for those ones. And that's the last one. Yeah. But at the bases is where you go to look at potentially getting in some extra details. So here a little detail there, just a bit of darkness around the base and up to this one. This one actually has the nicest inflow to it. I'm going to just use that to darken off some of the bottom parts of those buildings. I use them. And I think that should do the trick in darkness in that building underneath here. And of course, we have the bits and pieces of the actual tree that stick out and things like that as well, which we can put in. OK. But I think it's best we leave a lot of these to later. This shirt collar for this person, they started this drawer with the pin larger sort of hair, he's just covering the legs for this one. You know, you know, the ground is fine, I think we've got enough detail in there, but we should be able to get started with the taking up. So again, I'm going to use my number 10 brush No. 10 or No. Eight brushes fine and going with warm colors over the top of these buildings. And the interesting thing is that the buildings actually have a lot of different colors in them. So we've got, you know, this one's kind of gold, the gold sort of looking. It's using Peter Quinn gridiron on this one. We move to the left in this one kind of goes down and gets more kind of like a kind of a go. White is just a model color then and we've got this one, you're going to walk around so I can just change up and mix all my colleagues together and not worry too much about exactly what we're coming up with. You know, you to this on me might think it might be a pink or something like a warm color and a red sort of color running through that one. You know, so many creative things you can do in here. And you know, you can pick up some cool a paint job that is near the bottom. I think that's always a good idea to even out that, you know, the opposition of warm and cool colors. So maybe the cool coloring that helps even through the top sections and things like that here makes the buildings look a little bit older and a little bit more detailed than they are there. And you know, again, give that golden color running through that building. We've got a white building sort of like a lighter one there as well. So we can just go in pretty light for those background areas and the ground area. I'm just going to go with kind of cooler colors, neutral tint. OK. Just spread that around like this. And keeping in mind as well that we want to have some warmth in this area, so not too dark because remember, we've got this shadow coming from the tree, so a bit of that shadow is going to be good. Yeah. OK, good. This building here, probably some warmth in there, be nice and some warmth behind this figure here. And in the case of sunlight or something coming in from the edge of the scene and looking good, looking good now for the figures, I'm just going to add in some colors. So we might think, Hey, how about a bit of Surulere viscerally leave this one, for example, you know, because we don't have much cool colors in here to build blue. Therefore, that one, we can pick up a bit of lavender. Put in some lavender with this one. Let it kind of mix in for the other ones who might be pink or something for that one drop in a blue collar for that one, that's not a huge deal. Just to just to get rid of that. Yeah, just get rid of that, that starkness of the paper, and I'm going to add some turquoise to the sky around here, and this is going to also help contrast with all the yellows and warm colors in there. Answer just like that the. The drastic move that crossed like this. Some of this will go into the buildings as well. Not a problem, just let it mix around the underneath the back end of the building as well, which is soft and try to soften up some of this collar and move. It shifted over to the trees, so it doesn't draw too heavy trees. We're going to go in. This is just Seth Green here for the tree. OK, drop that in, Seth Green. There you go. Just carrying that old cross, I've also got some other greens, some darker greens here, Taylor Green. Like this? Kind of granular, it's very slightly as well. Got some other Greens as well. They are kind of opaque greens, but this is going to be good, a few different ones travelling through here. The scene is going to be more interesting if we do it this way and have more variation in tones and a bit of darkness there like that probably a bit more up here where it touches the sky. OK. And there, there, there. Don't be afraid to use your dark colors. I'm going to put it up against neutral tinted into that green as well so that we've got some dark bits running through. OK. And the base I'm going to use. Go fight. Bit of good site, which is a ground Oka basically, and carry some of this up into the tree. This makes a bit of neutral, tense go fight to create a darker blend, darker sort of color. I need it pretty dark so I can get in the base of this tree. Like that some of it's going to mix. I'll probably have to redo it later. But I think that should be it. We can leave this to dry and do that final layer. Finishing touch is really just bit of Payne's grey or neutral tint, if you've got some or mix up your gray paints and with your primaries, and you'll be able to get yourself a nice sort of grayish color. And we want to do now is essentially put in some shadows. So here I go on the ground. You know, we've got this, obviously, though, this large tree coming in, and I think it's a great idea to just get this shadow that reaches out across the ground and the, you know, when you're using colors, a combination of grays that are mixed from a few different colors, you find that you're going to get a lot more the richer and richer looking shadows running through the mix. This is what I'm doing. I'm just trying to join up the figures as well so that we've got some of the shadows of the figures. But they also join up with the tree, the shadows of the trees. OK, so one large sort of wash ain't getting quite a bit. He's certainly quite a bit of detail with the shadows there. But we want to leave in some of that, the warmth of the paper as well. So notice I'm just leaving bits were skips through in the areas. I'm even here like that around that figure, OK, maybe at the base here, which just dark and more like that mean. And but apart from that, I wonder, this is all just going to join together until like a large shape. And you can put in some risk weekly bits start going through it kind of looking like we branch's new soft shadows of branches and things like that. This will also lift off a bit of paint in the areas as well. And looking at some parts of the buildings there and you've got some dark bits on the buildings like that, maybe some little bits in the buildings as well. So underneath into the running through the middle sections of the building, sometimes the little shadows through there like that. And another thing is we want to bring some of these dark colors into trees and create some little shadows shapes on the trees. We don't want to get rid of all the lovely and previous mix on the tree. So just being careful here to preserve some of that and looking good can be here this year like that. OK. To look at this shadow here on the ground. Certainly pretty, pretty large soda shadow just coming across the scene. I mean, we might be able to just get that one another one there, another one coming across like this as well, stuff coming out of the scene and a bit of shadow cutting across this figure, I think would be important to join up and join it all across a bit nicer. Good. Right, right, right. Fantastic. Give it a try. OK, a little bit of color for the legs. And if you use a small brush, No. Six round brush for this like that. Get a bit of a brush and just really outline the legs of some of these figures like that and especially this shadow running towards the right hand side. I just want to indicate more of that going on. And we can also put in a bit of color on that right side of the figure. These figures, anyway. And like these? Yeah, and it's just a little extra bit of detail. So that looks like obviously we've got their legs. Connected to the shadow on the ground. OK, if you want to put in some more, you can also put in some more at the back. So here's another one I've just made up there. Yeah. You put another one. Maybe here I could. She doesn't have a few different things you can. You can do say these people here, I'm just going to darken down a bit there. Perhaps also this building of Canada's shadow running. Underneath that section there of it, a bit of red for the faces and. OK. You mix that around a little and and going in and some brown or colored to the ham. Indicating some of the hair like that. OK, I'm a finished. 12. Street Scene: Draw and Paint: Okay, we've got this same here and it's actually a portrait style orientation, but I'm going to change it around and we're going to make it actually at landscape. And that means opuses, the EPA to make up a few different bits and pieces of that right-hand side, but I'm quite interested to see how this will turn out. So let's start. I'm going to put in a border to just, I don't know, just a stylistic choice. Okay, because we've done a few in this course with a few different, just a stylistic choice as a lot of the videos in this class, do you don't have borders. So just showing you the difference. So then we go, Very simple. Lines can be wildly, don't worry too much about that. We're going to segment this scene about halfway, slightly lower than halfway, something like that. Okay? And I'm going to just look at the main things that I can kind of put a little drawing here. So we under this a kind of a squarish shape. Yeah. And there's an area he loosely clock in, I guess some steps that go kind of underground or something here, maybe to a train station. But we do have a figure, large figures here looking out onto the road, maybe just having a rest or something like that then this side. So just kind of hanging here nicely and put these codes in like a vats and legs. One of the legs here kind of bent knee and the other one's more kind of straight, just coming down like that. And we can just put in these little hand rail. And it's really just a, just a leading all the way up to this area here. Actually, that's the way the steps are. Things are going down there. Okay, So that's pretty, pretty simple. I'm not just also adding some railing here in the background and statistic. It's gonna make sense if I do this. I felt so this one's going to make a bit more sense. Okay, If I add it in there. Okay. Something well, that's certainly just having a bit of a a relaxing look around traffic. And I think we've also also be due to add a person here. Otherwise, we're going to have to add up the fence. We'll probably do it anyway, but just behind there, maybe this person is walking a little bit closer to the front of the scene as you can see. And then we've also got figures here in the back walking around, which I think is a good idea to kinda adding to give a bit of, I guess a bit of depth to the same because we've got a large beginning in the front, medium-size figure moving back. So just creating that kind of and movement is not just in the crates depth. So then we go, Here's the road. And again, we've got the vanishing point roughly around here. And then I'm just going to go in and putting a few little marks here on the ground. So this is the sort of sent a section of the same. We've got a car here, let's put it, putting the car, this is kinda the slaad of its also visible. So putting this slide to the there's a lot of the guy, yeah, a couple of lights. The somatize like that. Pretty basic. Now, lot sources coming from that right-hand side. So we're going to be able to gain some shadows on the left side of the cars kind of thing. I want to put one in here as well, just one that's a little closer. This is like a van or some sort like this. So that I can just get a novice shaping. Another COD is ties here, moving it back. Sure. Eagle and make this a little bit back of the car as well. So just some of these tail lights should do the trick like that. There we go. And then connect these together. And then a bit of and shake going to go into the left. Lights are on so that all we need for that one. And again, as we keep going down to the back, we can change it up again and just add in another shag is going to be another car. Maybe like a logic counter or something, trough ridges turning out a bit like that one. I put it in a couple of views, kinda like the other one. The left-hand side. There we go. A car, okay. Real doesn't look as good as the other one, but it certainly has some kind of cough. Okay, we can straighten that out a little bit more than watercolors, lighter, I think. What will be noise is to put in another figure that just over here in the US, stretching the leg a couple of links there. And maybe it could be another figure here just in that background and walking towards the scene. Another one, it looks like they always running goal, going. Why far out of the same tools that right-hand side. This, we've got a beautiful life going on. There's actually some sign of patents here on the ground. I haven't put so much effort into it, but just some little lines here on the ground. Okay. Just going to win pretty lot. Don't overdo it. And there's a nice little lamp here. I really like this one. So let's go ahead and draw this warning. This. Firstly, we'll draw in the two lags here, one here and the left and one here on the right. They just need to be data, middle mole. Okay? The Dafna see you in the base as well. And when they kinda connect up and the kind of dome-like shaped on top like is another kind of shape on top like that. Doesn't matter. I mean, added details, really just these the main pods have just the the lamps. And then of course we've got to be at the salon and mental stuff coming off the land. I'm squiggly sort of lines. I'm not fast with all the little details and they just indication of a lamp is good enough like that. And then in the background, we can also getting a one here as well. If you'd like, say, I'm just a bit more rough as we go back because we don't want there to be too much detail further on. Now that background, we do have a building that runs down sort of this left side like this. And I'm good thing is that we can put in some details onto that building. There's not really much in there to begin with, but, and I will add in something like a shade or something here, maybe another one here. Just could be this front of a building shop. That kind of thing. Maybe you add in is some, some windows. And just like that, just to keep things interesting, even though they not actually there in the reference photo. We do have some and buildings in the background as well, which Todd to really make out exactly what's in there, but we can just put it in a few days and they're out some shrubs and things. This is just a large What is a lodge kind of tree here in the background that these students that caused this gets smaller and smaller as we go back. You can't really see what's happening on a load at the time, but this is just a indication of the causal moving forwards and that kind of Jim direction can be going up a slight incline as well, up a hill or something like that, that these people are crossing the road if he hears well, for this one. Okay. Let's have a look again at a tree or shape of a tree here. There is a building here on that right-hand side, which I'm going to indicate like this. Look top of that building there. Something like that that comes down over on that side. Might have to sought of doing one naught. And K. We do have a building here, maybe getting this bit of that extra side. Now we do have just a lot of trees and stuff here in the background, but I'm adding an imaginary building here. Okay. Just through the center. Okay. Because I feel like it just needs to be balanced out. So we get all these buildings here in that slide, but we don't have anything in the middle. Let's just say that we have to put something in nature. Certainly it's just a choice or fill. And I wanted to make this can just be a tree or something like that. And that's it. We can start with the painting. So the first thing you start out with a bit of paint, some titanium white, which the lamps or actually is color button there. Pretty much. Just a bit to get rid of the white of the paper. Left side of the screen, we've got some bit of a yellowish color on the building. Warm color. I've got yellow ocher and I've also got brown ocher, which is also known as Go thought I'll leave them keep quite close together so I can getting these get kind of a quick earth tone mix if I need to. Cues. And I'll go through a keen eye, for example, in this section, maybe the Naples yellow in there, just a little indication of that day. Okay. And the buildings are made of titanium white as well in the like that. I don't want too much cover that section a little bit of green. This is just some sap green I've got. Okay, So just trumping some of that, hey, some of it will make scene, but that's okay. Got B here and that's okay. I'm going across MIT in the ground. Let's am getting, I think I'm gonna go with a kinda grayish ground color with that titanium white and a bit of this gray that I have as well. And just something simple. Not only go with quite a vibrant color for the ground, but I just want to change this up and make it a bit more, slightly more dull. So I'm hoping once we get in the figures and it's going to look more vibrant and attention will be drawn more to the fetus. With that said though, you can edit a little bit of yellow, a little bit of yellow ocher and in there as well just to increase the volume see failures lightly. And then it also adds some granulation to the ground and interests, especially down the front of the pipe. This is where I just sort of adding a little more darkness and it will pop them that I'm not all that much. And then I want to do here with the ground, very basic sky. I'm going to use some turquoise, some cobalt turquoise and stroke a bit of that in for the sky. And it's contrasting turquoise as well. Because yes, we can use it to cut around some of the buildings and these tree that kind of thing say you just drop that in. Reminds me of a, it's almost reminds me of cerulean blue, but it's certainly more, more greenish. Just a bit around the buildings. Okay. Then go into the buildings too much, just a little here and there. Like that. Okay. And testing. All right guys, so now what we wanna do is start adding in some colors for cars and we might put it in a little bit of pink or something. And this one, we can go with the read for that. And English rid. It's kinda fell down mu to sort of read and had beaten that one as well. And we can go with some lavender or something for these figure. And that's really your time to just have fun and add the colors that you want to see. And then you can even just go with a dark color like that as well. Say, I'll just go in with a few different mixes like that. Okay, maybe here for this one, a little bit here for that one. Okay. Leave some of them. What areas of watts on the figures as well. Okay? Some of these figures here in the background, we can just add some color for them, little bits of color like that. And that should be it. This building model as well. What's getting them to shadow or something just to, while I'm here that's getting some shadows. Basic shadows like this. See if I can get a beating for that side. Then. Okay. And wait and wait. So the shadows then maybe somebody is 12. And maybe a bit for this building, I think it's not tried enough. We can try like this. Cut. Okay, What we're gonna do is just finish this one off with a nice dark shadows and extra details in the cars and stuff like that. This is where I pick up a favorite of this neutral tint here on the page on the paper. I mean, so we're just gonna go get some neutral tint here. Mix that up. It has to be pretty dark, so I've got half paint to half water. And you also want to use a slightly diluted mixture of neutral tint, all of that, probably a more diluted mixture, actually a three-quarters water, one-quarter neutral tint. Okay. So that's my married diluted pot and the rot list. I'll do it on the left. And I'm going to go and put the less diluted stuff here. Okay. On the left-hand side of the cars and things like that, just like this. Hi everyone. This one here there's a big they're the ones in the distance there. Not a huge deal. We can sort of doll off some of the windows of the backends, of some of the cons, but it's not a huge deal. We can go into here also with the figures and gain some shadows on that left-hand side, just indicating that, you know that the light's coming out from that left side. These figures, well in the foreground does make quite a difference in getting a bit of that. Okay, so now we're going to go ahead and get some of these darkness underneath the cough like here to getting indications essentially of the wheels and shadow running over to the left-hand side of the cars like this. Okay. And same with the fetus and we carry the legs down like that and then we'll kinda join up into one doc. So to champion ground likely see a bit of that shadow here and that lift for that one, for this one as well. Then. Okay. And this one, he doesn't need it as well, joining up underneath towards that side, these railing that this person's holding onto a bit too thick then, but that's just wanted to get into a bit of that day. And then of course, and some of these shadows for the speaker to which we need to get in for the lakes. So phase legs come down here and then just go all the way towards the left like that. And actually in the reference they go more towards the front is really, I think I just changed the other so that they move a little bit close to the front like that. But it's not a big deal. It's just really how you want to, what you want to imply terms of a light source. And then there's another, one, little bit of darkness there and a bit of darkness here on this little section of the, um, the possible road. Few more areas, the end, the background for the poles and things. Here we've got a and these lampposts as well. So we can just write doc and a bit more in areas to create more contrast. And it's up to you. You want to add some more details and stuff like that as well. I don't think I'm going to mess with it too much, just a few little bits like that should be fine. And let's have a look. Here in the buildings, some darkness where the windows just a little quick marks on the page. And now we can also just spread around the shutters a little bit so they kinda come softer on the backend of the car and then turn into a DACA bit, say softness and there's nice into it here as well to soften up that big of a shatter like there. And you're thinking probably should be darker in here and just darken that up in that section. The bit that of course, we've got some of these perspective lines running through the scene. And so I'm just putting some of that in there and there like that. And you can also add in a few little bits kinda thing here as well in the sky. It's pretty basic one, but as you can see, it doesn't take all that long. Couple of lays, few, few details in for the cause and the people to liaise one little light colors and one for the.com of this. And you've gone into nice little sketch. 13. Japanese Temple: Drawing: For this video, we're going to sketch these Japanese temple. It's really interesting scene and we've got a tree coming up from the left over here. I thought I might also getting some figures walking about. So let's go ahead and get started. I'm picking up a smaller pen is 0.5 NID pen and it's a pigment liner. I'm just going to go through and put it around the location where the building finishes off. So if you can see sort of the, the four red pillars which are coming down into the steps. That's about where I want to put this general line. So Let's go ahead and add that in. And remember it doesn't have to be perfect. We just want to put in a general position. We can change this afterwards as well if it's too high or too low. But it's just important to make an initial estimation, initial start to everything. We've also got underneath here and another set of stairs that sort of come down and then it hits the foreground. So something like this. I think that should do the trick. Now, what I wanna do as well is start to estimate how tall the building is. So if we have a look at the bottom of where the steps are here, we look at the top of the building, will notice the top of the building. It's almost too, It's about two-thirds of the way up the page, perhaps a little bit less than two-thirds, just where the top of the building and so you want to leave enough sky in there. That's what I'm going to do to begin with. So just putting the top of the building. Now, I want to start by, by also estimating some of the features here of the bottom of the roof. So what we can do is actually cut the building into half because we know the building finishes here. Okay, should actually, I think a little bit tiny bit higher up like this, the rooftop, But we can separate the building, cut it into half like that. And that halfway point is roughly about where the roof finishes case. So we've got this sort of section that comes in here. It's kind of a roundish shape and then it comes back down again. It's an interesting sort of shape. And using these pigment liners helps as well because it just creates a softer, softer sorted line there. A little bit more forgiving than using a pin that's good. A ballpoint. Okay. So coming further down like this. Okay. Just a bit of that roof finishing off here. I'm just putting that in real estimation type stuff at the moment, it's not even much and detailing at all. Now one thing I wanna do is to put in these pillars. Now we've got 1, 2, and they sort of start off just underneath the corners here. Okay, and then we've got these sort of sections that go up like that. Okay, so it's not perfect, but we're getting there. And I'm also going to start putting in the other ones here. So again, just spacing wiser little bit closer together than these two. So there's less of a space here if you look at the reference. And I'm going to do the same for this one, just a bit of a estimation on where I think it is, something like that. We've also got a little segment in here that breaks and changes as building a bid. So we've got this sort of bisecting bit here. Then. And again, we don't have to put in exactly what's in that reference, but something like this should do the trick. They're coming down again like that. Okay, So should, I, shouldn't be further up, but it doesn't matter. We will make do with what we have. In this section here. You'll find that it's also going to be darker over here so we can get in a little bit of hatching to help us out like that. Okay? But really inside you've got things like squares. What have we got in? You've got little squares in here like sign boards, just bits and pieces. This kind of looks to be a counter or something like that. Over here there's a number line running across just underneath, you know, all the details aren't a 100 percent necessary. I think a big parts are just the rooftop. That's what you want to get that one right. At least. We've also got a line running sort of across the roof here. So I'm going to Replicate that, just, just kinda like that. Now what we want to do is I know that we've got a section that comes out of the entire roof. Now, this bit here, it always forms a bit of a section like this. Okay, and then we've got a separate bit that actually comes down across the back here and fans out to the edges, something like that. And then we've got a section like that. So I'm going to curve that, curve that over there and just curve that one across like that. Okay? And then of course this comes back in little bit further there. Then we have again just a bit more of this detail like this as well. Yeah. I mean down so that's really the side of it. Okay. And a lot of this detail, again, it's going to be just indicated kind of stuff. I don't want to draw all of your name. We know we've got some squares and bits and pieces here. But essentially, we just want to make it known that this is a sort of dark area of the roof. And then we've got a dark area of the roof again just expanding out towards that right-hand side like that. And then we've got some darkness over in this corner edge as well here. So it's pretty simple in terms of just looking at the shapes and remembering when looking at the big structures, they're going to be the most important bits to sort of get in. Now, there's also a few more things. Hearings. There's some type of a couple of stone pose here, sort of stacked up on top of another, another area like a VCE. So I can just put in a bit like that. It's also a good time to estimate figures and start putting in some figures. Are getting a few more other bits and pieces. This looks like a tiny, little tiny little shrine or something like that here on that right-hand side. So I'm going to get that in. Okay. It goes just behind this bit here as well. This rock at the front. We've got some bits and pieces running through as well. Some of these sort of shapes. They look like some kind of banners that are, that are underneath. And then we've got some darkness under there. I'm going to go in with a bit of a doc a pain as well later to getting some more of those details. So what do I want to do from here is essentially, I think what I'll do is extend, extend these out a tiny bit further down, something like that. Okay. Because I just looked a bit short to begin with. Okay. I think that looks much better now. And then we, we know the stairs or to start up the top here like that, and then they just carry down. Okay, so we can already start working on bits and pieces there. And over here there's going to be a bit of darkness two, and a bit of these banners and things like that. But the beauty of a fence here as well, kind of re-link. And underneath. We've also got some other kind of little support structures just digging into the ground like this. Okay. The same sort of goes here and that side, really the other side is just a coin, it's just an imitation of the other sides. So it says symmetrical. I'm shaping here and we don't have to put in a huge amount of detail. We've got we do have this tree that comes in front, so it's not a big deal if we, if we miss out some of these, but I do want to just getting this indication of that left-hand side like that. Okay. There. That indication of that left-hand side. Again, that kind of comes in here. And the start of this roof top begins and it just begins around there. And then we've got that sort of comes in, kinda imitating that left-hand side a bit. And as well as that we've got this tree which I'm going to stop pretty name. And the main thing is just getting in these kind of trunk is large trunk and it's sort of sprint. Goes off into lots of little areas as well. A little sort of trunks and branches like this. And the interesting thing is that it, yeah, Again, it just covers up and goes onto this building, which helps too. To add just sort of masking bit of that detail behind there. So we want to look at getting some of these, I guess these larger branches, these longer branches that spurred off straight into the sky. Okay. And then we've got some other ones that just kinda stay throughout the center and some that come out towards the side as well. Okay, So just firstly, I think draw the ones that come out towards the side. Once you're off on that tangent, what you can do is work on getting in some of the other ones, the smaller ones coming out as well. Like that. Then again, we've got these kind of looks like this rock section like that. It's kind of a copy of that. Some of these banners in the fence as well. There's a bit of a fence here. And again, I think online, I'm not putting a figure, just walking around here with the head in like this and walking kinda sideways. And the body like this. Maybe it'll leg coming out towards the front and a second leg just like that. And here, not just coming across the body like that. Something simple, just a simple figure here in the foreground. And I'm going to getting a few these little fence posts in the back. They also help to just cut off that tree of it so I don't have to bring it further down so we know what kind of starts and just behind this fence here, something like that. And we can just also hatching a bit of that trunk if you want some extra contrast in that area. So many details in here is there's even a, this is a pole or something like that which I can just getting another vertical behind there. You know, there's buildings even balanced here as well. I can get in a sort of a building that just runs through like that. And then we've got a roof top of that building there and some other building just again cutting underneath like this. He had behind that tree there like that. We might even have a larger tree that's sorted just cuts behind this tree as well. But you're not going to be able to see it that much. Even with the branches for these tree, There's a few bits and pieces that you can do and just sort of getting a bit more detail. I try to just get them to splinter off and branch off into little smaller branches like what I'm doing here. So the bottom of it looks more complicated from the sleep. And then it starts, it starts sort of going off into looses, sort of shapes like that. So just wanna make sure that I've left some indication enough there for the watercolors light US. So that's why I really don't want to get rid of all of that. And the y's on the page once some of that leftover. So we can then have a bit of a play around later on. Getting, just again imitate this section. I'm not going to go through with a darker pen X4 that this section here we're going to have a couple of vertical Support, supports here for the building. I just run into the ground like that and I'll put in more than these actually, and then they reason the actual reference. But that's no big deal. Is that kind of, again, a bit of hey, we call it a railing here as well. That just runs across the side like that. Here. I mean, this kind of goes into higher and we're going to try to make it go behind you. I need to match that left-hand side. And then I can just mosque. We solve for can put like a banner or something there. And yeah, we can maybe getting a few a couple of appeal is running through here and down like that, but it doesn't make a huge difference. So let's have a look. Let's have a look at what else we want to do. I think what I'll have is, well, is perhaps another absent know that figure just walking along, standing here. And we can have two of them just standing pretty close to each other like that. And This will create a bit more interest here in the foreground as well, just to still live in this area of the same. Okay. Holding onto something that could be a T-shirt that he's wearing. Oh, she's wearing something like that. A couple of you standing over on this side. There are actually buildings and things over in that right-hand side as well. So just to really just comes to a decision-making process of what we want to put in there. What I might do is also getting a figure walking up the stairs further on in. So we can know that this area is going to be a little bit higher. So we can put the head of that figure further up like that. And I'm going to simplify those legs like this. Couple more here. And simplify the bodies as well, down more like that. And just so that they look further off in the distance here. Okay, these these ones might be walking down the steps there, something like that. And again and again, I guess getting some more details of this, of this building, of this set tempo so that we have some more to sort of work with. The temple is also a quota, intricate, intricate shape and we need to pay more attention to it. I also don't want to spend too much time on here just scribbling in all the details. So we're having to also be careful with this too. So let's go ahead a bit of that bit of this detail in here. I'm just going to draw some lines going across like that. I'm getting a few of these little bits underneath the roof and simplify down sections. A bit of hatching is going to help as well in drawing out the pillars. Some of these main pillars like these ones, this one as well, that has to be done in Dhaka. This one here, like that. Here. Yeah, here's another pillar like that. Um, you know, underneath here it's all pretty dark. And same underneath here that's a bit dark too. And I can just drawing some of these little detail on the top of the temple like that. Okay, and then I'll simplify this down and join it up like that to the roof of the temple. Okay. Bit more darkness here. And I'm still learning and using one pen. Surprise that I've continued on through this with just the one pen, but it's really all that I need. Okay, So this is looking all good and remember this is in are going to be, a large proportion of this scene is going to essentially be the roof is going to be painted together. So just a little bit more detail, the top of the roof like this, because I want to make it come out as going more. Okay, This comes down there to the side. And this section comes out like this as well. Here. Join that on like that. This comes underneath here. Like this. They're okay. And we've got a bit here like this. And it kinda comes in like that here as well. That sort of comes out it more like this, that sought of the rooftop. Hear bits and pieces in here, but it's all basically dock. In that session. I also have another pen which I can use for this just a just a flat tip liner, which will allow me to getting some of these dark areas faster. So just a bit of darkness maybe here. We can pick out some bits, say underneath here, here. And we don't have to do this old now as well. You can weight into my data. If you've got a bit of time. And you've got some of these pins. They, yeah, they just work right to be able to get in these bits of darkness in details in here. So, but it's not necessary if you've got, you can do all this with the watercolors, lighter as well. I'm just trying to, getting some of these docs have a bit of a play around with some of the dogs here. Because some of this area here. To create a contrast for the figure. You have contrast for that figure. Like that bit there, There's also a bit here up the top view which is kind of Docker as well. This Daphnia seeing the section like that. There was really a lot of darkness in India. Even goes up onto the roof here like this. And then we've got us all these sort of sections underneath the roof here, which pretty doc even here, which is pretty dark. But the main thing I want to focus on just this middle section while I while I have a bit of time to go ahead and do it. But again, not a whole lot of color in Ovid, but bits, bits and pieces, and get those super dark areas in k. And again, simplifying the center of that rooftop down these little beads next to the pillars as well. With this flat tip. Pen to color some of these areas, okay. You can leave bits as well. That around the figures. I'm going to just create extra contrast like that. Then here as well. That's putting some more meaningful relief here. Using this rough papers. Well, it's a kind of cold press paper. It's very hard to color all that section in any way and it's good, it actually looks better this way. It wants to get in, leave the sides again and then come down and leave some of these little signs and things inside. But I'll color over the figure to kind of get a bit of contrast around the figure. Tiny bit here, here. And a little bit is trains your, train your eye to recognize live and dock areas. So I love doing a lot of drawing with just the black ink and seeing where it kind of takes me and figuring out what beats a doc, which bits of light exaggerating some of those areas and coming up with something of my own. So control, drawing the bottom of this area as well, the steps I can just get in some of these steps. And let's have a look. So it heats the ground here. And then we've got a section that is runs down like that. Few sort of lawns that around here. But really this is just the largest sort of steps that run across here. Oops, sorry about my room at rods. Here. K is draw these coming occurs. There. There's also a bits and pieces like a snow and stuff running down there as well. So it's not a huge deal with we don't get anything a 100 percent, but I'm trying not to cut the legs of the figures two, it's easier as you go further down. Okay, then you can change it up. You can add some more stance, lengthen it a bit more if you'd like. I'm going to do that. Okay. Something I've forgotten to add is that there is some kind of a shrine here at the bottom, central, I'm not sure what it is, but it's just sort of central shape here. And I can just draw it in and see how we go. I'm going to get it in with these began as black pen to make the process quicker. Okay. Something like that. Something here, maybe a bit of a fire at the bottom. Okay. Something there. It's not a huge deal exactly what you've got in there, but yeah, fantastic. And carry a few these bits of lawn works and things further down. Now, having a look at what else we can put in here. Basically, perhaps getting into a pole or something here on the side. And then this kinda connects to a looks like a sign, looks like some kind of signpost, which I'll add theta there. And then we've also got a building behind which, which I'll get in with a smaller pin, maybe like a three millimeter or three millimeter, 0.03 line up, which will help push that doing back further. So just to rooftop of some sort out here in the distance there and there. Maybe bottom of that building like that. It doesn't have to be much in there, just some small details like that. You might have even another building coming in here, this slide, which I'll just make up like this to sort of off in the distance. Good. And then we've also just want to putting some of these fence bit of an indication of this fence here coming in front of that same okay. And looking for anything else that I really want to add in here. And I can't pick at two to much more commonly the peak at old, too much more fun now, I mean, we can keep on going into these trees and getting some more areas and things running. Third, branches and bits of messy sections like that too. I think that would help to cover the tree. It's a rooftop there as well. But apart from that, I think we're ready to go. 14. Japanese Temple: Painting: He totally get in a bit of color through all of this and have a bit of fun. So first thing I want to do is firstly, put in some of the red. So if we think what we can do first, I'm just going to pick up some pyro read. Okay, pyro, scarlet. And I'm just going to go over some of these sections here that kind of an orangey red color, mixing it a little bit of orange as well in, into this section. So it's not all too doc. But I'm going to just drop that in and this is a number 6 brush, number 6, round brush, okay. Something like that. If I leave in some white as well, it's really no big deal. Okay, just to be to that and make sure that sort of carried across the whole section like that the pill is it so important just have these four central pillars to have a nice amount of red and orange gene there. So here we're just going to connect this up. Like that. Were said, we got some red underneath the roof tops and here as well. It's pretty crucial. And I like to do this part first and then we can drop in some darker colors. And I might even put in some burnt sienna here to meet this down. I've got a bit of brown to just sort of mute down. This is area or a little. Okay, but remembering to leave some white in there as well. So there is not too overpowering some of these pillars to this crucial just have a bit of that in there like that. Okay? And you know, the rooftop just join that on. Inner join a bit of red on so that a roof top tiny bit over that side. Okay. Another thing is this little section here at the bottom where we've got the these little support of the building that needs to be read. We need to have enough raids running through there as well to sort of join that up a bit. Okay. I'm just trying to find any other place where I may have missed out some reds or some warm color. You know, there might be a bit here for some of these signs and bits and pieces, something like that. They're here, for example, bit of red here. We're returning to pink later. On from that, I think we're good to go so that their rooftop, I'm actually going to go in with a little bit of go in some Payne's gray, little bit of Payne's gray, which is a kind of a cooler gray color. And I'll drag that across and just get into a bit of this color. And a woman up as well just putting a little bit of this brown, tiny bit of it running through. So it's not all to kind of bluish in color and just cover the roof top. Now remember, it is kind of day time, so we're not going to have really old that many shadows or things running across the roof. Bit more of that. Little bit more. Payne's gray in there, like this. Just getting in that top section here, running across the, this section kinda comes out there but it disappears off. You can't see too much of it. All right. That's looking, that's looking decent. Another thing that I'll do is start getting in some of these other buildings in the background. I'm going to use a bit of quinacridone gold here for some of these buildings off in the distance. And also meet that down with some neutral tint as well, often the edges. So to change up that color a little bit, so it's not all the same. This one's closer to us. I'm just going to add some more, little bit more color in there for that one there. Ok. And we're letting things mix as well. We don't mind if they kinda coming together at points, especially when we do the sky later, it's no big deal if we let some of these areas kind of mix around. I do have also some titanium white. I think this is a good color to sort of, um, yeah, just getting a bit of a creamy color near the bottom. Now remember, we do have some snowy kind of areas in here and I'm not sure whether we want to emphasize a heap of that. Now I think I think I'll just keep it simple. We're still putting some of these Docs and things as well. I also would like to getting a bit of a shadow perhaps running across to the right-hand side so we can get somebody's tree shadow here on the ground. So I'm going to create a bit more of this gold color here down the bottom. Okay, So this is just some quinacridone gold color. And I'm going to cut around some of the figures like that. The moving this further down like this. Yeah. So much for that snow. I think it's mostly all gone now. K We can also leaving little bits of white like that too. It's no big deal. Another thing we can do is again, droppings and mutual tint in sections. Going a bit of Payne's gray and I'll mix some of these yellowing with it to if you've got nature team that works better. Over dulled down color. Okay, coming across the side like that, I might want to grab a larger brush for these. It's just becoming difficult to getting larger washes and connecting, again, connecting that top section of the wash further down the page like this. Okay. There we go. Springing this wash all the way down to the bottom. I'm going to paint straight to the edge of the paper. Okay. Something like that. So I have some more fat go coloring here. Here. Just way that figures walking as well. Something like that. A bit more of that neutral tint maybe in this section behind. Then in here, I just want to meet down some areas. It's too dark. I'm just going to shift this up. Getting some of these gray area here for these buildings. Okay. What I'll do also is stopped working a bit on this tree. And I'm going to getting some brown. This is just some I'm Rhonda. Rhonda to get in some of these branches and things I'm using relatively large brush as well. It's in number 10. Number 10 brush, round brush. Okay. And this is the point where you can also somos you doing the work of what you did with the pen before. Just putting in some more detail for those bits and pieces of the tree and combining it alone. Again with the bits and pieces of the house. House. But the, the tempo. If that ball is used when we can kinda lift off a bit of that paint, I'm not gonna really I'm not really going to care too much about that. I'll continue on anyway. So if it gets a little wild brushstrokes running on the top there, just to get in some of these tree-like shape and we can get into some more later. So don't feel like you have to indicate everything in them. Work on all that. And right now, it's not possible anyway, I'm going to need a rigor for some of them will fauna details. Before I before I forget, I'm going to just try to put in some bit of darkness here on the ground, especially near the front. And as we move down, just want to create more contrast. Too much. But doc and that down the loo. Okay. Okay. Now but going into the sky, I've got some color here, but if lavender, then I'm going to try putting into the sky like this and see how that kind of works out. I also have other colors. I've got a little bit of little bit of throughly in blue on the side as well, which I thinking of peaking up at the same time. But really I'm just going in with quite a wide sort of wash. Here. Is lambda. This is certainly in blue that I'm picking up just a little bit like that. Okay. So just shifting that across, shifting that around here and around the roof, ran the buildings as well. If we get some mixing, it's no big deal. And the paint to the edges drag that occurs. It's really just a a cooler, cooler at Tony running across top out at the painting. And sort of around these big kind of touching go where we've got the heirs of the trees. So just sort of leave bits of what in areas, but for the rest of it pretty much just paint over it. And this part here, I'm just wanting to the land events like this. I'll have to get in a bit more darkness on the temple as well to make it stick out more. But big medullaris conus running through here is going to help. Can just reply that scar that's behind. Perhaps a bit here as well, could be good. Okay. All righty. Now what I wanna do is get in some little bits of color for the figures. I've got some cerulean blue, I think I'll just drop it in for this one, like that. For the one to the left, I've got a bit of this brown and the child drop in there and maybe putting some Payne's gray as well into that figure. Like that. Maybe it blends and mixes a little bit too. Looks like this side, but I just need to get in the lavender for this figure here, the front. I like using some of these cooler pigments were soon as we get into areas where we've got areas where we can create contrast. So she come from entries here. So some of that stuff going on. Okay, looking good. So I'm going to give this a quick drop, will go through and put on the final touches. Okay, So the fun part now is just going through and putting on the final touches. Getting an old, those are really dark. It turns extra details. I'd say the painting is about 60 percent finished at the stage. So what I wanna do is for the top of the building now, we were missing a little bit of detail and just darkness up the top. So I've mixed up a little and little bit of neutral tint K, and I'm just going to go in and dock in this because I want these areas temple to stand out mole. Again, I'm not trying to put in too much color through here. It's there, although there was a bit of an overcast day. Another thing we can do though, is perhaps indicate and some lights would have shadows. I mean, that could be a thing like this. Here over in this side, we might be able to just getting some light, shadows like that running across over here and over here. But apart from that, I wouldn't do all too much work in there. So I'm just going to pick up some more of these gray bit of this Payne's gray. Here. K is Eric. How just soften that as well? Just a little bit softer than that off there. And here we can stop putting in a bit darkness and bits and pieces underneath here. So if we want to just draw out some extra details like that, good idea because I'm not with the pen. We weren't able to get in really, really kinda doc, turn like we are here. So it's something that we can kinda layer over the top one last time. And to bring out these little pill is right on the side. Like that. Really depends how much detail you want to put it in there. Now I'm on just I'm going to put in a little on the sides and middle inside the air is as well. But I'm going to leave a fair bit of that pen work in there as well, so that we've got, we've got a nice mix. So it's not just one dark tone running through the whole lot. In here underneath again, we're going to having more darkness just run underneath the rooftops like that. And it's sort of again gets darker and here and then it starts getting darker and here as well. So some of that helps and then soften off the edges and That kind of run together as well. That works nicely. And you can go ahead and pick up some more of that gray and drop that in there if it's getting if you need a bit more as well, up the top where the roof is in like that. Then we can put in a bit here for the sections between the poles like that. I'm really not too concerned with getting an, a huge amount of detail. Just remember it's just a sketch. At least could always tended to something more you never know. So the buildings here in the background, I'm going to, I'm just going to pick up a bit more of this color and just again, just imply some shadows maybe running across that right-hand side there like that. Well, those buildings. Okay. And we can join that on a bit as well. Yeah. That's good. Maybe a little bit of darkness around the figures in the background as well. Just around here. The base of those buildings and create a bit of contrast with the fingers. And I'm just going to move into the foreground as well. Join some of these stuff up nicely. Then. I do feel that there should be some more. It's running through for this dips, Something like this. Just a little bit, a little bit more darkness portrayed in there. Sort of here in the foreground is I just want to get some spreadsheets, sort of marks on the ground. Love too many perspective lines. Or if I do all I put them in later. But just some scratching. This is nice. Bits of brown in here as well. We're just stretching us and yeah, kinda lending its way upwards and across to the sides. Okay. A pretty little bit of darkness here. This building like on the left. Either darkness, there is a pole here that we can indicate with some brown and runs down like that. I'm going to be blends into that building slightly. The myeloid get rid of that red. It looks nice. It's a kind of contrast. The figures, however, this is sort of the Tom where I'll put in some shadows for the figures. So something like that. We can join that onto the legs of this figure here. Okay. Maybe some darkness you on that right-hand side of the figure. The and the head here. Maybe some bit more, a bit more shadow for that. Similarly, objects and things here running towards the rod, right here, running across the ground and joining onto the legs as well. A bit of bit of color running on the right-hand side of that figure. So that it looks like is a kind of shadow cost and like that. Okay. Where else can we add in some more? We can probably put in some of these Offense bits of bits of this fence area and underneath pots here like that as well. That works nicely. Some hay for that figure there. Maybe a bit for this one. Like that. This one. Yeah. Then there's the figures running sort of coming up the steps as well. They're important. So I'm just dilute that neutral tint down a little because they're in the background. But essentially it's the same deal. Just a bit of that blue, that shutter running towards the right-hand side. This little structure also kind of has more warmth to it. So I'm going to detail little mall. There are lakes that figure there. And that shadow and effects. Let's have a look. Maybe this building here and some middle dark bits running through it, some windows. And we can get some of that effect running in for those ones as well. There's also this lodge tree that's running across which we can them indicate like this. And hopefully just getting some wet on wet work as well. I don't want it all to be too harsh, but wanted to kind of look like that. Sri, It's kinda emanating from that tree. Okay. Sharpness in here and so softness as well. Mood Doc areas here to join this alphabet. The background and tree I think just needs a bit more detail and presence. And I'm not going to overstate it, just being careful to leave that brown in there, but we're gonna just adding some more daka, daka sort of black beads with the neutral teens. And there's you've got a little rigger brush as well. This works even better. Pick up that neutral tint and just go for it. You can hold the brush also closer to the ends. And you can get these mole random like brushstrokes fully. The branches layering over the top and all the previous ones. And that's putting it a bit more brown in the mix of slaughter, that brown. So I just want to redo that bit and create some logical offshoots of the branches as well. Look at how everything is turned out. Probably a few little buds to finish it off. So neutral tint, just dropping a bit into the sky like that, some little indications of bits flying around. And we'll call that finished. 15. Class Project: For the class project, refer to each demonstration video and sketch two or more of the featured urban landscapes in pen. You can also refer to the drawing and tracing templates which simplify the details to basic lines and elements. Practicing drawing is an important step in improving your painting skills. This provides you with an opportunity to compose and plan your painting. Once you've finished the drawing, use the watercolor steps and processes included. So you complete your painting. If you finish the 10 landscapes featured in this class, pick a royalty-free photographs or perhaps one of your own landscape photographs, using the processes and techniques described, create your own unique painting. Finally, upload your painting. If you have any questions or would like feedback on your work, let me know and I'll get back to you.