Urban Sketching Essentials: Create Your Own Coloring Books! | Watercolour Mentor | Skillshare

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Urban Sketching Essentials: Create Your Own Coloring Books!

teacher avatar Watercolour Mentor, Art Classes, Mentoring & Inspiration!

Watch this class and thousands more

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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

29 Lessons (7h 47m)
    • 1. Introduction

      2:15
    • 2. Materials Required

      6:20
    • 3. Drawing: Sketching Techniques

      6:16
    • 4. Drawing: Learn to Draw Figures

      16:38
    • 5. Warm-Up Exercise: City Sketch

      19:29
    • 6. Beach Scene: Drawing

      29:38
    • 7. Beach Scene: Paint the Light

      12:31
    • 8. Beach Scene: Paint the Shadows

      15:55
    • 9. Cafe: Draw the Foreground

      25:14
    • 10. Cafe: Draw the Background

      16:10
    • 11. Cafe: Paint the Light

      19:18
    • 12. Cafe: Paint the Shadows

      15:04
    • 13. Carlton Scene: Paint the Light

      13:58
    • 14. Carlton Scene: Add the Shadows

      29:13
    • 15. Carlton Park: Paint the Light

      15:49
    • 16. Carlton Park: Add the Shadows

      12:27
    • 17. Carlton Pond: Paint the Light

      19:30
    • 18. Carlton Pond: Add the Shadows

      11:10
    • 19. City Scene: Drawing

      27:18
    • 20. City Scene: Paint the Light

      9:07
    • 21. City Scene: Add the Shadows

      18:31
    • 22. Street Scene: Draw the Figures

      27:54
    • 23. Street Scene: Add Buildings

      12:32
    • 24. Street Scene: Paint the Light

      9:25
    • 25. Street Scene: Add the Shadows

      16:38
    • 26. Urban Scene: Drawing

      29:24
    • 27. Urban Scene: Paint the Light

      11:57
    • 28. Urban Scene: Paint the Shadows

      15:48
    • 29. Class Project

      2:00
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About This Class

Hi, I'm Darren from Watercolor Mentor, and welcome to Urban Sketching Essentials: Create Your Own Coloring Books! 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 watercolour painting. Urban sketching is a great way to learn and improve your drawing and painting skills. Through our day-to-day lives and travels, we often form connections with our surroundings, buildings, objects, and people we interact with. Urban sketching requires few materials and can be done in a variety of places including; cafés, parks, your room, or on a bus or train. It's a convenient and powerful way to practice line and wash and dramatically improves your drawing and painting skills over a short period of time. 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 8 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 also have the option to follow along to my real-time drawing and narration videos for 5 of these demonstrations.

In this class, I narrate my demonstrations in real-time. I explain every technique I use in the context of the 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 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.

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 also demonstrate essential watercolor techniques you can use over and over again for any painting.

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 colors.
  • 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 join me in this class - let's create some beautiful drawings and paintings that you can be proud of!

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Transcripts

1. Introduction: Hi, I'm Dan from watercolor mentor and welcome to urban sketching essentials. Create your own coloring books. Urban sketching with line washes, 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. Through our day-to-day lives and travels, we often form connections with our surroundings, buildings, other objects, and people that we interact with. Urban sketching requires few materials and can be done in a variety of places, including cafes, parks, room, or even a bus or train. It's a convenient and powerful way to practice line and wash and dramatically improves your drawing and painting skills over a short period of time. In this class, you'll learn how to transform day-to-day scenes that you observe into beautiful line and more sketches that you can hold onto and treasure. This class is aimed towards beginners with eight line and wash demonstrations, which I'll help guide you through step-by-step. Their scans and drawing templates for each demonstration, which will help you transfer over the drawing quickly and easily. You've also got the option to follow along to my real time drawing animation videos. Six of these demonstrations in this class underrate my demonstrations in real time. I explain every technique I used in the context of the painting, such as using watercolor to paint shadows on a building. I'll be going over the basics of line wash, sketching, and talk about what materials you need, your options and which ones are use and recommend. If you have a pen, some watercolor paints and paper, then you're ready to go. 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 size nibs to your advantage. I also demonstrate essential watercolor techniques that you can use over and over again for any painting. So join me in this class. Let's create some beautiful drawings and paintings that you can be proud of. 2. Materials Required: Okay, so before we get started, I'm going to talk a little bit about materials just to give you an idea of what you're going to need. So in terms of pens, a lot of people asked me what pens I use. The main thing is that you want to have permanent ink pens. Now you can find these at your local office store. Just make sure that it's liquid ink and it says waterproof, fade proof or light light resistant. Permanent waterproof is the most important thing. The reason why is when we go into the whole drawing with watercolors, we don't want this ink to spread and to bloom and you sort of lose their structure behind. So it's really important. Now in terms of the pen nibs that are used, they come in three different sizes. I've got 0.380.50.7. This is important because it just allows you to be able to push certain objects further into the background and pull objects closer with a larger nib. That's a possibility to just draw objects closer and smaller nerves object and the background. Now, if you end up only getting one, I just get the 0.5 something in the mid-range. You can actually get by with almost any drawing with a 0.5. So have a look around. There's also these other pens called pigment liners. And I had a set here of these pigment liners. They come in a whole set like this and they range from the ones I've gotten 0.05 to 0.8. So it's really quite a large range of different nibs. The only, the only thing that you want to keep in mind is that they do look a little bit different on paper than using these ballpoint nibs here. Now that these almost similar to fountain pens as well. In terms of like it just creates more sharper kind of line when you're using these pigment liners. They have a tip that's a little bit, so I'm a softer, It's a felt tip and it tends to have a skipping effect on medium papers. Well, so I find that it's a different style, really depends. I do have one demonstration in this class that goes through me using these. So you can see kind of what it looks like when I'm drawing with them. I personally prefer these now, but it's really up to you. Now in terms of the actual paper that I'm using, working out of sketchbook here. But the most important thing is that you are using a 100 percent cotton watercolor paper in medium slash cold press. That's important because I find that medium to call presses that allows you to get in a lot of these wet and wet effects and it dries a lot more flatters will. Hot press paper or smooth paper tends to unless you've really got it on a nice angle and paint with very even washes, it tends to dry with small particles and things everywhere. So you just got to be a bit more careful with hot press. But it still works completely fine. It's really a preference. But for this class I recommend cold pressed to medium paper and a 100 percent cotton. I'll talk a little bit about paints as well. So the paints that I'm using here, there's a lot in here, but essentially you want to make sure that you've got your primary colors. So primaries you talking about, you want to a bunch of yellows, a couple of blues, and a couple of reds and try and, and get two of each primary. Each primary having a cool and a warm bias that tends to work very well, you can just mix up a different range of colors. But even if you just got 33 main primary as a yellow, a blue, and a red, that's going to be completely fine, Thomas getting every color. And that's all you need for this class, are also some bonus colors. I have some green that I mixed up here, and this is why we mix it up, but it's a sap green. I've got a yellow green as well. It's just a convenience color, so they didn't have to mix it up or find it quite difficult to mix up. This green myself got a little bit of kwashiorkor. Sometimes I use that to put highlights on the figures and errors afterwards in the painting. Also got a little bit of neutral tent over on this side. And that just serves to dark and down whatever color that I'm using. So it's really just a convenient kind of color. Making sure remember, get your primaries and you should be sorted. I've got a whole bunch of brushes here, and I'll talk a little bit about them now. I don't use all of these brushes in every painting. I would say the main ones are used would be a small flat brush. Let's have a look. So we've got a bunch of these round brushes here. So we've got things like this. Number six, round brush number 8, round brush number 10. We've also got a few of these little flat brushes here, number 6 and number 12 flat brush, and a number eight for our flat brush. So I tend to use these plus maybe this mop brush here. And essentially, I don't talk too much about brush size or because it really depends on the paper that you're working on. If you're using, if you're painting on a really large bit of paper, you're going to need to use a larger brush. I always recommend using the largest brush possible to get in a shape or imply a shadow or something like that accurately. So for the paper that I'm using, which is about A4 size, if you look at the size of these brushes that kinda match what I'm painting. If I'm working on a very large sheet of paper, a2 or something, these brushes will be too small. So keep that in mind. Have a small detailing brush, have a large wash brush, have a few flat brushes, which will help you to kind of cut around shapes and getting stronger edges like this. Finally, if you don't have all these materials, don't worry, just make sure that you're using what you have at home small part in that you end up practicing these techniques. You can always pick up things as you, as you go by. I started out using some really basic materials. And as I've learned more, border a few others and tried out others as well. 3. Drawing: Sketching Techniques: So I'm just going to talk a little bit about sketching techniques quite briefly, give me a introduction and just some of the techniques that I use. Now I've got two figures drawn here. You'll notice there's a slight difference between them. The one on the left is little bit more detail. The lines are more pronounced and the one of the rod is a little bit more squiggly and loose. And the difference is, is that I've drawn these two figures holding the pen differently. So for this one I'm left out of hell depend down the front one of the rod I've held opinion and that just allows you to loosen up a little bit when you've got the pen near the end and also encourages you to move your arm in the drawing. So when you want more detailed areas of your drawing, a shape or something that's small in you're saying always hold the pen a little bit closer down or at least towards the center. If you're looking at drawing large lines and things, maybe in an EHR that they're walking on. I tend to hold the pen down the end and it just looks better if you're holding the pen really close and trying to draw a long line, I find that it just ends up looking a bit forced at times. So if we end up doing that, just try not to hold it and draw that line all the way like that. Times it just helps to draw it in separate pods, have sort of in congruencies and things in the line. It just makes it a little bit more interesting as well. There's a technique that I use called hatching. And hatching is just a way to basically imply darkness or areas of tone in area. So for example, we've got a building here. There's a couple of buildings, one here, maybe 11 over here. There might be some kind of tower or whatever here, for instance, something like that. And then we might have another building this in front of all of this stuff here, like this. Okay? So basically when you're hatching, you're thinking about using lines running in the same direction to essentially imply darkness or whether a shape is in front of another shape. So for this building here, if I want to show that these buildings in front, what I'll do is I'll just hatch. I'm going to be like this. So that can dark in that building bringing forward. And if you leave the lines are further apart, like this. On the other one, it just appears a little bit lighter. You can also do this thing called crosshatching, where you just draw lines in the opposite direction. So here, so you've got these kinda checkerboard effect that just further darkness that object. Okay? You can also use hatching to imply a little bit of perspective. So if we look at this building, the side of it, you can see an Occam's down on a slope like that. You can then use the pen to just create those same direction lines there. And then at the front, we're going to get them running completely horizontally like this. So by doing this, the building then has a little bit more of a three-dimensional look to it. And it's also something that you can use to imply the shape of the, for example, what a sphere here. And we want to imply it's spherical kind of nature. I'm using a little bit of a, this is the hatching technique of very basic sort of technique. But as you can see, it looks a little bit more 3D as we're doing that. Okay? Using the similar sort of techniques, these lines to apply the shape and dimensionality of an object. Another tip that I'll go through is pen nibs. So I use few different pen nibs here and they're basically from small to large. They 0.38.5.7. This also helps to imply shapes, imply depth in your drawings. So for example, if I've got a couple of figures here in the front, which I'm going to draw with this thicker pen. Okay? And they just going to be walking maybe together in this sort of direction. Unlike folds in the one back like that. Okay. This is a bit more thickness to the lines here in the front. And I want to draw a building in the back and I'll use a smaller size and they appear. So just over here, this might be kind of where the buildings are here in the back. It might be good just making this up. It's going to be a dome or something like that. And here there can be a dome here as well. And you can already see the thickness of that line because it's a 0.38 compared to the 0.7 that I've used to draw the stuff, the figures in the foreground. It already makes a difference by pushing those shapes backwards. Okay, so it helps to imply depth in your drawings. Just by changing nib. It's another technique and it really helps. So I tend to use this always by just that you can even go over stuff like that and draw the figure in afterwards. And it will still look decent, helped to bring it out a couple of figures here. But if I, for example, use the point 3 8 nib and I start drawing a figure in like that. It's barely visible. Okay, the only reason I do that is maybe to get in some figures running really far in the background or something like that, very far off in the distance. But as you move forward, you're going to want to use a thicker size and needed to help bring figure forwards more. 4. Drawing: Learn to Draw Figures: Okay, so I wanted to spend a little bit of time talking about figure drawing, giving you a crash course on how to draw figures, the proportions, how to draw them in different stances, walking, running, facing sideways. I think this is really important for this class because It's obviously urban landscapes. You can have people moving through the scene and you're going to have to sketch them quite quickly. So the first thing I'll talk about is the proportions of the figures. So in terms of the actual proportions, what you want to make sure is that the head fits into the entire body about eight times and it's about 7.5 to eight times where I've just simplified it to say about eight times. The last seven to eight portion is basically the ankles and the feeds. So you can get away by making it a little bit shorter, but that's about the proportions. If you make it a little bit too small, I find that if you make the head too big, for example, coming up from 0 to two, the body look too small, so make sure everything is in proportion, have a few practice goes beforehand. And I find that helps. So I'm going to draw a few figures in different poses. I'm going to show you how I put them in, how I add in shadows, things like that. So we'll do one similar to this figure over here, just kind of standing on a bit of a foreword to standing forward. So we'll go ahead and we'll get someone kind of walking forward. So I'm going to start off with their heads. So always start with the pen. I find that's a good anchor point for everything else. Then can pop in the neck or the collar, the shirt or whatever they're kind of wearing here and I'll put in there color. Another thing to keep in mind is when the person's walking, often, the foot that's coming forward here. And if you look at the shoulder, that Sean will be slightly lower than the other shoulder here. So as someone walks forwards, the front foot comes forward and the shoulder and the shoulder just above that foot will drop. So what I'm gonna do here, I'm just putting going to exaggerate that a little bit and we can get the shoulder to come down a little bit and this shoulder to just stay up, kind of like this. Okay. And then I'm just going to start drawing in a little bit of detail for the body and get the army in here as well like that. And another thing that the hands, I sort of just make a little triangle shaped like this and pop that thumb in like that. Enhance for LEA little bit big but that thumb coming inside like this. Okay. We might have this coming out, sort of ran this side here coming in. And maybe he's just got the hand just completely straight like that. So little bottom of the shirt there and I'm going to now pop in the legs. So first I'm going to get in this leg on the right-hand side. So remember this one's going to be forwards a lot more. And I like to put the shoe up a little bit like that. Okay, just to show that the, It's walking forwards, that foots forward. Now this is the important bit. You want to make sure that this shoulder, this foot is basically little bit further back. So you're finishing off kind of around here like that. And then you've got the shoe may be coming off in that kind of fashion like that, sort of off to the side there. So it looks like that person's taking a step with that right foot. And you can even exaggerate that sort of show a little bit. So you can see the sole of the shoe like that. And it looks like he's just taking a step forward. There were a few things. You had a nose there, some eyes agenda, the eyebrows, I tend to find that works some years. And been here as well. Like that. Can make the hair longer. Doesn't really really matter, just depends on what sort of figure you've got there. Maybe a bottom of the chin. You can pop that in as well in detail a little bit more, but that's a figure forwards. Standing forward, you can even draw a figure that's just standing stationary so we can get in a shirt or something like that. So the shoulders are just level. And then we're going to get in a bit of a shirt or something like that here. Let's go ahead and maybe getting a t shit like that. And he's got coming out like this, maybe just crossed the river. Just very, very basic. Okay. And then we've got the legs so we might pop into the lake coming out, just make that showed a little bit longer legs coming out around about here. And we can maybe getting the shoe like these and other leg coming in behind off to the side. While we can just sort of get them coming straight down to the ground like this as well. And essentially getting a bit of a shadow or something running towards that right-hand side. So popping a bit of hair there. So it just kinda looks like this figure is standing stationary. We'll do another one, a few like that one could have been done better, but basically got like these little bit of detail for maybe the shit like these modals amount coming in here like that, on the hip like that. And then we're going to leg coming down here and another leg coming down like this, can sort of put in some shorts as well for this one like that and do find all. So just a bit of hatching helps to define that area. Okay. There you go. Good. Another figure that's just sort of standing, upright, stationary, that kind of thing. Now, when you've got figures that are walking on the side, you can also apply this sorta same principle and just getting that sphere to stand up completely straight. So they look like they're kind of just taking a very slight sort of walk, suppose. So you've got to side with sort of view. They could even be standing completely stationary, just standing up with. So in this sort of space, you've essentially got a bit of the arm may be coming forwards line that masi bit of the back. But essentially you've got the legs that just come directly downwards like that, which run almost parallel to the body here as well. So beautiful. I bit of hair, maybe you or something like that here. Like that. But the legs kind of joined together. And you've got a bit of a tiny bit of a shadow running towards the back like that. Okay. Could even add in a bag or something that they're holding on to have a strap or something like that. So that's a figure kind of standing on their side. Another thing you can do is have a figure look like they're walking forwards. So the tilt of the head is really important. Something that I learned a little bit later on, I used to put the heads always in that same position. But if you put the head slightly tilted, what you can do is you can imply a bit of movement. So the figure kind of walking forwards, the more you tilt it, the more that figure looks like they essentially running. So we've got three general tilts here. I'm just trying to exaggerate a little bit. So this one here will stop putting in more of that back area here. You can get a bit of an arm as well. Like that. Look like they kind of running in. These are walking in the sort of direction, bit of water and part of the shirt or what have you coming out like that. And then we can pull it into the lake and the lake at the back. Like that. So it looks like they sort of walking to that left-hand side. Little bit of color like fatty might be one of his hands out, reach just talking to someone you never know. So that's one really quick one. Now when we've got someone like this, this is when they are almost starting to run. Okay. So you've got more of their back showing the body is tilted forward. It's more like that. Often you've got an arm outstretched there. Maybe this coming out as well, like this. Maybe lunging forward and what you wanna do, exaggerate that first leg to come out more like this. And the second leg, instead of coming directly straight to the ground, you making a compound a little bit towards the side like this. And then where that joint of the knee is, we're going to get that to go more towards the back like that. So again, starting to move a little bit faster. The last one we can do, I'll just show you, and this looks like a boxer or something is really flat out running. So we're getting more of that back in like this. And the tilt, the body is almost like quite a, quite a large angle. And then you've got this foot coming forwards like that. You've got that foot going backwards like that, and maybe a couple of arms. So he's sort of illustrates the point. Yeah. I'm actually making sure that you've got that tilt. Correct. Because that's going to help imply what's actually happening in this thing. So sometimes you're going to have figures and all these different sort of positions and even their arms as well. You might have one of their arms further back. All kinds of sort of combinations of these figures, I think is really important in the scene and also depends on your reference photo or what you're looking at. Another thing I want to show you is overlapping figures. Now, overlapping figures are really important. Parades depth in your painting creates a more interesting looking seeing. So I'll demonstrate what I mean by this. All go. Let's do one above here. And what we'll do is I'll start putting in their heads versus normally how our work or getting the head of the figure here might have another head of the figure here, another one here, putting them all in on different sort of angles. Now again, it depends on your, on your photograph. Okay, but having these overlapping sort of heads like that, I'm really exaggerating this as well in the background. I'm making them a little bit smaller. So just got a few heads here. And what we're gonna do, I'm gonna start putting in the figures here in the front first in terms of their shoulders. So we're going to have some of these overlap with each other like that. And then these ones here in the background, they essentially are used to get a bit of detail into these previous figures. So we're kind of not cutting around the ones in the foreground, leaving these ones here so that they overlap with each other. You might find a point here. I might add another figure here because I've just looks a little bit better. For example, have you might find it. So the ones in the background just make sure that this smaller. You can also get them going in at an angle looking like they're walking in a different direction, that kind of thing. So these are kind of crowds of, of figures and I don't have enough space to draw them all lean, but you get the idea. And that's how you imply wouldn't. But if these additional depth and structure in days, go ahead and sketch. If I had enough room, must stop drawing the legs and things as well. Okay. So another thing you can do for figure's facial details. You can put things like glosses and stuff on them as well. So if you go to, if you've got to feed it here for example. And I'll just stop putting in a little bit of detail for the shit coming in like that. And maybe just called copy that one essentially. And legs coming down here like that. And what you can do, you can even add in glosses, blue square glosses like that. And it essentially, it just depends on how small the need that you have on the pin. But to sets a little character makes the figures look a bit different so that aren't all joined together and the clot the same person. Okay, So be adventurous. Add some buttons on the clothes of the figures you want add to the Bootstrap. Might be carrying a bag or something down here as well, like that. And the pants might be, um, who noticed that could be check it or something. So you can play around with these sort of stuff. And that's how you can make figures look a little bit different and change them around a bit so they don't all kinda look the same. And they kind of implied even change, make the hail longus all kinds of fun stuff that you can do. The same thing you're gonna wanna do is in your reference photos or when you're observing, essentially observing people, just make sure that you're looking at different ways, that they're holding the arms, the tools of their heads. For example, I'm with larger figures like this one here I'm drawing. You can get in a lot more detail than you can with other, other ones. But then at the same time you just again, you don't want to you don't want to overdo it, I suppose so that it's just looks just looks like it's complete drawing. So I just want to be careful with that. And you can do things like putting fingers as well, like these. Maybe the person is holding a phone. So they face up to the head and, you know, that's a sleeve or something like that is a thumb. Then make this up. I like that here. Coming up maybe like these and popping a bit of detail here. This could be maybe a backpack was humbling this bit isn't zoning onto. I don't know. I just have a play around and change things up and get figures in different interesting sort of positions. I mean, you might even have a figure with the arms off of something so it could be standing here and I missed the sleeve or they should like that and then have some arms up. So like that. Putting that those sort of join seen is the sort of feast. Pompeii. He's got a finger up like that and he's holding onto something that's, uh, something like that. You know, you can have a lot of fun with this and learn, and really learn a lot from just changing and playing around with figures and spontaneously just adding in bits and pieces. You could be dancing. And it could be dancing. And it's hard to sort of putting the lakes, but it's no, no space. But there you go. Dancing. That's another tip I have for you. So go ahead and give these a try our F1. One of the good ways to do this is just look out. You might have, you've got be at home and you might have some friends and family walking around. Just try sketching them very quickly. Go outside into the park and maybe near shopping center or a cafe, just sketch readers and it's really the best way to do it. If you don't have that, just pick up a reference photo free reference switches online. You can get so many of them and learned so much from doing that. 5. Warm-Up Exercise: City Sketch: Okay, I'm going to show you how to sketch this scene in really quickly using some of the measuring techniques to essentially getting the proportions correctly. The first thing I started with is the horizon line. Horizon line is basically where everything disappears and all the buildings become a very, very small, you can barely see anything there. So in this photograph that starts off around about here, you're just going to estimate it. And this isn't anywhere near to the middle. It's almost definitely not even a quarter of the way down. It's little it's probably about a quarter or less than a quarter of the way down. It doesn't matter all that much. If you're essentially just sketching from real. The main thing to keep in mind is that you're leaving in. The main thing to keep in mind that you're leaving in enough sky and enough room for these buildings to extend upwards, you can always alter this horizon line to emphasize more the foreground. You can raise it to you that you get more foreground, or you can lower it to get more of the buildings in the background and the sky. So here's the, the, so here is the horizon line. And what we're gonna do, I'm just going to mark the center of the page. So this is where some of these buildings start. So it will start with this really big building here on the left, okay? And we know that it finishes somewhere around here. So I'm just going to mark that mark here rant about here and my gesture roundabout here for the sides of the sides of the buildings. Okay. So something like that, give me a bit of an indication and bring this all the way down. This is completely straight like that. And then we've got another building sort of popping out the side here about a third of the way up the building, 123. Okay. So that's sort of squarish, rectangular building popping off the side like that. Then behind that you've got all these other buildings that just gets smaller and smaller. It doesn't matter all that much. It's more of the stuff that's closer by that it's more noticeable. Now the top of this building, it's kind of go to edge like that. There's a bit of detail on the roof. But essentially what I wanna do is just join this up here, okay, like that. Join it down here with the lines and the little dots that I made before. And that's why I have these dots. They're really help to essentially getting literal details and mark things out so that you don't have to guess as much. Okay. So those are just some of these little lines that come up the side of the building. As we get closer to the bottom, they kind of flatten out a bit more. So here, start almost getting straight like that, till we hit the bottom like that. So that's kinda the side of the building or getting this side as well like that. Okay. Good. A little bit of room left over here. There are separate that into half as well because roughly in the center point, That's where we've got this sort of live sky section. We've got some buildings here, we've got another smaller building there. And then we've got a larger building that sort of goes halfway, starts halfway through this building. So looking, using this building as a guide to measure everything else. And it should actually be a little bit wider, but that's, well, fix that up now. And it comes out around about here. Comes down, is a sod of that building to like that and an extra edge like that. They're okay. And then we've got another building that just sticks out like this, has an edge like that. And maybe this stuff and things on the rooftops essentially, but that's it. Okay, now we're gonna do this stuff on the right. We've also got cars and things that we can also pop in a few little examples and details of cars. He'll just boxes, look at everything in here is just shapes, boxes, circles, squares, triangles. I find that helps, okay? And I'm putting them in here, so then I can just sort of move along as well and kind of move left to right. It just helps out a bit more. Another car here that's kind of turning like that at very basic drawing one. And what I'm gonna do is start popping in some of these bits and pieces here. So we were looking at this top of the building and sort of comes down finishes around about here, about halfway, just halfway between this where the edge of all these buildings finish and where that one starts. So I'm just going to mark that about here. Okay? And let's draw a line up and it comes in here. So it's not even the edge, but it's sort of England's from the edge like that on the page. Okay, And then we're gonna go down, takes up quite a lot of room actually. Come down here, goes like that. And then we've got some of these little sections of the building like that. That's a bit of a, these little shops and things like that gets really quite complicated in here. And you can spend all day playing around with the shapes in figuring out what's in there. I'm not going to try and do that though. There we go. So just a few lines. Again, this is going to help draw the viewer in and helps with the perspective of that building as well. Nothing it helps with is when you putting in windows and things are that it helps to just line up these windows. I'm scribbling them in very quickly, but normally I would spend a bit more time beginning in a small square looking shape like this. Okay. That kinda come all the way down here and there's like another section is a little bit darker. We've also got bits and pieces starting off, here's a little buildings. I just go all the way up to the top until we've got this kind of tower like structure here, like that, comes down here. And then we've got a building, a square building should actually be further down about here. Okay. Connect straight on to this building, to the right. Okay. And from here on now, you're just looking at a lot of these little details. Like you've got two windows and stuff coming off these the buildings, little windows. You know, you've got the road which has a line sort of coming down like that. And then you've got some perspective launched just running through the same like that. Yeah. There's even another car somewhere here as well that you can put in back of a car. Speeding off in that direction to the right. Okay. Shadows sort of run towards the back of the cars as well. So down here. Okay, this but basically they go from left to right towards the back of the cards. And then you can do things like adding figures. You can have someone kind of walking, walking in over on this side like that. Things in the foreground, often I find it helps to add the things in the foreground first row. So if you can do that, just try your best first. So lots of details in here, but essentially those buildings, I finished in the back and we're just needing to color them in getting some slight details. But the techniques I've demonstrated here will basically help you to place any sort of building shapes all around the place we've quad, quad, quite simply really. So. Always keep these tips in mind, especially I'll explain it during the other demonstrations. But this will help you out. To start off with, I'm going to start off here with a number eight round brush. And for the sky, I'm going to just use a little bit of red here near the horizon line. And maybe a bit of yellow just trumping a bit of lemon yellow as well. Yeah. I don't want this too strong, so I'm just going to dial it down a little bit of water and mixing in some of these other reds and pinks. And think about that, that really helps as well. Just sort of makes it lists and kind of vibrant and erase. So just around there and where it finishes off that here, we'll just continue that on around that left-hand side as well. Bit more yellow. They're tiny bit more of these red. Down here. We want to keep it light mirror, the sky needs to be kit, pretty much the largest data of every other section. Widths this region here. And I'm going to draw in a little kind of hazy color, purple maybe. Let me just find a bit of that purple and maybe some blue, purple and blue up here. And we just want to cool a color, maybe some swollen, That's better. Buddhist cerulean and then watery kind of mix and allow that to blend game with these area here below. Okay? Like that. Big here as well. Try not to touch it all too much if you just get it to blend a little bit and then let it be come up to the top. And and I'm just dropping some more of that blue bit is certainly in blue. And continue along getting that sky like this. And essentially we have finished the sky. There's a few different things you can do is really popping a booth, darkness in there to imply some clouds and like cloud-like shapes and keep that sort of those brushstrokes quite random as well. So that we can get some interesting and randomized brushstrokes for the clouds. You know, what I'm gonna do is also just putting a little bit of yellow ICA through these buildings. Just a warm color should do the trick. It doesn't matter all that much what color it is, but just woke. Okay. So you're going to warm gray, look completely fine and just picking up some lemon yellow. And in the snakes drop that in. You know, I've even got a bit of yellow ochre can pop that in there as well. If you get bit of mixing on to the sky and just let it do its thing, don't worry. Okay. So just coloring this little lean and keeping it fairly light because we were trying to getting a basic wash for everything. Remember, very light wash. And so dropping a bit of color through that mix to make it look a bit more interesting. Okay? Don't worry if you haven't Colleen old a little wires is wanting to leave bits and pieces of it to pull highlights and bit of interest. But the ground area here now and remove yellow here and a bit of that red, that red tens and wants to sort of gray near the bottom. There's this spread this down like that and carry this all the way down this wash. Probably more yellow and he is best and forgotten. That's sections and more yellow. I'm just shifting this all across there. This part of the buildings hasn't dried yet, so I'm just going to re-wet and let it blend in like that. Fantastic. So it's kind of looking the way I wanted to. And we can add in a few more details for the cause. Just a bit of color for the cause. It doesn't have to be much just a bit of gray or something there for that one bit there, you can even pick up a bit of blue popping up either with a colleague here at the bottom. I think that's part of the building actually. We've gotten to coloring before. And just a little bit of color for that car, a couple of cars and the distance like that. No big deal at all. Figures. Tiny bit of blue here, bit more blue. Okay, give this a really quick dry. Now, what I would do is start putting in some of the shadows and things of the buildings, but basically been light coming in straight from the top of the same casting a shadow almost at the top left, sort of casting a shadow to the right side. And it looks like this building is also in shadows while I'm thinking it's probably because there's a larger building, It's interesting. We'll go ahead and get that in similar to the reference and full of 0s. I guess hope this demonstration I'm going to using mainly neutral tint and a bit of ultramarine blue just mixed together, maybe a bit of red to get a purply color. Okay. And let's go ahead and we'll drop this straight in to this building here like that. Okay. That what I didn't like this. And notice I've also left bits of the yellow behind as well. So it's not all the same color and not left maybe a little bit of light coming off hidden the edge of that building there. Okay. And some of the spooning, so that dot that's on that building. We're going to get rid of darkness here as well and that beauty. And remember, we're leaving some of the edges here to just imply light coming in, okay? Because it's not dark enough for you. Just make sure you go back, pick up a bit more of the pipe that you need. Three, mix it, and start again. Okay, so one of this stuff is actually not as dark as I'd like it to be. So I can go back and just dropping middle bits and pieces like that to further darken it down, slow increase that contrast. And Lidl, especially near the bottom, are fun. The bottom here is really important. So ANC is that building down and these buildings to the ground. Okay? That stick, um, and we go. All right. And this joins up with the shattered in the foreground. So I'm going to pick up a bit more fat and huge retains a bit of that blue mixed together with the neutral tint. And I'm going to go ahead and start popping in little bits and pieces of details here. And I have to color everything in, like I said before, but just some areas and there's a shutter that just comes straight out and just pick up a bit more paint. Shadow that comes straight out like this. Delivered and then just finishes off about here. That should do the trick using a small brush years. Well, so though I can get in these details accurately, I tend to use the largest brush I can. This one's a little bit smaller than usual, but I just wanted to be lazy to change brushes. You can still get it done. So there's that shattered he had coming in. You've also got the shadows of the cars. Okay, So following these sorted patent and you'd just getting a little bit of that dot and it's underneath the cars like that. The joining it up with the ties, that new little bumps underneath the car is well distributed. Kind of turning as a cow here and popping a bit detail like that. Okay. Stop that just adding a bit of darkness and some parts of these buildings. So ikea and maybe under here as well. I'll put it in a beautiful blue. Feel like a bit of certainly in blue would be nice. Be running through some of these area. Just loops gone over that Beta, the live, but that's okay. And I'm just leaving a little bit that yellow coming in from that left side. Here. I've just putting in a little bit of darkness in the top section of the building. Taught me that down a little bit to indicate some of these shadows and things on on the floor as just being cost downwards like that. Yeah. And then the spades actually a lot DACA and yep. Okay. And some new directional lines just had them in there like that. And, you know, with the figures tend to just sometimes when it So really dark and that section, I'm not pick up a beautiful goulash bit of whitewash, add some blue in there and just drop that in and that will bring out those fingers again like that. And then for the legs really dug mutual tint. Just drop that straight in there like that. We get around a bit and get some shadow is running like that. And that should really do the trick. This is few other things you can just add in like windows and, and you know, doc and off extra areas of the windows here as well. And to popping bit of extra detail and things like that emphasizes darkness in areas put in a bit more blue and areas to ICU some bits down. So it's really up to you. But that should really be the nuts and bolts of it. So a bit of reading for the hands as well. I'm just going to add in a tiny bit like that. But that's about it. 6. Beach Scene: Drawing: Okay, you've got a great little scene here. It looks like it's near to the beach. Lots of these lovely sort of palm trees here. And we've got the light's coming in from the left-hand side. Little bit of detail on the buildings on the right, some of these lovely umbrellas. So we're gonna give this a try, emphasize some shapes, and make this scene our own. So first things first, what I always like to do is really just getting the general horizon line. So we can see it's about two, about two thirds of the way up that page ran back here. It's really up to you how much sky you want to put in here. So you want to make the horizon line higher. It's just going to have less guys. So just always remember that there's no right or wrong way to do this. And I always find that changing up that reference picture and a little bit to how you want it to look based on your sort of vision. I think that's the best way to kind of approaches. So tiny little kind of perspective lines here running from that back, that horizon line. And I've got some of these buildings and things as well here, which popping more detail later. But we're just essentially lining and finding just some areas to line it up with some basic kind of details and not all too fast and how this turns out here on the right-hand side. So do want a larger bit there. So now that's in, I'm going to start working on some of these people and we've got a larger figure here. I actually do quite like this figure, so sort of really far into the foreground. So far in fact that you can't see his legs even. So we can start off just popping in the cat that he's wearing using a 0.7 pigment liner. And this is going to help bring this figure forward more. And be careful just going to put in a tiny bit more detail, especially for these figures closer. Because they're just going to look like they're more detailed in real life. So popping the neck, like that is a new color for the shirt here. It looks like he's got a bag. One of these sort of general backpacks search. Just going to do a bit of sketching here. And when I look at how to sketch things like backpacks or anything, I just break them down into simple shapes. So the strap here is just a rectangle, so they're just two rectangles, essentially with two lines here. Edges join on to his singlet at the back and k like that. And then we just want to make his arms and shoulders come out so that they kind of like some kind of rounded a bit on the edges like that. Okay. And I just sort of come in but we'll get in the rest of the backpack first. So because I had it's just it's almost like a teardrop shapes. So just ensuring that basic teardrop shape like this. Here, I think all around. Bring that up again like that. And it doesn't have to be perfect. There's a kind of looks like a drawstring or something here. It doesn't really matter. I'm just I'm just getting in some real basic details. That case. Looks like there's a sort of rectangular thing here, like a zipper, who knows? Another little rectangle here and another zipper, two zippers here on the side. It's not a huge deal. We just want to get in some little indications like that running through the bag. Okay. So the bags more or less done. I'm just going to go ahead and pop in the arms now for the figure us out across sort of armpit here and then singlet sort of finishes here. I'll just go in a little bit like this and finish. This is the elbow roundabout here. Then we've got the forearm which goes out a little bit. If you see it just expands out a little bit. Thin comes down widths like this doesn't have to be perfect. And notice how I just restate things. If I accidentally underestimate, overestimate a certain part, I'll just go over it quickly. Came with the hand. I'm just going to put in a little indication like that. Then I'll go in popping some fingers. Okay. Looks like he's got kind of just three fingers kind of spread towards the back like that. It's not a huge deal, something like that. Okay. The other hand, again, just getting this sort of section in towards that live under his arm pit is here. Okay. And just connect that shoulder up to the top here and comes in a bit like that. And towards that back, elbow finishes off at the same spot like that. And again, the forearm expanding out a little bit. K. And again, we've got the hand, which I'm just going to simplify down to the sort of triangular shape like that. And then essentially just adding the fingers afterwards. It's a thumb. There we go. Just a couple more fingers. I'm not really trying to get in much detail in here at all. Okay. Just indications. So there we go. That's the top part of the figure and we can just pop in now some details for the shorts. And they kinda come down like that. We've got sued pockets. He can't see them very well on that right-hand side. Just exaggerating them a bit more. Okay. And the details, essentially they just come down a bit like that. Oops. Bit of hatching. A little bit of hatching in here. And I'm just going to come down, OK, it's come down a little bit further. Okay, So just extend this down. So I like that. That's really up to you how fine you want to go. Um, can I can even we can't just some of the lakes are ready. Yes. I'm just gonna put in the top of it like that. That's all. So let me go to that figure here in the foreground is done. So what we're gonna do is just start popping in a few other figures walking along the beach. So we've got this person B, I'm going to swap to a 0.5 line up so that I can just get in some more detail, just kind of got his head turned over to that right-hand side, k. And the head is around the same height as this, as this person's ear. So just keep that in mind. And Sunni's like that. And these chin, something that's looking over to the left-hand side there. Coloring the sunglasses very quickly, putting some company bit of hair. And even EA, the k, It's and shirtless. So I'm going to just, just put in a slide pizza detail here for this fellow, this, He's even got a tattoo, big sort of tattoo you running across his chest. And it's up to you whether you want to put in little faces like that. Okay. So coming over to the left and this coming down here like that, just separate them kind of into these tubes shapes. And really don't voltage too much with detail with stuff that's further, further back in the distance. Okay. But this guy is certainly go to shut off and he's holding somebody a skateboard and wanting to skateboard. So that could be anything that he's holding in there. Great. So just a little bit of detailing for that figure and then popping the person that's next to him as well, has an arm up like this forum, their hand over this side like that and reduce that down into a triangle. And a few little fingers like this. And hope the head behind here again, some sunglasses, some black squares. That's all it really takes. Wearing a hat or nothing kind of on backwards. I like that. It has taken out running down the shoulder and sort of top brow or something. And just bring that in. These and shoulder coming out from that side as well. Write it just like I said, connect these on, sort of just think of them as kind of tubes. It's just going to skate board as well. Like that. Just holding onto it. Section here. Bellybutton, some shorts indication, some shorts, Just some hatching here as well. And popping more of the detail for these figures, it just start going in and this leg is behind and then we've got this lake kind of coming forwards mole like this here. So I'm just going to get these nice warning first. Like that. He's got some white socks. That this leg is really far behind, so it's kind of shortened. The like that and something like that. Yeah. Change the direction of the shoe. Like this. And we'll just get these lakes of these figuring 0 psi. Let me go just to the thigh and other thigh here. And cough. Sort of running, oops, running towards the bank has sort of come out a bit more and come down. What have we got? Just a couple of shoes. These yeah. Sure. He is kind of in the shadows. It's hard to see, but I'll just pop that in like that at law and the thighs a little bit more. Okay. I might get some sort of stripes in or something onto his socks. To a lot of this is going to be in shadow anyhow. It's a belt around their rights. And there's also figures here in the background which we can just adding quickly. Is it Gosset was standing over here and the back. Someone here also heat, maybe rocking this direction. A lot of this stuff we can just, just sort of popping and indicate rather than essentially add on too much detail. Because we owe so far back in the distance, it's hard to sort of tell what they're doing anyway. Okay? So this overlapping effect of having all these bits and pieces and things here, it really helps to draw more attention, more interest to the same. Okay, so just putting a little, little postcards or something like that on the size of these building. Little signs for the shops. And I got and I just keeping, getting these rectangular shapes are running over in the background. And it just kind of vertical sign here. Pulping like this. And finish that shuck off chi here. And I'll get another, and it's going to be another building stuff I've already indicated in, and they're just popping in another section that building like that. Even though it's not really there, this can be part of that pizza sign. I'm going down like that. You've got to lodge a condo building, which goes up towards the side here. And I'm going to emphasize this side of that building a lot more. Actually. Have it go all the way across to the back like here. Okay. Have something else blocking in the center like that as well. Would even just hatch that section there. To this section, prey, we can do a little bit of hatching. Same sort of deal. We've got light coming in from that left-hand size. So this is going to be dock. And anyhow, for these buildings. And there's all these kind of vertical lines running down for some of these other buildings. They're just ponder the structure of that building, but they can also look a bit like Windows to really just depends on the background. All we've got a just shapes, geometric shapes and they indicating an interest, areas of interests. But I'm not really so focused on getting all the detailing. I'm changing it up as well, having a bit of fun to make these myON kind of drawing. That's the great thing about these urban sketches. You can just exaggerate or change your m bits and pieces sometimes. And when it's there, it doesn't mean you have to have to draw it and you can just leave it and put something else in there and leave it out completely as well. Then we go. So just a bit of detailing here. I don't know what I'm going to put in over the side. I mean, I could also Pompeian a shade or something like that running across. I haven't quite decided yet. We'll see how we got. So I'm just going to quickly draw and to do that horizon line coming out to the side. And firstly, I'm going to getting some of these. I don't know. Umbrellas like that. Okay. And a lot of them sort of overlap with each other as well, which makes it a little tricky. So just be careful with that. And don't feel completely restricted by Once they had to change things around if you want, is even one sort of pops up here that intersects with the other umbrellas like that. Something like that. And as an umbrella here too. Okay. A few more here. And the distance, they will just reduce down to triangular shapes. When you look back far enough back into the distance. Like this, can make them up that just use them to draw the view. The view is I and into the same pneumonia. You can have a couple mole at it, just mosques and behind this one here as well. That okay. And we've got so many figures that kind of intersect, overlap, which I'm going to start drawing in. Figure kind of walking here. There's one, I'm hoping a few larger figures as well. So maybe a couple here, just a larger to larger ones. Put the heads in here. Sunglasses. I remember person. And I'm here. Could be a cap of some sort. The shoulders person's wearing a t-shirt. So we'll just pop in a bit of indication and a t-shirt that, and like that. Some of the legs just realized this figure is really looking a bit too. Let me too small. So it kind of points like a VCE. You can always just alter things up a little bit as well. So still a bit of wiggle room here we can figure out and make that part of a t-shirt or something like that. And have OBS kind of coming out of a figure like this. And maybe pop in a head sort of around here. Like that. To have a sort of walking and legs look a bit funny at the moment, but we can change. So to change this up a bit so that the this leg comes forward more like these. And let's have a look. And are there lake kind of coming over like this, almost coming out to the back like that. Maybe guy, he's kind of walking out of the same bit. So it's not the best, it's not the best figure, but it will do, definitely do the trick. We've got another one here in the front. So I just start drawing in a bit of this figure. The front. Shirt or whatever and some legs. This one can also serve to mosque that figure to that left-hand side. Say just popping the legs like this. Here. Couple of legs that some shoes. Then is look at this standing around here. Having a good old chat. This stick figures to just sort of fill up this space here as well. Just looking for sort of spots in between. I can then popping, popping a figure in here, put some additional space and things. They could be people near these umbrellas underneath as well, shrieking, just popping. Someone may be standing here further back in the distance. And what I wanna do is just get some of these palm trees going in, say, just draw a line going up like that for this one, sort of disappears off. Another one here, coming in on distance like that. Here is another one maybe. And just come through. And I'm on actually get another umbrella maybe coming in, cutting, dissecting a section of it. I'm just I'm just an indication of tree going up. Swap over to one of the smaller pens. Now I'm going to 0.5 just to play around with a bit more detail. Okay, This here is a kind of length. So I'm just going to pumping some details like that so that it looks more like a man-made object there. Okay. And really for these other ones, they just have the same as the ones on the left-hand side, but just with the beat of bowl kind of thing on top. So you want to join them up as well. So you will have another one here, another one here, resistance and bring that down, another trunk down, up these here. K. And you know, as you get further on the distance as well, they just become smaller. So my joining them on creating a lot of overlap between them as well, that really helps with them. Extra detailing. I just sort of clump all these over here. I'm just drawing some political lines from the plot. They receding off into the distance. I think also getting some bit more of this, a little bit more of this tree like that. It's not sort of showing in there, but I do want it to be them all of these cases. If we go just playing around and adding in a bit more extra detail for the buildings and the chance really to have a, have a play around. Figure out what you want to portray in here. And I'm just making a few sort of building like shapes in that section. Maybe some other, It's in paces and other shapes within the buildings to be some kind of a sang lamp here on that side. Okay. Having a look around at what else we need to do, I think that might be, might be 8M. Last thing, I just want to pop in a few little directional lines running into the same just perspective Lonza guess. And running in that. There's already some that I'm putting before. But just to emphasize it, read more. But I don't have to be perfect. Okay. I think what I'll do here is you're wondering, want to put in this section, I'm just going to pop in another figure. So we use this guy's a bit of a general god and just pop that in. The sauna, hit it if maybe like a cap here that looking forwards, sunglasses, nose, and this person he might have a shirt actually will go with the shit like that. Kinda tucked into the side like this. Some shorts and hopping legs. Kinda coming forwards a bit more and this leg in the back receding off in the back. There we go. Some shorts on him. I could another figure. And I think I'll leave it as that. 7. Beach Scene: Paint the Light: Okay, so we've got this same here. It's a lovely beach, seen lots of warm colors here just mixed in with some darks and shadows in here, especially in the tree, some dark areas. So what we're gonna do first is essentially just pop in all the lighter colors. And you see with most of my videos, it's the exact same thing. Lighter colors, warmer colors first and go over the top of the call the colors. So I want to match that color in here is really nice and warm, sort of yellowy orange color. So I'm just going to mix up a bit of lemon yellow with a bit of pyro orange. And I'm just trying to see if I can get something similar to that. Here's a little bit of a sort, so a little bit of yellow ocher in there. So dropping that Australian. Ok, and now I'll go over the figures as well. I don't want to I don't want this to be disjointed and everything like that, It's just drop that straight in like that. Mix this in. And really just a combination of yellow ocher, bit of this orangey color. And it'll move lemon yellow. But if you've just got a bit of lemon yellow and a bit of orange, just mix those two together, you'll be fine. The yellow ocher just tends to dull things down a little bit. Okay, so working our way around these little bits and pieces here. And I do want to leave some of these squares a different color so we can go over the top of these bits of white. Light goes from blue and other bits of highlights. But for most of it, just get that orangey sort of coloring everywhere. Here on the left-hand side, I'm going to actually going, this is figure like a value quickly as well. Just drop that in there. Here. Can actually makes it a little bit of tiny bit of red to getting pots of the bodies of some of these figures like that and you meet. So let's just change it up a bit. Then a guy that running through there, notice how spontaneous on with it. I just want to get it in quickly and essentially move on. Okay. And grabbing more of the yellow. And just drop that in. And you realize how little the actual precision of these calories, as long as you've got a little bit of warm thing here, we change around that color, doesn't matter. And even with the bag and things, I'm just going to get into big Burnt Sienna running through tiny bit of burnt sienna, maybe some English read. They just warm colors, bleed of color for the shorts as well. Okay, we'll go over the top. Lighter with some other carbons. Okay, So just moving across here, getting those legs to kinda mixing as well with all this warmth. Okay, more yellow. Over on that left-hand side. We'll finish it off. Right about here. Wherever you feel comfortable to finish it off. Okay. And buildings as well. More. I'm going to pop some yellow on just a bit of a thicker yellow getting all these buildings here. So that right-hand side are we're a really want to have some strong warm colors in here and going with the shadows later. Okay. Hey, the guy, just a bit of that color. I'll just mix on Bidder telling me the red pulp that into his head as well. Couple of these couple of ways. One's pretty read that off a little. Kind of going up it all over the place to be to dock. Remember it does dry off as well. So we'll draw a lot of hoops. And the guy, just to be more red in there, for bottom's going to add in a tiny bit of just a bit of darkness. Here. It's not really there in the reference photo, but I just wanted to emphasize that, that we've just called a sense of depth. Hopefully enhance that sense of depth and painting. So it's just a bit of neutral tint that I've dropped in here, mixing some of the other colors. Umbrellas. I'm going to go in with a little bit of this color here is just a bit of Naples yellow and will vary this up and go Naples yellow. Then I can use a bit of lemon yellow here. Just have a bit of a play around with the colors that you've got. You know, I find Naples yellow tends to just be a bit too opaque if you're not careful. So just take it easy. It's too dark, just lift off like that. Lift off with the bigger brush there. And we're always doing is getting a few colors. It's all or nothing. I think out of the ordinary. And we'll just bring that down here as well. Join this all up like that. Yeah, drawing some of these areas up, comes down. Really important to connect everything together. Now, for the trees here, I'm just going to pick a little bit of this emerald green, drop that straight in. You can also use some sap grain first. So if you drop in the sap green like this, and then actually dropping the emerald green afterwards. So I'll just show you it's kind of a lots of green. We're picking up here. I've got a bit of a Guassian mixed into that green as well, just to add some extra body to this area. And we'll make it look a bit heavier than what I can do is just pick up a bit of this emerald green and drop some of that in just around the place and get some softer when we're defects and some hard edges as well around the sides of these sides of these trees. Bit of dry brush strokes like that. We'll do the same thing here. And I want to do this quickly because I just want to drop the sky in at the same time. So I can pick up a bit of throughly in blue here and just go ahead and stop pumping that in like this. And you do bit of cutting around the trees as well. Leave some bits of white like that, that does help, but get some of it to mix in. I'm using a smaller brush. He is smaller round brush here so that I can just getting the shapes of these trees a little bit more precisely. K. Normally I'll use a much larger brush for the sky. But because we've got a bit more delicate detail here, I just want to use a smaller brush. So once that area is done, the area where you've got the tree is essentially the rest of it is just the breeze. We're just going painting the rest of this section in. And notice I'm leaving a bit of almost like a white halo surrounding some of these trees. So important to do that. Because if just carbs that shape of the tree and creates a hard edge, in some areas, you can do this with somebody umbrellas as well. So here I've left a bit of a beautiful white. We're just joins on to the umbrella. And in some areas I'm going to connect it on. So having those two essential techniques where you've got a bit of some sharp edges and soft edges were lens, it will just make your painting so much better. And I want to go to this section before it dries off. Okay, so more blue in this area and got this bit of the building on the right. So just cutting around the yellow. Now you can leave a bit of white in there as well. We can let some of it just mixing these bits mostly already dried. So I'm not really fast just going to let it do its thing. And just quickly getting the rest of this guy is kind of around the buildings. They're very simple, just a flat, nice little flat wash. And then I have to keep it like this as well. You can sort of drop in. If you want to drop in some clouds, just pick up a bit of neutral tint or something and just, just kind of tapping into the paper like that in areas and you can just create some little cloud effects in areas, very soft Cloud effects like that. You know what, I'm not going to overdo it. I do like how it looks at the moment. So we'll leave that all to dry. Another thing I'm gonna do is just get into a bit of color for some of these figures. So did like that blue. So I'm going to drop it into this figure here. Looks like he's going to T-Shirt, kind of like a blue blue T-shirt or something like that. Then this one to the left might have a green shirt on here. There. This one on the right necessarily have to color all reading as well. You can pick up a big, for example, pink or something and you can just do something like this so that it just looks like the person as a sort of stripy, stripy. So this should get you to indicate a pattern of detail for the pants. Short semi. Just at this point, putting in color really lot washes. I'm just going to put them in a bit of brown here for the back of the figures head just getting some hay and the cap. The cap, I think I'll just go through these kind of grayish color. I don't want it to stick out too old too much. He's just a tiny bit of that color. So we can get that in. Put in bit of blue for these ladies top. Maybe bit of blue here for the pants of this fella next to a little bit, if these left of a green for that figure. And I'm just picking up colors that are already on the palette. I'm not too fast. The ones in the background, I'm just going to add in a little wash of gray. Don't really care what color they are. Just a simple wash should be enough. Okay. And we're gonna leave this old to dry now. 8. Beach Scene: Paint the Shadows: Okay, Now this is all dried. The next step is really just putting in shadows and the shadows of the figures. And they were running towards the right-hand side, light source to the left. And also there's some shadows underneath the umbrellas and few bits and pieces is actually a mountain in the background. Well, I'm thinking whether I should get that in. I'll give it a try, maybe lead up. But firstly, that's pumping some of the shadows for this figure in the foreground. So get up, pick up a bit of these schizont, bit of neutral tint. We can also pick up a little bit of bluish purple color as well. We can mix up a bit of purple and I'll find these also works in very nicely when we've got kind of orangey color is yellow and orange colors with the kind of shadowy colors. So just a bit of darkness here. And on his arm and running down the side like this. And off the top it with my finger like that. And these will come in then just sort of run down the side of the arm. Bit of shadow here on the side of the neck as well, just running down like this. And same thing for the hair. That column. We've got a bit of darkness here on the cap, just following a bit of a patent. And I suppose for that light coming in from the left-hand side, this whole area of the arm here is pretty much in shadow. So I'm going to color the whole lamb in like that. And I want to do is just leave a bit of light coming off, sort of hidden that side of the hand. Okay, it might sort of be further behind that kind of thing. Fantastic little bit here for the legs to, and not really in the reference photo, but it's just something I wanted to include. And you've got obviously he's pants here which just very Doc. I'm going to leave somebody's squeeze in the back pocket. Sort of areas. Just darken this area very quickly first, so they don't know, joins up with those shadows and the legs and then I'll come back probably come back into that it lights up. Again the backpack, we just want to imply some shadow is running through here. So mainly the shadows are running through that hidden underneath some of the pockets, the right-hand side areas like this. And over here as well. Then the air of is he should as well as pretty dark, the sort of singular thing that he's wearing. So you can actually start getting in a bit of darkness for that. Kind of just cutting around bag. Okay. That okay. Just to add a bit more sort of badness. There. He's wearing a singular or something. Okay. The more you more details in the bag. And I really wanted to leave bits of the orange and that Ryan saw it. But on the left-hand side, sorry, but on the left and the right-hand side just want to make it darker. Again, just capturing that light pattern. Okay. Even goes doc or underneath his arms here too. So there's a few different shadows that you essentially need to put in here and sort of play around with. But those are the basic ones is suppose that I can think of really and just remember the direction of the light source where it's coming from and follow that pattern. Okay, so now we're just going to move on to some of these other figures and visit these two walking together. And which makes it a little bit easier because these ladies actually half this leg sort of in shadow and then this other one here. It's got enormous shop a shutter on that right-hand side, that lake and then kind of Doc or the bottom like that. So that's sort of guys just them causing a bit of a shadow on. And then she's going to hand up like this, maybe your shadow underneath that elbow in a bit for that on there. So that's all I'm gonna do. And we'll just have a look at this fella here, bit of shadow running towards the right-hand side of his body. Underneath the chin there and stare at his belly. And this whole joins onto his shorts. So notice how I'm just getting that shadow all in one. Go. Okay, simplifying it down like that bit of darkness on his face as well. Maybe in between this autumn is odd like that. And that's about all I'm gonna do. This figure here I've kind of just invented. So let's add in a bit of darkness here for that right-hand side of that figure and follow that same pattern. So beautiful shadow there. Because wearing a hat or something that's, I'm just going to pop in like that. And we've got these two figures here. So I'm going to be using a bit of purple color, mix up a bit of that purple. And I'm going to drop that in. Now on the right-hand side of this Vega. Okay. Maybe to that that darkness here running down and leg as well. Then is to figure out a tiny bit of shutter that right-hand side of him. Do you want to preserve that blue so I don't want to overdo these and the shadows on these. And this fella. There is a figure behind just about here. Kind of in the darkness. Walking into this, into the same song, going to follow the same shadow pattern like this. Okay? Not overdo it. And these other figures here in the background gets gonna do the same thing. Little bit of, little bit of shadow detail, the right-hand side of them and they less of a concern because it's so far behind. Another thing I wanna do is add in the main sort of shadows and bits and pieces. So I'm mixing up here on my palette bunch of different colors, but essentially just a bit of purple. And mainly purple, beautiful neutral tint, maybe some ultramarine blue as well. Then it's just going to Blue King sort of shadow. And okay. And I'm going to just start off here. This is an area just underneath the umbrella. Okay. And I'm just starting to putting a little bit of darkness, cut around some spots. It's just bits and pieces of darkness here. Basically underneath the umbrella is okay because we've got all these lights and we need some doc Harry's running underneath them to bring out the light. Say, this is a really important step actually. Ok, so just drawn out a few bits, bits and pieces like that. We also want to join on shadows for the fingers. When I get them kind of running just directly to the left-hand side. So I'm going to join up a 100 of these figures actually join up the shadows. People, neutral tainting HEA. Here, just drawing these sort of shadow pattern like that so that it runs towards the left. And you know what a fee here, bit of shadow running towards that side, maybe onto that figure as well. Here. It is, shatter there. This probably needs to be dark and down a lot more now. Saw it as DACA. So I'm just adding a bit more, moving more neutral tint into this area to getting that shadow shape running into the same. Then some of these ones in the background as well. There's also something, a figure coming here, maybe bits and pieces just caused by some of this stuff on that left-hand side, whatever it is. Okay? And the rest of these figures here in the background just do bits and pieces like that. Joined this whole up to one shape. The k. And test stick. While we're at it. Let's put in some colors for the shadows and the buildings. So bit of purple here, like that. The cutting behind this building. Another big here, bit of darkness here. Another bit here. Yeah. I'm trying to find some errors that we can join up. But here for example. And let's have a look here and some vertical lines underneath. I do think we need to join these one-off as well to continue that dark shape along the back like that. And then we're going to getting this last building like that and all the way on the edge of the page. But I don't want you to be too dark, but that's okay. Then if there is some darkness and things in the shops too. So little bit of little bit of that and they help. The signs. We can pick up a few colors. We can get rid of this comma here. The green as well. I'll kinda left somebody there is watch just to pop in a few colors and things off to weed seeds. Adjust this so quickly, putting on, I'm not even bothering to get any accuracy in there. Okay. Great. And I did say I was going to put in some mountains over here. So just let's give this a try. You know, what's the worst that can happen? So I'm going to pick up a flat brush. I think this will make it a lot easier. Bit of blue, bit of cobalt blue. And I want this to be fairly watered down, But just to be darker than the sky wash. And we'll go through something like this. Cut around the, the umbrellas like that. And just hoping these sort of nouns in the shapes in the background, the very quickly they get obscured by these trees and continue down all the way across to the side. We'll set up here as well. Okay, Fantastic. I think that works quite well. Actually. The last thing that I'll do is I get a line coming in for these trees, but I'll give it a really quick drying off. Okay, so I'm just going to pick up a bit. Then Tonga and some sepia. And I'm going to just going hold the brush further down. And we want to pop in these tree trunks. Or if we just didn't want and go for that one. And then I wanted to sort of look to forced just one nice stroke down like that. I'm going to be careful, should've was left to rot. Actually. This is some type of lamp. Oops bit more. Read more of that paint down. That were more, a couple more. Here, a little bit more of that sepia doc and up, mobilize. It comes to the foreground. And then we've got these little ones. Distance like that. There's some top of it. I'll show what that is. Okay. Fantastic. And no theme I wanna do is add in a couple of birds, ADC, kinda beach areas. Say, this might help just a few little little buzz through the sky. Pick out a hotline things, these little white spots that you've missed out on those into beds as well. Okay. And then I'll call this one finished. 9. Cafe: Draw the Foreground: Okay, so we've got a great little saying here. It's a cafe scene and lots of light is passing by these little shapes on top of the building. You've got a few figures here coming up standing like lots of detail underneath his chairs, tables. Really nice scene with even some leaves and trees coming in in the background. So there's so much going on here and the struggle. And I guess the challenge is really just to reduce this down to something that's manageable and that can be drawn within half an arrow little bit more. So I'm going to start by just popping in a little bit of detail here for the ground. So look at where the buildings finished, the ones in the backend, three shades. So I'm just going to place a line coming through almost like Reece, just the place with buildings finish off. It's a huge deal. But something like that. And k. And remember this is all just a reference so we can change things around as well, so it's not set in stone. Now, what I'm gonna do is we want to place the fetus first, especially these figures here in the foreground, some of the chairs and things like that. Because they are just going to come out first, come out in the foreground and in front of everything else. So I'm going to go ahead and pop on some heads over in this side. So it's going to see where the feet finish in the legs finish sort of around here. So I can get in the back of the head of this figure here. Just really quickly. My fees. Just to be a hair. Tie, the shirt there. Oops. And and kind of elbow like that. Okay. And can I get in that back? And the same time we can start putting on simply tell for the chair. So a few little horizontal lines like this. And so vertical lines like this. And we've got the back of a chair. This is gonna go down further to somewhere around here and further down probably get this all the way down like that. The seat there here. And we've got a shape like this. And so it comes back like that. The spirit of that Chez comes down here. None of it like this. So that it looks like she's just sitting down here and we'll get a lake is well, just coming out from the chair there and touching the ground like that. And there's a foot shoe just pop that in there. Another foot here. Just sitting there. Like that. Maybe a hint of a shoulder here. So there we go. She's kind of placed in the right spot. Is another figure here. Just pop her head right behind and some of the hair has just indicated to you that, but work on the shoulders of this figure. Sort of just ducks behind this chair. Like that. It's not not too much effort. And be the hay coming back, that's probably too much, but when I do with that, and also have another figure here. So to seeing cross the tables, getting a little bit of that and what that figure, the lady there. And the trick is to just get everything to draw an AP detail for the, for the head, like that. Right table. So I'm just going to place the table here and get rid of that, sorry, that table to come down like that. There is another fallacy and rant about here. And again, he's heading like this. You'd have hay and back of his head like that. And watch the shoulder and coming down here, sleeve forum and some there. And we'll go ahead and get his back in. That same time, just popping these chains kinda leaning forwards in the chair. And getting this back side of the chair, it's important to do it here. Do it now because we don't have any other database of his legs or anything like that. So we can sort of use this cut around the shape of the channel I dot k. So because place his, the bottom of the chain here. So we're sticking out like that. And just a couple of these little beads running to the backlog that here join up parts of the chair. Now we can just draw the rest of human. Beautiful lake that's resting. He's resisting was handled here. K and knee and the leg. Just going back underneath and maybe a foot. So that's pretty much about it for now. I do want to also getting maybe a little bit of these travel. Who knows what it is, just a shrub or something here in the corner. Not too much detail, but just something running behind. I'd have made it a bit larger than normal. And I also want to getting the side of these buildings. I'll bring that all the way. I'm just drawing a line. And it's not a perfectly straight line, but just running behind and under this other stuff here. But I want to simplify this down just to make it look like this is a kind of wall here. Running down the side. Go all the way down like this. And also there's some type of sign signage up the top. So I'm just going to get it looks like a b assign. Just a bit of detail in for that. Here. K to the Kinects on to that wall. And you know, just a bit of these lines as well. For the wall. Don't have to do this all. Now's will just folio it to begin with. Let me finish it off, light up. Okay, So kinda work on this umbrella. And we'll notice the umbrella kind of fish is. But in the middle section of the page suggests slightly left to the middle. So I'm going to mark out where it finishes and remember to leave enough room as well. Behind these on top of these figures. So I umbrella pretty much starts here. And it kind of intersects with this lady's head. And we've also got a figure walking in front of the stem of the umbrella. So figure kind of like that. I do want to get a bit of intersection here as well. Again, overlapping shapes really make things look a lot more interesting. And finish the stem of this umbrella here. And I'm going to go ahead and start popping in some of the details for the umbrella. And why am I doing this under the first reason why is because it's in front of all the other stuff. Just like these VDS here, we want to look at everything in front. In fact, the next part I'm probably going to getting some indications of this bicycle might not even put it in our haven't decided yet. But figures here and everything in the background essentially are these shades bits of the house which we can getting afterwards, but we need to get in all the figures, chairs, tables, everything like that. So moving along. And this umbrella is quite crucial because it's just it's just like present. Sticking out in front of everything else. And say, we go, just go in here and we'll go straight up. Sometimes it does help to do a very quick line like that. Maybe we want even does look a bit long actually on that right-hand side, but we'll make May 2 have to shorten it later. Something like this, should do the trick. And these pots sort of comes up, joins on to that top section running down like this, here, Here. Section running down the back like that. And we've also got these bits of umbrella just sort of sticking out underneath these little little bits that hanging off the bottom. And they have even some words. And then to say, I need to put these in unjust. Just kinda do that anyway. Added bit of character. Baker. Don't actually know what this means. But it looks good. Okay, so I'm going to start working on more of these fingers. So there's another fella here, some sunglasses on that's put on some sunglasses. Firm, barely stay, but maybe good, Open and IA, bidder, Hey, like that. And chin and neck. They sort of walking towards this direction. And should slave coming out like that, It's good is there. And I'm just kind of walking towards the right-hand side of the same. That's his back here. Okay. So there's poke them in like that and sort of get him to intersect the beat with some of these other shapes. I think this is a pop plot. Actually it's attached to the umbrella. I can't tell. But it looks like that. And this shape does help add a bit of interest in this. So I'm going to pop any. So also pillar running down like that. Feel the shapes running through the same. I'll stop poking on Mall figures and there's a small fee to hear. I think it was a little go something small child in the background. He is. I'm just going to pop in a bit a detail there. And maybe some legs like that. And go ahead and get on getting the fetus as well. There is a man so to sitting here by himself at it, at the table and I'm going to put this person in as well that share another chair here. The sort of comes down like that. And then bits of that bit of the chance sort of going back. And I'm going to get him in. So you're just sitting here on the chair? I'm back just pops out here and then his head is just a random hat here. And the shoulder to the right-hand side. And he's got his arm like these kind of looking at something on the table was probably looking at is fine. Just pumped in detail there. And for his legs, get one lakes that are coming out like luis and coming down then into shoe like shape there and these other like just sort of coming down towards the back. You can barely see that. Anyhow. There is. And I'll do want to take up cheating here as well just to keep adding more features in like that. And my pump on a fee to hear that kind of he's wearing a vest or something like that here as well. Can be a good way to think that would just keep things a bit more interesting. Maybe approaching him, hear that. Another figure here, sort of walking. Oops, scribbly. But we'll make do. And kind of going in might look like she's with child as well. In another head here as well. Just to get another figure in front, I'll probably add some more details for this one later. Just put it in there, just in case k table, these resting his arms go rectangular or square, sort of table. So I'm going to drop that in. Like that. There's a lot of chairs and things often running through here actually in the West side, we don't have to get it all in and does help to have some of these shapes kind of fill in a bit of that white space as well. So I've got just a bit more data, more business busy details going on in some areas. And this can be another chair here. There we go. Another chair quickly put in another bunch of horizontal lines and detail behind here. Like that. So it just looks like these a couple of chairs, couple of empty chairs here. Okay. Remember the loan to this right-hand side now? And to speed this up, I'm going to just pop in the table, some tables really quickly. Just sort of on an angle like this. Okay? Then I don't have to be perfect. And what we'll do is we'll start getting in some of these figures here to sort of see Nazism. Lady here looks like she's sort of playing around to here. So potent Breanna, that top like that, nose, chin. That's a face. And that is should kinda runs down here. Then we go. And so I sort of sitting down. There's also another lady here and looking at a phone or something. So just a tiny bit of detail with that. Peter, that through the table I'm just kind of start getting some vertical lines running down for some parts of LA. Here is really low of these chairs and things getting in the way as well. So you can really tell what's going on, but that K into all the, too much of the legs, I think we'll make do with that. Few bits and pieces on the table. Chains. So running behind these two. And this guy here, sunglasses on. So sitting here. The friend. It was handovers face for whatever reason. Oops. There we go. And just kinda showed us in. And maybe a bit of his hands kind of coming in to the side like that. So another person looks like he's sitting with someone and like this head facing that. He's direction. Okay, here we go. I think what I'll do is just experiment around being popping. Tiny indication of this to know what it is. It's a kind of a motorcycle with something here, bike. So start off here. Storing something in the foreground. This is the sort of spikes as well. Yeah. A seat that I really just reducing these dads and reducing this down into basic shapes. It's loose cylinder here. A lot of this isn't even in focus, so it's hard to see what's, what's here. But as long as you've got that wielding and you've got a seat, There's another overlapping one here as well. So once you've got those two things in, it's going to make sense. Hopefully. See coming up here like that. And can then just get in the SOD of this motorbike here or it could be as screwed on. It doesn't really matter, but just the chair of that screwed up. It's kind of ducking behind these bikes. There. I can barely see it, but just really abstract shape here in the foreground. To add something in, essentially could be the divisor like that. Then we've got a section of it just goes all the way up. Comics on like that. There we go. 10. Cafe: Draw the Background: Just add in more of these links with table. Here. Just strengthen that a little bit. I do want to put in some more figures in here if you like these areas just to empty. So I'm going to just heading couple of fees maybe sitting down. And this one can be written down here like that. This one here, just making these ones up really and his hands up for whatever reason, maybe he's trying to cola one of the weights down. Just one person he made with his hands on the table like that. Okay. And there we go. Great. And I'm going to start working now on the top sections. So just over here where we've got these figure here, you've got a large window that finishes just the around about with the umbrella stops off. So I'm going to bring this all the way down to the way that figures seeing here. And you can't do that alone and draw that line in one go just do it in small sections. I'm just going to bring that window across like this here and get that sent upon the window like this. More detailing that do like the top of it as well. But I'm just getting this side. It looks like a sign of the menu items cafe. So just to frame going around the edge like that. And really my priority now is to get this section here of the Shi'ites started off right about here. And we'll make it coming. Yeah. Yeah. And here is a bit of detail behind that line. Just go straight across like this and then join zone of these here. And so the top section like this and this bottom part here. And that's pretty much the shade. And they'll do like these windows as well. And there's actually a kind of plot is something a vine that's just growing up the slide. So I'm going to get that aim to just really be suggestive work like that. Here. Bit of darkness here and the edges. A bit more detail. Just all over the place. These little leaves and things casting it does cost a little shadow as well there, but just trying to get into some of these little plants. Okay, so that's one side essentially done. What I need to do is basically just split is air up into small windows. I'm going to just draw a few of these lines running through like that. Just the drawer, add the parts of the window and probably get a lot of that goes directly across. And here, colored some of these windows. Just leave. He's what frames. Finish this off. Just get this door. Now to come down about here. Actually looks like this DACA area behind like this. So I'm just going to hatch a way, this section. Here. There we go. Good time now to work on these other bits and pieces. We've got another PMF, this oops, You know what I forgot to do, forgot to put in the bottom part of this shade. So just do that now. That and there's also a sign running behind here. Running down. Mind. That figure doesn't matter too much. It's just the gist shapes and then overlapping with each other, creating and interesting sort of backgrounds. So I'll do like this bit of shrubs, trees going behind. Also these figures. We're going to be a big part of this drawing actually. Before I forget, let's go ahead and start putting in this other one. So we've got it. So just starting up here, going across right here, stops at that here and goes in kind of on the same angle as this smaller one. Like that. Maybe going a little bit higher up the color here as well. I'm sort of doing these lives in small sections as well. So I can just change direction if I need to follow the gone over the shop. So let me go to that one there. And we've also got some sleep, a nice shade that sort of spans underneath like that. Very important to pop that in. Another one here. Since we're already in this section, I just want to get this one done is also another shade that comes in on this angle. So just popping a few bits and pieces going behind this umbrella. And it's also important because it intersects with B, this shade here as well. So Sue cuts over the top of that shades on needed to get at beating first, always look at the reference and see which bits are in front of the other bids. Always important to do those first so that you're not drawing over, rely on this already there. It's not the end of the world if that happens, but it just makes things look a lot more seamless and planned out and makes your life a lot easier. Yeah, and he's just going to draw that last shading like this here, this squarish sort of structure and talk huge where it connects on to the building. Another one here as well, which are going to get in very quickly. Okay, a lot of this stuff here. I mean, it's just all essentially just though leaves and things from these trees, shrubs. Some kinda go ahead and just indicated with that. But a lot of this unknown already, that's going to just be darker sort of areas. I think this is actually a lot. The government to make do just like a lamp or something like that. Just coming through the back and disappearing through those trees. But I'll just pop that in, going beyond that umbrella. Like that. Keep it interesting and carry that down here as well. This okay, intersecting, overlapping shapes. Ok. And now it's time to just getting some bits of the shop front. Okay, so we know there's a beat that runs down like this, connects onto the sign here, such as at a right angle like that. And we, again, what more of these shrubs that are just weaving in and out of the whole scene makes things so much more interesting. And I've got the shrub hue in a different location. I have a figure here as well. Say, we just don't have to put it all in the same place. Rough measurements of Faun cage, bring these down like this is the side of the shop. They're going to bring these slung down for the disorder, intersect with this figure here. And doing, hey, and let's have a look is another saw the building just running down like this and intersecting figure. And this is a thing, this is a minuss and so on. So I'm just hoping that that detail motive, this doesn't matter that much. It's just for the sake of this drawing a little this underneath is just going to be darkness. Shrub here running through a bank. Just try drawing it in. It's going to be pretty lot. And it comes down to, it is picked up here. K. I think what I'll do here is also just maybe getting a door, some sort. I know it's not really did just want to pop it in. Something like that. Okay. Read does. There's a window here. Logic kinda WE Day coming up and sort of frame. And the inside of the window. I click it again, just more of the shrubs and joining on to everything as well. That we die. And we can go ahead and getting a second, smaller when guide. So the right-hand side again, kind of overtaken by these plants and shrubs. So just indications. Okay. There's another one up here, the top. Get that framing like that. Okay. I think that should do it. So I'm going to go in afterwards just a detail, a little bit more. But this should be a good starting place for the painting. 11. Cafe: Paint the Light: We're going to be giving this one. And the first thing that we're going to start on is the lighter colors. So basically all the warm and lots of colors here in the same. And for that I'm going to be using basically a lot of yellows, warm colors. So we can start off essentially going straight into this top section. Now, this is a lot of basically just, just a bit of yellow ochre up in here and maybe some lemon yellow. I'm going to drop in as well. So we're going to larger kind of mop brush here, but I may swap to a smaller one on the way down. Okay, so just dropping a bit of that yellow, It's not a 100 percent yellow is a few other bits and pieces in here. I might even dropping a bit of red and blue pink in this section as well, just to pad, to change it up a bit. As we come down a little. This is where we can start dropping in a bit of this burnt sienna and maybe some pink burnt sienna and pink in here. I just want to change around these lamp at the shades a bit to make them a little bit warmer and adding some pink reds. Reason why is because we've got these green trees and things like that around the sides. So having a bit of this reading here, I feel was going to add a bit more interest and a complimentary color to go over the top. So I have this one maybe with a bit of PI with rate k2. So not just the kind of pink color, but pyloric. And feel free to drop in a few other bits and pieces a tiny bit of this burnt sienna. I think that really helps. So just in some areas, especially near the front like that, just drop it in, see what happens. And also flick a bit of paint on that top section, two tiny bit that, that's sort of spread. Just creates a bit of inconsistency and extra detailing. So there'll be more here and that side add some more red in there. Maybe some burnt sienna as well, like this. And we go pretty quick. What I'm gonna do now is I really want to start popping in bits and pieces of grain and things like that. So get it into the top of this lamp. It's just a imaginary land by putting earlier, it's just popping a bit of yellow for that section that maybe this Dawn here as well. I'll pick up a tiny bit of blue, essentially a kind of a bit of spirulina blue and drop that in. So they sign right next to the yellow. I think that would be nice. Yeah. Okay. And I'm going to go in and start popping in some green. So this is just a little bit of emerald green. So just a little bit in the corner there like that would help as well. Is a little bit of sap green movie sort of left over here at the bottom. Tiny bit of that. And here, squeeze little bit four out on the palette that I've been running out. Greenish yellow, which is just the, it's kind of similar to sap green but just as a lot of hue attached. So go back and swap to the round brush again here and pick up a bit of this paint is fresh paint. Can have a bit more vibrancy in there. I won't want that to mix. Blend little bit. Say, it just looks a bit more joined together. More little bit of sap green here, Trump that in It's kind of Dhaka and sections. So cutting around bits and pieces as well. This can also be part of the wall. So a bit of that yellow running down the side of the wall like that. But a lot of it's just essentially set grain. Okay. And again, just dropping a little bit underneath here around the shins and cutting around it. Just indications of these little bush. It's running up, these fines and short. They're running up and around and figures and around like that. And there's also some come around to the left-hand side. So more of the sap green trumped I didn't over the top like that. Do have some of the other emerald green hookers green, which I'm going to also play around with dropping there too. So we've got a blend of different colors going on. Cut around that lamp. I wanted to really blend them. That little sign there, just a tiny bit on top as well. Here. Little bit of cutting around just to preserve those colleagues. And I really wanna make sure I've got a nice transition between a lot of these greens, but I want to keep that sort of shop. So going through and again, I'm just having them do to play around with these colors. Dropping a mole of that green. Here, we did that sap green shift downwards and also just trying to let is blending with some of the reds. Sit right next to the reds. Like that. Now, grabbing a bit more of that yellow, lemon yellow. And I'm going to just drop some in here, have a bit of a transition sort of outline, bit of the windows as well, like that. And I do like some yellow icon. Find that it's nice to pop up here. Okay, So just getting to that yellow coming down. And later on what I'm gonna do is actually just popping some more. Some of these dotted the flowed down into the into the shade. So I'm just trying to lift it up. Sometimes you get these happening. It's really not a huge deal, but yeah, if it happens, it happens. More yellow at the bottom, cutting around bits and pieces. This sign is kind of Naples yellow was dropping into that creamy Naples yellow and yeah, like that. And we're going to just pretend it goes further down. Move that Naples yellow round here. The frames as well. For Windows has this same Naples yellow. Carlos are struggling. It's a creamy kinda yellow. Great. Whose top of sort of wall is sandstone sort of column. Okay. I'm kinda made up some sort of door dark area here. So I'm just going to color that in just a little bit of that yellow. Naples, yellow for the sum, Burleigh. Just want to get that in pretty quickly. And even the side here that's the same sort of color drawn that on like that to that area of the sine or building kit that continue that Laude wash Old through that underlie if it mixes with the green, just let it do its thing. And I'm going to continue just adding a few of these little bits and pieces in here. We have the more. So write down with strokes. Mix, just a little bit of this. Brown up. Just a bit Burnt Sienna running through that section. The back hand here. I'm really just trying and getting a few different colors in here. Really lot colors this but mainly warmer colors and the entire saying. Okay, and we can pick up also add to that sap green and that yellow, green color. I'm just going to drop in a bit of that ticket continues. And shrub or whatever it is continuing down copy maybe a bit over here as well. Some kind of shrub will plant on that left-hand side too. So I'm going to just quickly go ahead and get that in. And as we further sort of move down, saying what I'm gonna do here is just getting little indication of these chairs and seats and think about that. And really with a bit of a mix of yellow, yellow ocher and a teeny bit of burnt sienna house. So it really light wash? Yeah. Not really much to it at all. Okay. So we're gonna go actually cut around these tables and things and get more sort of shade lighter on. So we want to keep this area pretty lot. Okay. I just have a little bit of those chairs and things. Someone sitting down the back there. I'm just very loose. Wash over the top. It's always okay. Moving down into the ground, this is where I'm going to just stop putting in a bit of lemon yellow, some really light vibrant yellow over the top of everything. And even through the middle of these tables and stuff like that. I get that all to kinda mixing together, carry its way down the page. And again, we're going to use this to sort of getting a kinda shatter a Chavez shutter running across later on. Let me go. People here. Coming down here, writing and curves like that. And Destic. And across this one here, I'm just going to go into helping a lot wash of burnt sienna and a little bit of this spent on NBA as well, Rwanda through that section. Just kinda weeks him do its thing. Some of it kinda continues down here as well. Just gets a bit darker. So you can even begin to adding a bit of weight on wit, activity in that section, too little bit of that going on, but most of it I'm really just going to add in afterwards. Okay. Great. And it's going to have a look over here. Think I'll adding a bit of blue in the windows. So just to be aware of certainly in blue. Just a very light wash like this here behind these figures as well. This could be a bit here too. Right? Yeah. Yeah. A lot of the stuff that's left over now, we're going to just paint with a lot of the cooler colors. So this is like a FISA, all this motorcycle, some painting that a very light blue color like that. And we can go in, and for example, the actual learning cycle, I can just pop in your red here like that. We've got a lot of darkness in here, so I can just mix up a bit of a darker color like that, just using rid of the grays and stuff leftover on the palette that across. And just work on getting in little tiny details like that. Really isn't something I'm concerned with popping in to accurately. I just want to get him bit of this kind of detail here in the front indicating there is a motorcycle or something here. Okay. We've got the wheels as well, which is pretty doc and I'm trying to do this at the same time. So we've got a bit of a mixture going. Everything just joins together. And this wheel, that's kind of important. I got that. Some bicycle kind of in front of the motorcycle. Okay. And remember, we're not going to dock to sort of eliminate that wash and those lovely lines behind as well. So just sort of keep an eye out for that. Okay? And what we're gonna do is Mo added, just adding some little colors for the fees. Okay, and this figure here, Let's just love to use different alternating shades. And you can make things up as we go. You know, I can have these sort of bluish color here, kind of opaque color for that figure. They saw the one in front. He has just going to be a little bit darker, so they should. So I'll call that warning. It's also good to just getting a little bit of color for the faces. Whitewash, kind of a reddish, reddish kind of color which I'm going to just dropping like that. They can sort of get in the hands and things like that legs at the same time. Or in law and washes. If you go a bit over the biologists, make sure you lift off some color like that. Yes. That looks to be paired up. Sometimes the reds that you use can be attached to a pike so you have to be careful just dilute them down enough. Lady day without homes up. Person here, maybe guy. And the rest of it is just popping in. So shirts and get a color for the fill their bodies. And not really to Fostoria, just going into the palette, trying a few different cars. The system green dot color here, maybe just to get the best of this. White here, like that. And here in the foreground, Mandy bit of blue. Just cutting through the Chair for the speaker. Sitting here reading the newspaper will just having is is tape. Then we all come from the leg like that. Notice how it also sort of going through the the chair, just come through the chat so I don't get rid of all that. The beats of lights and things on it as well. This is a cool gray color that we've got. And then the guy, someone sitting down here, we've got a person sitting behind. Let's put a bit of green. Shed, that pink here. Darkness on the shelves with these Figma just cutting around again, the chair does help. Leaves and some details there. There's loosely, if you want to go right color for that figure. Here in the background. There we go. Someone just sort of walking around the back and get some pants but it's bigger. It goes all the way down there somewhere. And you can then putting a bit of darkness with this person here beyond that. And limited color for this one as well. Just a bit of darkness and testing. So I'm gonna leave this overdraw and we'll come back to it in just a moment. 12. Cafe: Paint the Shadows: Okay, so we're going to go ahead and stop on the second part of the painting now. And what we're gonna do is start detailing. So it tends to using smaller round brushes, even some smaller flat brushes as well. I'm going to play around with these. He has number 4 and number 6 round brush and a number 6 flat brush. I've also got some larger flat brushes here. This is number 8 flat brush. And I do like to use this one as well to sort of play around and adding some larger and dark areas. So where I'm going to, I'll begin with, is really on the top here just with some of these plants and things. Firstly, I'm going to mix up some DACA kind of colors. And I've already actually got bits and pieces of these colors left on the palette is really just different combinations of purples, some darker greens and things like that. So let's go ahead. I do like these dark a bit of green here, which I'm going to play around and see if we can drop in a bit here to indicate the sounds of it dark and bits of leaves and then cut around some of the others as well. So little bit of darkness like that. Yeah. Okay. And then remember to leave some of the green from that previous layer on. You don't want to get rid of all of it. Okay, so it kind of just use this to cut around bits and pieces of that are the color. Some of this stuff here is a lot darker as well. So you can add in a little bit of these, going to be the neutral tint here, which I've mixed up and you can use that as well, neutral tint. Even here there's some kind of window or something that's joining on, just moved downward. Saw that. So a little bit of color for that. This board has a bit of darkness sort of running through it too. So I'm just going to probably do that on here. Even the sort of section there does have a bit of darkness running through, but I'm trying to just leave also some of that yellow there too, so that we've got a nice little, last little mix of hues and tones. I do want this to be a little bit darker here so that we can use that to kinda cut around that motorcycle in the foreground. Yeah. And just continuing this down and start popping a few darker strokes, being very gentle and then sort of quick with these brushstrokes as well. And I'm using some Hooker's green and speaking up some simple because gray now it's a little bit darker. And let's try to just dropping a bit here. Okay. Moving my way around the page and weaving in and out of things that we've actually got. A favorite of darkness underneath here is, well, it's the sum of this top section here. So I'm going to be to the Play around that section to make it darker. And with that, I'm just using neutral tint, neutral tint and the green, just solving them around so that I can do this is section here is also a fair bit darker. So I'm just going around cutting around some of these shapes like that. Then we'll pick up with more of that green. I'm running through underneath like this as well, so that I can get a bit more contrast as opposed on the shade here. Okay. Oops. Little bit of that. Sort. Colleges scruffy sort of brushstrokes running through to indicate bits of these shrug of violence gone up the wall. You can do it here as well, just to sort of sketchiness like that. And just a little bit more running through here, we've also got bits and pieces running through this top section. Two. So this is where I kind of play, play around a bit more and just add some of that darkness. And we can go back into that sap green and and, you know, even use that to dock and off some of the areas at the top here to here, I want to leave that alone, that initial wash. Okay, So this one kinda comes up. There's just so much, so much detail in here, but what we can do is just add in blue indications of what's happening. So little brushstrokes that each TA may indicate some leaves, some dark leaves in here and just sort of into mixed in that play around on this side as well. Here. More of that sap green. And yeah. You that coming down side of that, they would ink bit more. Coming around the side here. Great. Oops. I accidentally dropped him into Columbia. Darkness, the shades like that. Then. And here's the top section, blending into some of these trees, shrubs and things up the top here as well by the side. And just a vertical line running down. Just want to touch this section up a bit. Get rid of that black that I've dropped in there. And move that around a little like that should be okay. This is just touching guy running through here. Okay? There's really a lot of darkness inside this building and ongoing to just mix up some neutral tint, also some ocher marine blue here by the side, so that I can get in some different mixes through this section. So even here, I can just go in and dropping a little bit of darkness like that and kind of leave out some sections of yellow. That's the I find that's the best trick. So I'm just leaving out a bit of these. I don't know what it is, but basically the frames of the building or what have you, little windows and stuff cutting around like that. Okay. So that's one sort of section done. You can go and do this one now just dock and underneath like that, just one brush shortly with that. And notice how already sort of skips. I have a new sections in the background just below that yellow shows through really crucial. And even through this whole section here It's a family doc. Say I just dropping it to be that Kala be here to get rid of all that. What may have some reading that. But you do want to make it pretty Doc. I have to say I want this all to be mainly a shadow in the background, so it's shadow areas. Okay? And it's going to contrast with the stuff in the foreground, this shade and some of the figures. Okay, cutting around this figure. One of the figures and a little bit more blue in here as well off you like this kind of brown color. And following this down like that, cutting around the figure. Like least and this was sort of gain. The arm that's sticking out the side of the figure. Then here's, well, maybe they'd have darkness to the side underneath the baby, go through sort of created a bit of contrast there for that bigger. Okay. And I'm, I'm right back here just to darken up sections, tiny little bit errors. I feel like it's just not it's just not enough. More neutral tint. Be pretty, pretty dark and some of these sections. And then Okay, Here we go, just another bit here. And cutting around these trees and things and people. Not huge amount of work just to where the green is. We just want to create a bit of contrast. Some darkness net. Well thing is that all of this darkness actually travels downwards through the page and not continuing. Get a little bit more on the ground. And here through the tables and things like that, just make it nice. And yeah, just cut a bit around there so that to indicate these links or something. Then move it to these colors and having it kind of joined. Third, oldest shadows and things like that in the background there. So we've got essentially some shadow on the ground. Okay. Running through the same. But I don't want it to disturb too much of the line work that I've got behind. Okay, so just do that. Even here there is a bit of shadow that runs out. So this way like that. And same thing goes just cutting around the chairs and people will get some pieces here like that to getting this sort of shape. And I'm being quite quick, the lamb doing this tree. Okay, just continues on. Even this section is pretty doc and say, hoping a bit more color through that section and carry this solute shadow, cross like this here. And how do the same here? Okay? So I've got a bit of color, a bit of light just preserved through the center of the page. I do want to also just dock and a little bit here, I'll add in a bit of neutral tint to the yellow. Just get in a stroke to join it all up like that as well. So it's not just too broad. Okay. Fantastic. Bit more color and gave it more darkness, right? 20 bit of just a light wash of neutral tint of these shades. This section here, because it is actually a little bit dark on that section. Here's low evil. So go to the areas Quantum on the size like these switches, DACA. So we can just dropping a blue color like that. Just a bit of a neutral tint. And top. Little bit of outlining work like that. Adding some more shadows. You can do it here too. And got close. The section here of the the umbrella. And I'm just again going to work in a little bit of shade on top of the umbrella. So this looks like it's a shutter running across, slightly like that. And then we've got, of course, these little buildings in the background, sorry, these umbrella CO2 of the same color. So I just neutral tint running across sections of it, leaving bits of the yellow day on that does the trick lot. Well, say Something like that. Okay. Fantastic. Moodle, bit of touch-up in areas of color. Some of the spots. Okay. And I think I'll call this one finished. 13. Carlton Scene: Paint the Light: Okay. So this isn't saying that I've already predrawn earlier when I was onsite, taken a photograph and I always do this when I start a sketch in person. I like to just take a quick photograph because you never know what can happen. Shadows can change. You might draw a bit too long in the sun, the angles has changed, the shadows change, might ran, you never know. So I always like to just capture the scene as I first see it. And if I need more time when it get back home or late, I can go back in and doing more work like what I'm doing here. So I've actually zoomed into the scene a bit. And when you're in person just looking at the entire saying it's actually a lot wider. You can see a lot more information here, the photograph and he catches a little bit of a challenge again, even when looking at the photograph is trying to reduce things down, deciding what kind of story that you want to tell. And for me, I just wanted to tell a nice little story of a few figures here standing on the steps and add a few more sort of crossing the road. And this nice building here, maybe some shadows and feel different things popped in here in the background. So that's what I've done. And notice how I've also added a few figures closer. And this is just the lead the eye in more depth because see when you're looking at seen from a distance, it does look a lot more three-dimensional person, but I just felt that needed a few more here in the front. Otherwise it just kinda looks a bit flat, but also emphasized this tree, I've made it a lot larger parsley to also cover up some of this building because I didn't want to just repeat all this detail was a bit too much. And I think just a few of these little openings tells a story well enough. So I'm going to continue and let's get started with the painting. So first things first, I'm actually going to get in a bit of the building. So we're gonna go in really with some creamy sort of color. And what actually go ahead and use a bit of this Naples yellow first. So just picking up some of that yellow. And I'm going to drop that in and getting a really light sort of wash running through this building. And using a fair bit of Naples yellow, just picking up a good amount from the palette. And the other thing that I really want to go around is just some of the windows. So I want to leave in a little bit of blue for the windows later. So all we're doing, we're just picking up warm colors. I'm using yellow ocher as well as a bit of Naples yellow. These are two of my favorite combinations because it's just a little more understated. Then the lemon yellow, cadmium yellow even. So. Just going through and cutting around some little areas of the windows, the doors, that kind of things. So we can just get in that bit of extra color for their later on and be more water coming through here. And if we go over this bit with the trees a little bit, It's not a huge deal, but try to leave, tried to leave it so that we can actually get in. And sort of more vibrant greens light often when you mix stuff. And I like to sort of use the sort appeal tone, pure hue to begin with so that, that bit of sap green to begin with and then drop in some other colors to darken it down or to just mute it a little bit as we go. So this is essentially what I'm doing at the moment. Just a lot of really quick coloring in and going past the figure as well here the foreground is going to do a little bit of cutting around that figure. There is a bicycle here which I've cut a guest in Jordan. And I could see a little bit sticking out on the reference photo, which I haven't actually got in. So again, one of the things about sketching and location, and you need to be aware of is that sometimes cars and things like that move in by the time I started actually getting to this part, that red guy moved and obviously I had to sort of improvise and go from there. So It's really interesting and also a great little exercise in just learning to be a bit more spontaneous. Okay? Just thinking, what else do we have in here? I'm just going to cut around a bit of this stuff there like that. Also I'm dropping a tiny bit of some little bit of warmth. Tiny bit of red. Here is some areas sort of just to get in a bit of that. Sort of pastel. Colors, might even use a bit of quash mixed in there as well. Just like that, just dropping in these areas surrounding some of the parts of the building. Just to imply. And yeah, I'm doing this all wet into wet as well so that it's not too obvious. Okay, Now, we want to do this quickly just to get a little impression of it. I don't want it to be too stated. And that's the great thing about using wet-in-wet. It just makes it very easy to get these sort of quick little effects in. Don't even need to sort of touch and go really just touching goes the sort of way and carrying it down. Just looking at a few different areas. And this makes the entire scene look a lot more interesting as well. We've got a few more colors running through. And over here we've got a bit of this tree which I'm going to just drop in a little bit of sap green. And the great thing is that it's going to mix around to with some of those colors. And I'm using also a bit of this emerald green. I'm using a few different greens here, just mixing that in to get a little bit of darkness. Another thing is, well, we're going to get, I want to get the shadows coming in from that left-hand side a bit. So keeping in mind, I'm just going to add a bit more sort of lighter greens that left-hand side. And just drop that in. Come around these figures a little bit as well. Like that. Okay, fantastic. And the whole Scott, this entire outrageous reaching out towards the right-hand side there. You remember you don't have to get all these dark tones and just yet we can just pop in a little bit. But most of that we can actually get in afterwards once everything's kind of dried off with this quite a gigantic looking true. So I'm going to move down to the foreground now and time to pick up a little bit more of the yellow and maybe a tiny bit he just indicate this footpath. But as we move further down, I'm actually going to go ahead and pick up a bit of this sort of neutral tint. Drop that in there just dark and down this area because we've got this kind of roared area and it's just got more of a grayish color attached to it. So I want to emphasize some of that. Okay, bit of warmth in there too. So don't overdo it. And join that up with the top section like that here. So really just some warmth, a warm gray moving through that section like this k and let it sort of makes him that yellow above there. And we almost always done, I'm going to just add in a few DACA sort of streaks, maybe at the bottom here and over here as well. Okay. It'll be a little bit of a here. Sometimes you might find it's a little bit too dark. And you can just add in a tiny bit more warmth like these so you can lift out some areas too. But that's the, that's the idea of ground doesn't need to be a little bit darker though, because it is the road. Now, what we're gonna do is we're going to add some really light colors for the rest of the painting. And I'm going to go ahead and pick up a little bit of red on a troponin for this. Since bit of orange, orangey red color. And I've got green sort of trees in the background, which makes it really great to have some sort of read or warmer color here in the foreground. Which is why I'm using this sort of read for this car here. Cutting around a bit of the windows like that. And just essentially I'm just coloring that carrying nothing, nothing too difficult. They're just getting my color and quickly and some of that will blend into the grain as well because that green is going to be still slightly wet. And then it can even just drop in a bit of neutral tint for the wheels, just that doc in them down a little like that. This car here we can go in with a bit of blue, but it's throughly and blue. He has cut around some of the windows like that. Probably the windows in Suri and blue at all lead up or just a lighter sort of version. And I'm using this color because the background, we've got all these yellow here. So again, I'm playing around with complimentary colors. Okay? Things will mix around like they're doing here. Bit of that tree. So mixing in to that car, that's completely fine. Just have a play around. Let it do its thing. I'm just going to add a little bit of darkness into the wheels as well like that. And really a lot of the remainders just getting an a bit of a light wash of blue, just a cooler color using spirulina blue. Tiny bit for these windows. Doors and things like that. Just to bring out a bit of contrast in the buildings. And again, just playing with the complimentary colors. We've got all these yellow in the background. So bit of blue really makes it pop out more. So that's what I'm doing and keep it very light, not too dark at all. Just going to get an, a very light wash like that and just popping. So again, some of these part here and show what this is. This is also another air door or something like that. Let's have a look. So we've gotten maybe this is like a kind of ticket machine or something. I'll just get colonized in the same sort of color, this grayish color and do this one here in the background as well like that. Oops, I should have left that what actually, but I have to make do with that. I'll do the other one here now. And again, we've got figures. And like I said before, which is playing around with some whitewash is just the little blue for this fellow bit of blue for this one maybe sitting down here. We can pick up a bit of gray, so to color drop it into this figure and blend them woods like that. Not much detail in there at all, just a color. Just think of it as popping on a real basic color. Said, we're going to be to read for that figure, pink. And we can go maybe a bit of orangey sort of color for that one here in the background. And let's try bit of yellow maybe for this one. So just some broader kind of colors. This one here I do like this yellowish, yellow, orangey kind of color. So I'm going to use that in that figure as well. Okay? And so this seems more like a handbag with something here to the right. And before I forget, I'm going to pick up that blue drop that into the windows of these Kai just tiny bit here and there. Yeah. Movie here as well. This car. Eg. What are some I forgotten me call these, also got a figure here on the left, a little bit of color for that figure as well. Last thing I want to do is just gave a little bit of the sky. So little flat brush here, I'm going to pick up some certainly in blue. And it's only a sliver of sky at the top. Something like this. Really light wash kind of cutting around the buildings. That yeah. Here's another one. Okay. Fantastic. So we'll leave this to dry a, get back to it for the final details. 14. Carlton Scene: Add the Shadows: That's all. Draw it off now. And what we're gonna do is focus a lot on the shadows and dark areas. And for that I'm going to picking up a larger round brush. This is number 8, round brush. And I'm going to mix up a variety of Dhaka colors over here. I'm going to get some neutral tint and also popping a bit of purple purplish color over here. Okay. In the colon is and also a bit of this blue here. Let's draw that in here. Really, we just want cool colors. Okay, I'm going to use blue exactly, but something similar to that. Maybe with a bit of red mixed neighborhood of yellow. This would just creating a general kind of grayish color, cool gray color. And from here we can start working on the shadows. So having a look at the reference photo, that's actually a, a tree shutter running all the way through. So connecting everything opposite Shri more sort of on the side which I haven't gotten me. But the branches and things kind of just spread out goal the way to the top of these, these buildings. So what I'm gonna do, I'm gonna get in some of the, the tree branches, come wherever and left. But mostly I'm going to go in and getting the darkness and he essay, just little bits of shadow inside the buildings. Do number eight, brush and pulling in as shadow. Kind of just cutting across like that. Okay. Trick with the shadows is that you gotta do them quickly and just leave that sharpness in a case like that. What else have we got? This side here? We've also got a bit of darkness in here. We've got me have a quick look. Sort of comes down like this. And then going to shops at age like that. Cuvette in. There. There we go. Now the bit of shadow. I will try to do these quickly because once he gets the other bits of shutter from the tree, just blending in, say, that's what I want to keep these quiets spontaneous and just quick. This darkness on the left-hand side, you okay. Do I have bits of darkness in here as well? And you don't need to follow the reference picture exactly two, you can sort of change things around them. That's what I'm doing here. I'm just trying to get in bits and pieces, but I'm also leaving in and changing around a few, few bits and pieces here and then say, maybe got a bit of shadow there. That's right. And here we've also got some darkness or running down beside that. Okay. In here. And I'm going to pick off a small rigger, brush and pick up some of these doc is sort of paint that I've been using, maybe with some neutral tint and he just makes that down more to that data. And I'm going to stop when again, some lines just to connect up these these areas to make it look like we've got shatters coming in from that left-hand side and they sort of just cut through the building. Bits and pieces of the trickier is, I'm tronic. Get it while the paint is still wet so that the shadows just blending a little bit more and then not as dark as the other shadows as well. So you remember to keep it fairly light and have a play around like that. Continue on maybe a bit, sorry, coming up through here. Then be joining onto this side. That Building and disappearing off and hitting the top of that VOD like that. Then it really just is up to you how he saturated and how many of these shadows you want to, you want to pop in here in the first place. I'm kind of making this up as I go. I'm exaggerating it so that the shadow is kind of a little bit further in, actually. And if you feel like this shadows in the window and just not dark enough, you can go in and add a little bit more little bit more male like that. Okay. So that's looking looking Quad override. And after sending a look at what else we want. We want, want to pop in some extra details and swap over to a smaller round brush now, and let's work a bit on these cars. So here's a dot missing them. So just some beats coming out of a shatters into the windows like that, Maybe bit of darkness on that right-hand underside of the car on the side of here as well. And we've got lot coming out from that left-hand sides of the painting. So I'm just trying to imply a bit of that little bit of that detail going on. Connecting it on the ground, especially so that we've got a good level of darkness for these cars as well. So that's been a shadow on the ground for that column. Just like that. This one we can just go in and do quickly is a bit of shadow underneath there and that sort of goes over to the right-hand side. Like that. Getting maybe a little bit of darkness at the front like this. Then saying that these com and you just submitted going to be the darkness there. And do the same thing maybe for some of these bits and pieces. So that could be a shadow. The shadow here, for example. Something here. Let's have a look kind of bit of shadow for this window. Just lift off a little bit very large shadow. And actually should sort of be on this side, that darkness here being cost that. And that one more that we'll do. Something like that. Okay, fantastic. And I'm going to just work on this tree now, bit more of this green color. And I'm going to use this also as a way to cut around the cause as well. Just bring a bit more detail and to the cause. So just some darkness here and more of these green, It's just a bit of emerald green using like that. Switching it up like this. And remember to leave in bits of that beautiful sap green in there as well. So you don't want to color the whole, this whole tree and it's really just a variety of trees almost, but you don't want to call it all of it. In Germany, at least some of the branches as well. I'm sort of looking like the reflected off some lights or who knows what? You know also some of them we're gonna getting DACA with some and a bit of, a bit of brown later on. But this is a way just to help cup around some of these objects, these figures and things like that popped in a little bit more darkness here in the corner as well. A way to kind of negatively paint some of this stuff. Okay, so this is going to be quite a Docs or that sort of shape. And I want to, I want to get this done quickly, so not too overworked as well. So here I am just dropping in a little bit of law to sort of mix on this left-hand side and leaving, remember than remembering to leave in some of that noise. Green that's already there around the fees. This is where I'm just darkening it. Okay. Then like that. Great. So I'll probably leave that for now. And don't want to work a bit on these figures and just try to get into shadow, maybe running a little, probably running towards the front. But kind of on the same angle was a lot of these other shatters. So we want them to sort of going almost going to be. In front of them. So let's get indicative of legs, just 20 indications and the legs that this one is another figure, the lakes. And this figure here kind of walking in front like that. And not just pull these light blue further, further forwards and like that. And then it'll shatter just something like this going in to the scene that do this one as well. Just the blue darkness here on the legs and a bit of shadow going on to that side of the figure. That, oops. Join that up with the ground. A bit more. K, No. So you know, we've got areas of the car that I going to be the tie underneath and you have a tie that I'm just going to darken up a bit more, just to imply that darkness and the air is too. It's really quite crucial like that. And it uses some areas, extra details and darkness. Where you sort of think that there's a shadow, dark areas. And these legs, I think needs to be dark and down a bit more just to be extra darkness like this. There we go. Shadow running towards the front, like that. Here getting now the figure he is standing around in the sun, bit of shadow running towards the back. And he's a kind of a bike that I've drawn in and maybe a little bit of a shadow there like that. One that up and made these figures legs like that. So it's kind of walking down the stairs and we just standings. This fill is sitting down in the front. Like that. The Hopi and a shatters well, kinda coming behind them like that. And you know, the thing is is Tom that I was painting, drawing this part that was covering the features and I had to kind of make it up. So I went on to say, sometimes you need to do that. Take a look, what else we might want to pop in. We could even get a little hint to the shadow coming off that pillow like this, just moving along to the back like that. Something like that. Could work. Very subtle. These steps as well. Okay, Great. And I think what I'll also do is stop getting in some little shadows here in the foreground. To school some trees. A tree that's out of the scene for example. And you can see them on the road all come through this cone of angles similar to that. So I'm just going to go in and edit this. So some large shadow shapes maybe coming in to the scene can be, I could be a tray or something in the distance and helping it to kind of segment this whole area as well so that we're not, we've got other kind of shadows and bits and pieces going on. Okay, So it's just a way to bring a bit of interest as opposed to some of the foreground area. And just having a look what I want do with some of these stuff. As well. As we've also got some of this area which I think I'll just outline a bit at the bottom, tiny bit of that. Okay? So we've really like shutters indicative. So shares and it could be just trees as well. My tree shapes for the leaves, so I'm just going to rough that up and be like that so that it almost looks like a bit of a shadow of some tree leaves or something. Really, really quickly. Duty that up a bit long, work on the ground. We're going to have to go ahead and board as well because a lot of this stuff is. Already droning and painful. And really at this point we're just looking at extra things, extra details to pick out. And actually a tree running down to the left-hand side just said it was going to get into full. And so I think I'll actually pop it in. I'll pop it in here. Behind this figure can be coming in like this and logically tree. This is just a bit of movie to brown that I've got. And bringing that up like this neutral tint in here, I need to just dark in this tree down to be sure that it's kinda going out of the same, has to be dark and then everything else. And this is the source of the shadows being cast. Something something like that in Amman slope over also to a little little brush like this one, a little rigger brush to get in some of the details and the intricacies makes it a lot easier this way. And to do it, man, with the largest sort of brush. Say essentially what I'm doing. I don't want to, I also don't want to just do it. So being very careful. At this point, I'm going to be the shadows kind of overlap with the source of the shadows, which is this tree on the left. Like that. Remembering to keep it fairly dark, but just more watery enough as well. I think that should do it for literally indication I could keep going. And I'm so tempted to, really tempted to, but I think I'll, I'll actually just leave that. We've also got things like these trees here in the foreground, which I can play around and popping in a little bit of brown here and just start to do the same sort of thing. And the trick as well is just to leave bits, yellow beads of that yellow emits WHO, so that it's looking like we've got some areas of highlights and in here. So I'm just taking my time to getting a little bit of that suggestive work there for some of the branches. Lot of the detail is already he is say, and this is bonus, really just bonus stuff. Here. It's almost like coloring in the branches and adding a few more as well. It's up to you to decide which part of it is actually going to be left for the painting in which pot and you gonna leave just for the pen work in the beginning helps to also bring out that car just having some of these branches and things coming in front and joining up like that. And what I'll do is also just adding a little bit of detailing on the building, some of this brown. And I'm going to drop that in to just some of the areas to indicate the the little sections where they connect up. So just having a look probably the top of the building, we want to be a bit of brown and there is here a little bit of darkness here. And like that Here. I want to do overdo it and whole area, but, and we've got a little bit here. When we hear that. So much just detailing the building. There's little accents in there so that it doesn't look. So I'm still kind of stock to read for the heads of these figures as well. We've orange or something, right? And also thinking, just mixing up a little bit of this blue with the neutral tint, just a very light wash of it. So I can get in some extra shadows and things on the sides of these buildings in a bits of tiny bits of shadow. Some pause like that. Effect. And this area is actually dock. We've actually got a bit of a sort of do a bit of coloring, cutting around in areas, getting tiny bit of darkness, lot wash of color through the building. Like that. Mccullough. The beat that we kinda done in the beginning, just with a bit of Moving to Whitman, Whitman work. I'm just going over that to strengthen a little more. Just to glaze over the top like that. More neutral tint. Find bits and pieces. Some areas where I want to add some more tiny bit more strengthening. Say around this doorway. I think having a bit of missing here is going to help bring that out more. There's docking these areas of the openings. Essentially some pods creating more contrast. Very, there's someone, the lives of some dot-com kind of thing. Bits and pieces here. And that's a lot time we're looking for here that should be slightly darker as well. Okay, follow step. We're going to use a little bit of white quash. I'm going to mixing maybe you've been to the yellow also with the brush just to get some Fano funnel plots. And do that what we've a tiny bit of yellow mixed into it. That would be the Mishnah am highlight here, left side of the body. That same here with this figure. Here. Like that. Here's popping, getting that bits of Lot in some areas, but the whole sort of wall, but it does help. Feet on the ground as well. Tv on the tree. And then inside that was back in some areas like that. And I'll call this one finished. 15. Carlton Park: Paint the Light: Okay, so here is a slightly adapted version of the previous sketch. And what I've done is I've just taken little components, this tree rotten the center here. I've kind of just used that. I've invented a couple of people. In fact, these were here before those ago with the kind of cap. I can't remember who was here on the other side, but they were definitely was another person here. But that's the beauty are sort of doing a lot of this urban sketching. People come and go and you just really have to scribble the main quickly and you never know how long that they may sort of hang around there. So I've also put in a lady who was sitting down at the front and she went and walked away. This was after I took the photograph. So I put her in and she kinda moved positions was initially sitting here, then she'd moved here. So I had this sort of turn that into another person there. So let's see how we go. I've also got a couple, a few ducks here I've invented. And I'll put in a few little ducklings coming through the front. I thought this was a nice little addition to sort of fill up the foreground. At times, you just need to add a few other bits and pieces in. So what we're gonna do first is I'm going to start off a bit with the trees. And I'm going to go in with a light wash of green. No, not a light wash of general wash of green. This is just some set grain that I've got. And what I'm gonna do is I'm going to mix in a few other bits of green in here too. So we'll just dropping the sap green first. And I know I'm going to bid of other sort of green here and the palate which I'm just picking up, use this as well. Bit of emerald green in here which is a bit darker. I've got some Hooker's green to which I can popping here and I'd just like to do this while everything is still wet when you sort of dropping bits into the other, the greens that does help. And I'll have to decide as well in terms of the shadows, how are we going to place them? I'm thinking I want the shadow to running to the left-hand side and we'll see how it goes. I just popping in this little indication of the tree and the sort of darker bits and pieces here as well. You know, all this is kind of wet into wet and I loved doing some of the stuff rather than layering afterwards. You can do both. I tend to vary it depending on how I feel. But I'll use more of a wedding width, sort of brush strokes for this one. And also some of these trees here on the left, they do need to be completed. So I'm just going to go through and dropping a few more. And we indications of this green, some more of this stuff here. I don't even know what grains I'm using. Essentially it's just various mixes of Hooker's green and emerald green plus a bit of sap green, okay, leaving a bit of, bit of light in there as well. So in terms of those tiny bits of white areas in the end, what you can do as well, you can mix up some other grains just by adding some more yellows to you to to normal grains, little bit of blue to green so you can mix up your grading is self yellow and a bit of blue. Okay, So I'm just having a look around and seeing what else I need to add in Oman actually complete just adding a little bit of green on that side. That BQA. Great. And I'm really wanting to just popping some truly in blue. And it doesn't have to be really move just some kind of blue here in the sky, very light and allowing that to mixing add to the Greens in some areas as well. So we've got some interesting combinations, color combinations. I'm just cutting around also this building here in the background like that. Because I want to get it in with more of a yellowy color. But we do want to just make sure we've got enough sky here and letting it kind of blending as well as so important on just I always live things mix where I can make this so much. And it looks more much more fluid and natural and just going to do this. So I've now, and I do realize some of this may turn into a kind of turquoise color, but we'll just have to make do mainly play with cools and warms. Just think of these colors. Cool colors are warm colors. And just the beauty of the. Intersecting bits like that. And leaving the lakes as well because we're gonna get a different color there. Okay. So as we move down, I'm just going to pick up some more of those greens, mainly sap green to begin with down here. And drag that across the bottom. Be careful to cut around these figures and bits and pieces here as well. I'm still using the sludge mop brush, makes it a lot quicker. And in a goal around like that, there might be bushes and things near the speakers. So I'm just kinda get inhibited green there. And we're gonna go downwards. We've got the duck. So a very careful here, I just want to cut around. So don't get any color on these ducks. And you're going to find point and you brush. It just allows you to do stuff like this. And it doesn't have to be perfect, but just enough there because I'll do want to get in another color for these redox ducklings. That nice. Still going over them a little bit. For the most part with fine coming down further. And, you know, I've got some other greens as well. This is a bit of dark and drain here. Let that sort of bleed and blend in nicely and carry that across to this side here. I'm popping a bit more sap green to just really try not to let these dry and get the solo lane with one big wash. Cutting around is the hardest to do. Especially when you've got such small little shapes here in the foreground. Okay, fantastic. And you just carry these further downwards like this here. And we good. And that should do the trick. Okay, so buildings in the background, I just want to pick up a bit of yellow, tiny bit of yellow ocher and get the name lot wash like this, especially while that background is still wet. Hopefully. Well, I think it's kind of drawn or even not a problem. Just getting these indications of these buildings that It's not much, but just need a very light yellow kind of wash there. It's just a bit of yellow ocher. Okay, fantastic. And let's have a look. Now. I want to get in some colorful these figures and play around with a few different combinations. To begin with, I'm thinking a bit of red or pink for this figure here, like that. And for the other one here we might go with the beef and lemon yellow. Actually, that would be nice. Just be the warm color there so that we can contrast that with the backgrounds, right? Kind of yellow for the hat as well. So turned to orange actually. Let me just see if I can pick up a stronger bit of yellow. Still warm colors. Do the trick. And then for the pants of this MOOC is getting a bit of purple. Tony would have picked we'll just make stain like that. Ok. And for the legs, I'm going to drop in a little bit of red and lock that down as well. Both sides. Just a bit of red like that. To change up that's shared as well. Maybe some more blue running through like that. Okay. He did a brown for the tiny bit of brown fat. You've read from the face of this figure. These two. So these ones in the background. And we can keep playing around. And, and remember this lady had a really bright orange part of a should in here, which I'm going to try to getting like this. And it went down there. A duck, a kind of coat on this. And she had some kind of blue pants. And let's drop those in. There we go. It boots just color them into be taka. Want wash. In. That same with this one here. Just how can it down a little bit. And you can change it up and add whatever colleagues you want. And that's the fun thing about that. These little sketches you just putting in really light washes of color at the end of the day. And you kinda making it up as you go, sort of figuring out what you think when Luke Good playing around with different color combinations. That's how you learn. Some of these ones in the background. I'm just going to get DACA like that. Okay, Great. Hey, now pick up a bit of yellow mixed with lemon yellow. Okay. Yeah. The one I want just putting a bit of brown ran in red fats. And we got some head. And now we've got these ducks as well saw going to pick up beautiful orange for the beaks and just pump the mean while I can lumped sort of Washington that orange that and the bodies, I'm just going to getting wreath of beat of neutral tint, just a gray down sort of color. Then the leaves him why to near as well. Three lots gray color like that. Really. Nothing special. K going to get into some of the yellow here for that building. Just quickly get in that section. And with these trees, I'm going to pick up some brown bit of sepia and burnt umber Rwanda and just try to getting a bit of that brown. They're just like this. I try not to touch the paper old too much as well. Just a few strokes. Let's water can leave a bit of why it's on there too. That's one kabeles trees here, more water. That's because maybe there's another one coming up like that on the side, that right-hand side. I k. And this kid is holding like a bowl or something. I'm just going to put intuitive orange basketball. And we'll give this a little draw it and get back to it. 16. Carlton Park: Add the Shadows: All right, Now to finish things off, what I'm going to do is pop in some shadows. So I think what I'm gonna do is get them to come off on a bit of an angle. So sort of like on these sort of two but still going towards that left hand side. As usual, I'm going to be using some neutral tint and we can putting some red also on some areas. Just in the corners. Yeah. And also a bit of blue on this side as well. So we just have a different kind of mix of grays and things. So just having a look where we want to start off stump thinking. We might actually going with some of these ones in the back. So it's pumping the legs of these these figures here and the back. Sure, it's dark enough. And there we go. A couple of legs or that one bit of shadow coming towards the front like this. We might even have the tree bit of shadow for the tree there. Like that. That one is low, maybe a. Now that the larger tree coming in there from this side, we've got a bit the shattered from this woman going towards that front like these. Maybe like a beak, just a bit of shadow inside her clothing, underneath things like that. Just to, just to bring a bit of life in men. And the ducks just a little in some little shadows on the ground where they are walking. Nulls old to foster that getting these exactly right, Just that indication and making sure that it's all kind of F, The shutters odd going in the right direction as well. That's the important thing. Here we go just a little bit of a shadow for this figure here, going backwards. Then these trees got a shutter to, we've got maybe shatters running across the ground for these videos. Kinda going towards the left-hand side like that. Great. And I want to just connect up some of these trees a bit by popping in some darkness on the left-hand side just to get in. Again, that indication of some shadowy areas and that left-hand side of the tree. Okay. Something like that. And that will go off and do these other ones as well. Go up. That really you just putting in some some darkness on that left-hand side of the tree. Okay. And not and I'm trying to get in a lot of detail, but just if you look how quickly I'm working, you have to be quick to get that sort of freshness at times as well. And here's this sort of pathway. You can just popping some branches and extra details and indications using the paintbrush up to you how far you want to go with this pod as well. So they can pick up another small brown and just start putting in some more branches and things like that. Well, for lending that downwards so that the shadow is kind of connect on to the actual tree. That can also play with some more greens and dropping a bit more green in some areas to dock enough bits and pieces as well. So if you want to just add some more darkness on the heap, for example, that's quite doable into here, for example. Here, just picking out areas that I can potentially doc, create a bit more contrast in some spots. I want it to look natural low, so just gotta be careful that it's not too harsh. I don't want to also get rid of all these lovely and waiting wit working here too. So might be bits where I'm dropping a bit in other parts, I'll just leave that beautiful neutral tint and play around with some branch. Sort of work. Darkness to her pants like that. Actually. For these figures in often the background, one sort of beyond the tree. Some darkness on the left side of this one to here. Same with this figure. Just to give that impression of why coming from that rod enzyme. Do you feel this figure needs a bit more darkness in here as well? Just on that left side like that. And I'm just thinking what else we might want to do. I mean, we can add in some more shrubs and things. For example, this is a way you can add in some DACA shrubs in the background like that. I'm just using that to kind of cut around these figures here. That helps. Just dock in the legs a bit more. Just in some areas you can do this like that. They don't want to overpower everything. So just spread that around a bit. This, these kind of background shrubs, I suppose I'm just inventing doing this so that we can have a beautiful contrast with these people here in the front. Little bit of indication as well for the windows on this building in the background. And maybe a few little little grass and things like that. Just to finish off, I'm going to use a fan brush. This is going to make it easier. Pizza like that. Especially in the foreground. Try to change, vary the direction of these with a sort of M run as well. So they don't want all sort of sticking out all in the same direction. This will give the same African little bit more depth and kind of join up the bits of shadow as well with the ground so that it's not too harsh. And its main thing I really want to do, oops, let's use the edges of it more. If you don't have a fan brush, just, just pick up the little round brush and you can just add in new strokes. Similar to these, it does take a bit longer, but like these really same thing. It's just makes it a lot easier. Just looks like grass. Make sure the paint's wet enough and also lives as well. We want this to be too dark, just subtle. Oops, these ones are quite doc here in the front, but that's alright. Long as it's in the front. Okay. I'll think I'll call this one finished. 17. Carlton Pond: Paint the Light: Okay. So this saying here is based on this photograph that I've got up on the screen. And basically I've got a few different things that I've changed. I've made this pond a lot larger. And I remember when I took this photo, I just sort of snapped really quick picture to begin with. They're always do this at the start. And I think I mentioned this before. It just makes it a lot easier to go back and look at where the shadows are. If there's any changes or some people walk by, you still got that original scene there. So what I've done, I've actually enlarge these two people here sort of sitting near to the pond or put some ducks in the water. Just enlarge them a lot in sort of tilt their heads and they kinda facing this direction. There is a sort of person behind you're kicking a ball. I might put that in, still. Looking at it before and was undecided as to whether to sort of add that person in. Um, but as always, you can do, change things up as you go and sort of figure out what works best for your particular saints. So anyway, here's a little basic scene, and I've also done a few little changes. I've added in a few more trees here on that side. In the background. I've got that building here and I've just these trees and made them a little bit smaller, puts him blades of grass and things in here. But basically I want the focus of it to be on this couple sort of came across in water. So first thing I'm going to start off with is a little bit of green in the trees. And I'll be picking up a number 10 round brush in order to do this. And you can also use a mop brush. So this is just a really large brush. But anyway, we'll start off just by putting, getting some different greens on the palette. So I've got a bit of sap green here, which I can just start off with and really just pop it in like that. I want it to be fairly loose. So sap green, we can also put it in a bit of this other sort of green. I think it's Hooker's green. And I've also got emerald green here that can then sort of mixing as well. So just a little bit of that green then and changing it around as well so that we've got a nice kind of variety I find that really helps make things more, a lot more interesting. And remember, we do have this kind of yellowish building below, so we want to be mindful of that so that we're not leaving a little bit of yellow there as opposed. But really for the most part, all we're doing is just getting in different shades of green for the leaves here in the trees. And it's up to you how much you really want to pop in here. And for me, I sort of just go with what I feel comfortable with. And I want them to be a little bit darker as well so that they sort of stand out against the sun. But what I'm gonna do anyway afterwards is actually dark and the moon a bit I often go over with this second wash. So it's not all that important at this stage. We just want to backing color for everything, essentially to begin with. So moving down across here, there's also a bit of this sort of bushes and shrubs down the bottom, there's some yellow, I'm going to be yellow and green here in this sort of air in the background. So I'm just going to go ahead and get some of that in sort of greenish yellow that in the back like that. And then we've got these buildings at the back, which are actually a really kind of like a Naples yellow color. So I'm going to pick up a flat brush, pick up some Naples yellow and just drop that in here, the back. I don't want to define that all too much, but have that sort of creamy yellow going through the background section there. Okay? And for these sort of middle sections, I'm going to pick up a bit of blue. This is some cobalt cobalt blue that I've gotten. Just drop that in to the sections to get in a bit of the sky. And I'm also just trying to be careful here. I don't want to go too dark and also don't want it to blend too much onto the trees, but we still want there to be an indication of the sky in this. So having a bit of blending is good, but also having separation between the trees and the sky. So just maintaining enough of that blue in there, I think is a really important thing. Going across. And same thing here, just sort of cutting through some of these areas. Getting in bits of the sky. And I'm sure not to make it too dark as well. This airs and little bit Smiley to dog, but we have to make do with it. Kind of come across here filling these little center portions. Really, because you've put these tree trunks like that. And of course here on the ground, we've all just got a lot of greens. So our first color I'm just going to pick up is sap green. I love these colors, just such a vibrant, beautiful color. It's difficult to mix it up. I find so much just by Ci with it coming down the page. Remembering to cut around these figures as well because we want these figures in a completely different color. Once we move down the page, it's going to leave a bit of live here for this path. I might just IT Dhaka later on, but I just want to leave some sort of lots on for that path. And as I move down, I'm going to start picking up a little bit of extra green here just to darken it down a little bit. And I can dock in a bit down here as well just so that it doesn't all of a sudden begin getting doc. Okay. Thicker paint as we move down. But keep it transparent still, just be careful that we're not doing it. So DOC use kinda around that. K bit more. Sap green. I've learned the side, keeping it pretty light. Kinda feeling this hots a bit too dark. So I'm just going to dilute that section a little bit, add some more sap green in here. Remember when it dries, it's all going to look a little bit. Lots are anyway, so don't worry too much. What was it still looks transparent, you'll be fine. So here we go. Just finishing that bit of green off at the bottom, a bit more here as well. Like that. Coming on the cross was cutting around the figure. He's the food shoes that K, adding a bit of the solid green in this section to train bit of color variation and that bit there. Now for these bits of the pond, THE pizza sort of go around the pond. I'm going to pick up a little bit of red and a little bit of this color huge is CNR actually just go around the thing to do to get in a booth this section, yeah. Okay. So back to the spot. English red mixed pain with burnt sienna. Just a woman of color. I think this is also going to help because we put all these green around as well. So it does help format almost a complimentary color Section. Let it all sort of melting with each other. Now as we get down to the water here, this is where we just want to start adding in some cooler colors. I'm going to pick up a bit of purple and then mix that down with some blue like this. That even see the main things that I really want it to mix in with that layer on top. Some of these wall section, this and that we've got this seamless sort of transition. Okay? I don't want it to all of a sudden just stop. Everything to kind of mix together, join onto each other, especially in this first wash is so important. Create a sense of connectedness in your painting. And this sort of pointed, always, always fun to painting doesn't look like much. Just lose looks like a boot of color slapped onto the page, but need to persist. And believe in yourself and know that it will work out once you put in the shadows and everything else afterwards. This bit on tops kind of started to draw a little bit. I'm just going to re-wet that beat and carried down bit more blue. Here. I think we're losing some of that balloon is becoming more turquoise areas. But again, I don't want it to be two blues. Well, that makes sense. Just not true, super vibrant. Otherwise it will stick out and make your painting MOOC on balanced. So I don't want any area to be done. So carrying these down, cutting around these little ducks that are painting. We will imagine ducks. Sometimes you need to fill in areas like these with other Creatures and shrubs and that kinda thing because otherwise it's just going to be a flat shape of water. Over here. It's quite boring unless you do something with it. Okay, Excellent. So it looks like we've pretty much done what we need to do with the water. The only other thing I can sort of think I was maybe putting some little wet and wet reflections like this coming down the page. For some of those trees off in the background, you barely sort of see what's, what's the pear, but just a little bit of darkness to finish it off. Quickly. It underneath these docs as well. Just to anchor them a bit to the to the water. I found this helps. May not stay where I have to kind of M re-add the color later on, but better than nothing. And we want it to be quite quick as well. Okay? Will rate in these breaks. Okay, Fantastic. So what I'm gonna do now is also just start getting a little bit of color for some of the figures, some of the trees. And think about where I want the shadows to form. So I'm just thinking out loud, do want the shadows to maybe come over this side, down across the page so I can get some kind of diagonal lines, especially for these trees in the background. So I'm going to pick up a bit of this. Brown's is just a bit of raw umber. And I'm going to pop in the new indications for the trees. So the trunks mainly keeping it fairly live. It's still about a midtone and most but I want some of this to kind of melting to that back area has dried just enough for me to do this and still getting some sharper sort of areas. And if you feel like an area looks a bit too sharp or there's too much paint and they just needed fingering, lift it out. And that's a kind of larger tree here or something. Just going all the way up page. Fantastic. This path here behind I'm going to decide what to do with it. I think just a really light wash of gray would be good. Just some areas a whole lot, but just in some parts would be nice. Just some quash. Here are some white gouache mixed in with some gray. That one I can always go back in there later and just popping some some highlights if I need to, but this will get me a bit of detail in here. Okay? And another thing I'll be able to do is probably a little bit more from this row in the background of sort of shrubs wrong way in the back like that. Just really quickly. I don't want to overdo it. Like this sort of Misty sort of feel in the backward just melts into the background like that. So I want to get rid of that. Let's think of some colors to put in for the figures. I want to get a really light yellow color. And maybe it was the bit of Naples yellow and mixed in a creamy sort of yellow. That in for this figure here in the front. Just to begin with little bit of that. They're okay. For the other figure, I'm going to go maybe with some red leader, Red. And in that red color, red shirt or something like that. Blending and Leno. And then maybe we'll go with purple for the pants or something that he's wearing. A bit of a purplish color. Blend that all in. Nicely. We'll get in the shoes as well and we're not going to get a color for the faces. I'm going to pick up some just a light wash of these reddish kinda color. Trump that in quickly. Right? For the figures here and the background color for the hair for that figure. And then this one here looks like he's wearing a beanie or something like that. So I can just derive some neutral tint and dark. And this on the top, like that, could be 0s here. Who knows these ones in the background which is dark and a bit on top to indicate some hair. Okay. Now with the ducks, the next thing I want to do is just pick up a little bit of color to put in their beaks. So I'm just going to mix up some orange. Yellow and orange would be yellow. And just drop it in. Oh, parts of the dock. The peaks. It doesn't have to be much really just little indication like that. And it will make sense. And having the oldest sort of bluish colors here as well, it does make things more more obvious. I'm just going to pop in a new color for these cops. Are they holding two like that? And you could have goulash, wide Guassian year to just did lots and up. Some of these had beaten wall. Thank them, sort of pop a bit, forgotten to put his beautiful coloring firsthand. Let me just grab some little bit of red Trump than in the air for his hand like that and tested. Now for the ducks, I think we're just getting a bit of a grayish color palettes of them, but just sort of a little bit like that. Blend the mean is not completely want that. And they vary. Then suggested these docs, I haven't spent much time at home, just scribbled. I mean, but you and I, to the average viewer, having a look at it and see what they look like. K is looking at what else we might want to do. Figures at the back and just kinda putting a little lot wash of blue for this one. That Washington blue. Maybe you bid if the school McCullough here for these Weka would leave it as that bit of warmth for this one to here. Not too much. Okay, So we'll keep this all a quick dry. 18. Carlton Pond: Add the Shadows: So for this next step, what we're gonna do is since she's putting all the remainders, shadows and just extra details, they really sort of dark beats of the painting. And firstly, I'll be mixing up some neutral tint here on the left-hand side, the palate. So a good amount of these neutral tint, make sure it's pretty watery as well. And then we want to add in a tiny bit of purple here and maybe some blue as well. I just want some more kind of bluish shadows and cooler looking at shadows. So what we're gonna do is we're gonna sort of guess, make a kind of guess a choice and we want the shadows to come from. So we're going to get in the legs first just in little mix with some of these figures and these nice one here. So you can skip sections as well. So you can sort of do that top bit and then put in a little bit for the bottom there. Like that just said that it looks a little bit more like they're moving or they're catching a lot of fun, that's a good trick to use. Then what we can do is also sort of do a little bit of that edge of the tree. And I'm thinking we want the shadow is coming over today, so I'm just going to pop in a little indication like that. And then also here for these tree is lodge sort of tree here running down towards the back like that. So that's that bit of the shadow done. We've got this figure here, kicking a ball or something. And I'm here on the ground and looking at that a shadow, It's kinda come in over that side as well, joining on. And also we've got these sort of shadow for this tree that's running across, that going up a little bit into the tree. Let's see what else can we get? Mana even get into imaginary shadow just coming in from the back like that. Maybe for a tree, that's how did the same. These figures also going to need some shadows just running towards the front little bit of shadow. That beat for the cups. Foot. Yeah, doesn't have to be much. Let's write like that. And also these sort of sections. And yeah, they just have to be DACA because in the shadow as well. But something like that. K some of these other soon as shutters and things, I'm also going cross like that as well. So just following that general perspective, We get a big going on in his shirt inside here. And the bitten this leg as well. That's okay. And maybe you've been here for that. And the other figure may be beaten he it to something like that. So it looks like lots kinda coming in from that and just behind them and the hair and the hit that. And start working a little bit on the trees. And it's up to you what you wanna do with tens of whether you want to dock and the mole sort of leave them as they are, but I light to dark. And then especially in this sort of section where they connect with the shadow. And also some of the branches that sort of go off. I think you can detail them a little bit more with the brush. And getting that extra bit of detail. Holding the brush near the end to get some loose as sort of brushstrokes. And leaving a bit of lots on the right-hand side of those trees as well. That really helps them be more than color on that figure. So I keep wearing a cap or something. Now. The ones in the back, you don't need to really worry about old too much. I just will get a very light wash in maybe to the left-hand side of some of them in areas as well. Just to keep it consistent. Okay. But really for the most part and one of these trees, they are pretty much done. I'm just going to emphasize, if you want, you can pop in a little bit of color in areas to dock in some areas of the leaves like these. What I'm doing here create some sort of Dhaka clumps in the ad to make it look a bit more interesting in some areas. But you don't want to get rid of all that. There's lots of bunch of leaves in, just looks a lot more interesting and you've got that in there. So just finding Lumiere is clumps where I can just indicate, ensure out more detail these and leaving that right-hand side, a bit of imagination, really just like light coming in from that Ryan saw it. As you go back into the distance here, it's going to be harder to see and don't want to detail the speed too much as well. Otherwise it will detract from the rest of the painting. Now the thing I will just quickly do is just pop in a few little windows in the background for the booming. Just a little bit of that, just little touches on the paper, making sure they spaced out enough and consistent enough. Some of the trees and kind of in the way that some of them. But just these windows implies a favorite of detail back there. Because they sort of consistent. They look like a man-made object, which is what they are. So booting backgrounds can just hope so That's right To doc. That's our one. Make do with it. It's a dime or something. And continue on to the back like that. And it'll shatter there. Okay. Fantastic. And I'll just add in a bit of grass. So picking up some of these leftover green with a fan brush, this is what I can do. I can just start indicating some little bits of shrubs in bits and pieces like this really helps to, to just imply some detail, especially in the foreground. Get some larger strokes coming in like that. And a lot of these school just fade off and you barely be able to tell once it's dry, but it does actually make a fair bit of a difference. Tangent, creating more interests in these areas and making it look kind of like grass. So you don't want to, if you've got a really small round brush, you can do this. Just pick up that little round brush and do the strokes one-by-one. Just take your time and go through. You can do it this way. So put a little round brush here and just do it like this. You can add in just little strokes here and there. I use the fan brush because it just beads up this persons, as you can see, it's much faster and didn't get the same variety of strokes as you do if you're using a separate round brush, but you still get a good, good story indication of grassy texture. And another thing I forgot to do there is a shrub hue which is fairly doc. So I'm going to go in and just adding bring this on full width. It's kind of sitting in front here like that. And you'd be neutral tint on the left-hand side of it. Here. Oops. Just joining with that tree. And they'll get a few little ripples in the water as well. Just really lot ripples and running through some little reflections underneath the ducks as well. A few little ripples on the water with a dry brush, picking up a bit of pigment and just them grazing and across the paper. You're able to get a bit of texture through here. And I'll call this one finished. 19. City Scene: Drawing: Okay, so we've got a really busy sort of saying here's busy city scene. And what I'm gonna do is I'm going to use a bunch of these piglet miners now, difference between these pigment liners in the other pens that I've been using for these just have a little bit of a, a, a, uh, these just have a bit more of a rough or touch the paper. You can sort of drag your pen across and it's going to skip over parts of it just looks a little bit loose. I thought I'd give it a try. Also, there's a few other nibs that are larger too. So I'm going to start off with the 0.5. And this one's going to be quite an interesting sort of saying. I'm going to do this in a way that's slightly different from before. Try not to lift the pen all that much, but we're gonna keep it loose sensually. We've got over here, we want to just copy him a little bit of the horizon line. So I'm going to draw that across like this and keeping that fairly light as well because I don't want to get into much of a line just yet. We've also got cars and everything like that over here, which is fantastic. There is a road that's sort of just comes in right about here like that and hits the end like that. We've got a car here. So I'm going to actually start off by popping in little bits of detail. So there's actually, this part of the road sort of finishes off, goes around the side like that. But we do have a car over here. Sluts drop that in the windscreen of the car and little bit of the lights as well of the car just running cross like that. We do that sort of Grill underneath like this. And we just essentially going to draw this all up nicely. Here. The wheels as well at the bottom. I'm just keeping that bottom flap of the whales and k and essentially the light is coming a little bit from the back, so it's not too strong, but we're going to have a shadow just cast underneath him to the front of the car, kind of like this. The windscreen also it kind of is a bit more detail but just sort of pops through like that. And we're going to just change things around that's popping this car here. But what I'm gonna do is just make it a bit larger. And let's pop in the hood of the car. Like these kind of coming forward like that. And fantastic. Some of the lights are going to pop in just in the front section and the grills as well like that. So just draw bathrooms, think of them as as a shapes or rectangles and since she's just lines running across. Okay. So we've got another rectangle here. This is for the license plate and a bit of darkness underneath this is almost shaped like a another rectangle. So a bit of scribbling like that. Some of these funny-looking grills on the side of the car. But apart from that, we have got in the basic shapes that we need to. Now the back of the car, this is going to be a little bit more interesting. We're just going to get the side in just a little section of the side like that. This is actually one of those yellow cabs. And I'm going to go and poppy and also this little sign board and top of the cab case. It's kind of a triangular shape and that runs all the way to the back like that and comes down. So something something like that will do the trick. Okay. Now just getting the side of that car again, we're going to go straight down from the back like that and look at the tire. It just kind of pops out to the side like that. So I'm going to just get in a little indication there. And then of course, it carries down and we've got another wheel to the left of the car like that. Okay. Just running towards that left hand side there. And underneath the car we've got obviously some of these shadow and things popping that on the right-hand side section of the tire. Okay. So there we go. We've got a car, got a couple of cars here. Now the trick and lift is essentially we just want to put in additional cars and things overlapping in the background and the distance in over here might pop in a rectangle there for a boss or something like that. Just changing it over bits and pieces and extra detail like that. And I'm just drawing these sort of boxy looking shapes because that's what they are. They're just essentially boxes. So if you can draw a box and you can draw a car, that's what I do. Just simplify these down into such simple shapes to the point where. And you're not gonna have any problem at all drawing them. So another box here, just getting a quick box on its side again, like this. And a tie here, the back, maybe one here, the front, like that. It's a funny looking car, but that's okay. And let's have a look guys, a windscreen, little bit of detail here. And another thing I want to do is pop in some people figure. So look, getting a figure coming through the center of this section of the drawing. So having that kind of interweave with the car and things that's just making sound and make it look a lot more interesting. Ok, overlapping sections. We can do that here as well. Let's get another one in here. Guys, just crossing the road, perhaps like these and leg coming back there is a private here. Oops, that link should be more sort of here. And then we got another leg there perhaps. So we've got a few figures in here. We might have another, maybe like a smaller figure here. Who knows what they're doing, just walking through the traffic or waiting for a CO2 sort of pass. But the idea is just having a, some of these figures running through so that it kind of disturbs this whole layout of the cards. So we have a few different shapes running through. We've got another car here behind. We can get in a tire like that. You know, kind of just cutting around bits and pieces and popping in additional details. Okay, So that's, this could be a bus or something here and the distance here, this is another car down the bottom. And notice I'm just using the same pen. You can swap to a smaller pen. I mean, this is 0.3 liner. And you can even put in smaller sort of cars, date house at the back. That's essentially the way you do things to make some of these cars look quite like going further back in the distance. It's just lower that nib size. And it's just going to look just going to push that shape further back in the distances less stated. Unlike some of these other cars here in the foreground, which have thicker lines and you know what, I've probably go back into that later and even further emphasize those lines. So it's just a little trick that I've learned and it does really help. There's also a whole bunch of figures here, so it is walking along. And I'm going to get a few of them in just some heads. And it's just a papal essentially just walking, overlapping with each other here with some smaller ones in the back. Just changing, varying the heads, heads sizes and things like that as well. So we've got a larger sort of figure here. We can get him wearing a, a kind of coats or who knows what, like this. We've got some legs maybe coming through the same there. And this one's further forward. Maybe a shoe there and then a shoe coming off the side there and coming out here and another here as well. Okay. The hands and thumbs, there's sort of walking towards the front of the same. And maybe we have another person also here and another wearing a similar sort of get up to the other fella. And let's draw in a lake coming downwards like that. And sort of in the same fashion. And then we've got another one coming out like that. So then both working towards the same end, following along and look at how I'm joining up all these shapes in the back as well. Many of them overlap a bit with each other to, in order to just give this sense of depth and detail just really helps. Some of them I've drawn probably a bit too high up like the ones in the back, but it kind of looks a bit almost stylized. Where we've got all these figures just overlapping with each other. And it really looks like there's a lot of detail going on in here, but there's really not. So there's a, another figure to sort of standing here by the side like that. Cause you might even put a figure coming in here, going behind that car and another one here sort of looking for areas where you might be able to put some of these in. So you don't want to have an area where there's nothing in there. You do want to just make sure that you're balancing out the details nicely and evenly as you can. I mean, this could be a van or something like that. The way that I've drawn it, it's just very high arbitrary. One of these little things on top, who knows? And you know, we've got a car also here. Let's get in the wind screen. And bit of detail for the bottom bit of the color wheel here, for example, little bit of the wheel here. And there's not much you can sort of see here because it's a lot of the figures kind of covering the front part of that car. Okay. So don't feel like you can't alter it as well. Once you've gone through it, you can change things up, edited around a little bit. Okay. I love these little bits of the shop and things kind of just sticking out. So I'm going to go in drawing a little bit of that shop. These little shapes that just run down the side like this really helped to keep things interesting. So I'm going to play around with that. That's a couple of shades over on this side. And we can also hatch a little bit here just to indicate that light maybe coming in from that back section. And over here to this section. And we've got a bit of this side, side of this building as well. But if it's kinda squarish shape here at the bottom there, that kinda comes down like that. And then we've got another section here. We're just drawing little shapes in. We're not trying to copy this reference picture exactly as well. So there are a few things here. We've got a sign, a road sign kind of popping through here. We've got a bit of a circular side here. We've got, I've even got a 0, shouldn't have done that. We've even got a road, a couple of lights or something like that here. I've kinda MAC that one up, but I'm just going to leave it here. Could be anything. It could be a traffic light. Will turn this into a traffic light. Here, the pack. Okay, so just work with what you've done. If he ended up making a mistake, just continue on, just carry on and just keep on, keep on drawing. You don't want to go over everything in and trying to restate it too many times because otherwise that section is going to draw too much attention. So this part here just bring this all the way up to the sky and they're kind of finish it off right here. Just these buildings on the left-hand side. Okay, so we've got a section there of these buildings. And now what I'm gonna do is we're gonna do the same thing over and the scientists little slither of sky through the center there. But I'm going to just draw these sides of these buildings going up. And notice, I'm not even trying to get this in with all that much accuracy. All I'm trying to do is just essentially pop in large shapes running through this section. The stuff in the background, you can sacrifice a lot of detail and it will still look fine. It's mainly the things in the foreground that you just got to be a little more careful with. Okay, so that's a side of a building. We might have a building that sort of pops out here. For instance, another part of a building maybe coming out here, popping down like that. And this can be the side of this, whatever it is, this tower going up again around here. And it looks like it's just sort of dark so I can use a little bit of scribble and hatching around that section two to indicate whatever that might be, just the side of the building. There's bits, squares and things here on the building as well, which I will quickly indicate without much hassle, move downwards here and we've got largest shape that kind of runs through these buildings. So it's comes up here and then it just drops down like this, like that. And then we've got side of that building. So this is a bit that kind of overlaps. Normally. I'm trying to get this one in first because see here we've got a little section where it overlaps, but it's not the end of the world. We just continue on as plan. Sometimes it looks, it actually gives it more characters, so don't feel like you have to get everything perfect. This is not about that. We're just here on the scene and you're looking at this scene, you really have got limited time and you want to have a bit of fine. You don't want to sit there and try to figure out what everything looks like exactly. And then popping all the details and sit there for hours at a time. It's it's not very fun to do on these sort of occasions, so we're just trying to get an impression of everything. So some windows or what, whatever that might be. No, you can go in and color in some of these areas of the windows as well. It's not necessary, but I'll probably do that just to give it a bit more interest. And I'll go back into it later as well in and do a bit of coloring in that section. Okay, So this section here is actually dark. It's kind of like the underside of this building. And it finishes off around about here, the edge of this building like that. And this section is going to be a little bit darker. So hatching here. Okay, remember the light's coming in from that back area. So we want to indicate that. Okay, so this is one large building. We've got a shape that runs all across here and then comes down like a VCE were, where we've got the the front of the building located over here. So this carry this over like that. Same sort of deal. And we've got all these little darker window like shapes and as a door or something like that here it could even be a car park. I'm not sure exactly what that is. Separate this into half and then we can look at how many sections we want to pop in here. And again, we don't need to do the exact same thing as the reference uses square. We've got a rectangle here coming down that's going to be probably a bit darker there. Another one here. So you'd go back, just decrease the size of them, decrease them down. Is this smaller, smaller dimensions like that to indicate them just getting smaller and further back in the distance. Then we go another one, another one here, kinda just copying the ones down the bottom. Okay? And another one here and test it. So that's a little bit of tiny bit of detail. There's all kinds of things running through this building and actually we've got separated off into thirds. So you've got that, you've got another line here. And this kind of carries on over this side like that. And over here is what kind of side of this building here. So it's a lot of a lot of stuff going on in here. Okay, that's not going to be too difficult this side, because this is just the side of the building in the background is going to quickly sketch a in like that. That's going to be pretty dark. I'm just going to darken that down. A few vertical lines running downwards like this is good. Notice how I kind of overshot the mark and I just backed up and cause corrected. Continue along. So if you do that, it's going to look fine. But if you go back into it and try to scribble over the top and change it around. That's when you start running into some problems. So just remember that over, just restate what are you gonna do? Don't go back and scribble over and try to fix fix it up. Okay. Just correct. And you go off to an angle like that, just continue on at the same angle that you're going on. The best sort of advice I've received anyway. Okay, so look at that whole set of buildings in the background, pretty much Gunn. We've also got a whole bunch of friends here and the four in the backgrounds, little buildings, that sort of thing. So I can actually use this pen is small, the pencil zero-point two liner. And I can just indicates some of these buildings and things here in the distance and barely see him. But it does believe it or not help significantly to create a feeling of depth in here. So go ahead and have a play around and change up some of these ballooning shapes. I mean, these are all rectangular in things here and I've got them all overlapping with each other. Some of them are actually quite dark and different shapes. You don't even know what they are back there so far off in the distance. But you want this connected so that you've essentially got the two sides joining together like that. Okay. Now, on the left-hand side, we're going to finish this one off, put in the rest of the details. And this is the footpath come straight into the foreground, get that nice and confidently in like that. Also, you can take the opportunity to start getting in these little directional lines running on the road. So Herbie should have a car or something here and I will make it up as we go and we go. We just want to get some of these lines running in from that central point here. So if you're thinking of a point around here, you drawing a line, a straight line running through the scene from that point throughout the picture. Okay, this line should actually be a little bit more like that. But we'll make do, that's fine. And be as little bit off with that. That should be more kinda coming out there. So just a bit of perspective lines for the road. What I'm going to do is just again, work on this stuff here is look at the big shapes. Now we've got this shape here. We've got another sign or something like that sticking out here. Going into the building like that. And behind it, we've got a large building that sort of comes out here, comes down, touches this section like that, and then reviews a little bit of the side there. Okay? The rest of it follows that same kind of perspective. But it's just so less, so much less detailed over in this area which just got all these crisscross and, and implied detail here, it's just quite dark, so we don't even need to do much in here that can that can just go through and that'll be fine as it is. The other thing we can look at these smaller shapes in the background, some little bits like this. Little signposts like that. Things sticking off the buildings. Doors like this, for example. We can use to help draw out the figures. Even underneath these, these buildings and things. We've got a fair bit of darkness on here. So, you know, it's a great opportunity to just go in and shade around the fingers. No change things around to your liking. Essentially, like that. Even under here, it's very dark. So not to say that you're going to just use the pen folders. You can actually go in with your watercolors later, which I'm planning to do. But that's just a reminder for later. And we'll go through and pop in some windows here. A bunch of windows. This one's like that. Another window next door like this. And I'm just going to get them smaller and smaller. As we go back like that. A couple of these little bits and pieces up here, these then turn into and more windows going at of the same That's part of the top of this building as well, which kind of finishes here. Okay? And this building, we've actually got a bit more detail. We've got another public kind of building sticking out here, there like that. And then this building kind of coming down here intersecting, can barely see. That is it's not very pronounced at all. I'm going to draw a straight strong line running up here and say, Get in the side of this other building that's closest to us here in the foreground. So there's a window here with a frame, for instance. And just a few these little marks to indicate and beautiful wall or something like that for these, for these building here, some breaks, we can have a bit of a play around and pop in a few little details like that. And you don't have to do this now as well. You can always do this light I, once you've finished with the entire painting. So just little breaks and things. I think that might help to create more detail in the foreground. We've got all this stuff going on in the background. We want to bring it back in. So the view is looking, moving your eyes around the entire scene, creating some movement there. Okay. Let's have a look what else we can do. So this building here, I can actually start to putting a bit of this under section under the bottom where there's some shade. Okay. But do darkness play around with that? There we go. There's a bit of darkness here. And just could look like a part of the building underneath all these sections here to give it a bit of a coloring for this one as well. Just color that in demand to be Windows or openings or stuff like that. I'm going to call the whole lot in as well. We can leave some bits out like that. More darkness, you know, you've got a beat here. Little bit of darkness here. It yeah. Yeah. Yeah. It's habitable quarter, so we got a little bit here. This whole section of the building is going to be pretty dark as well. But a lot of these stuff as well, That's going to be doc here and that's going to be dark because on getting that light coming in from the background. So even this side of the building, I'm going to create a little bit of dark and spit more darkness, but leave this part Laudato Si was some shadows and things going on through this top area to let me have a look, what else we need to do. I think that might pretty much be it. I'll do a little bit of tidying up here and there, maybe adding in some smaller details that I want to pick out. For example, this pole, want draw that in a bit better. But apart from that, I think we're done. And we can start with the painting. 20. City Scene: Paint the Light: Okay. We're going to go ahead and make a start on this. 11 of the things I'm deciding first is where the shadows are going to be. And I'm thinking I might have them actually come in from left to right. So we have a light source from the top left sort of casting a shadow over to the left. And hopefully as well, this will help me getting some of the shadows for these buildings here in the foreground. So first things first, I want to put it in some of the sort of warmer colors. And I'm going to use a large round brush to do most of this work. Talk a little bit of lemon yellow around here. Let's go ahead and use some of these speed of lemon yellow. Drop that straight in to the buildings. We've also got a whole bunch of reds and some other colors. Burnt sienna, which I'm also going to utilize over here. I want this all to mix around and form some really nice sort of warm colors. And combinations. Case. That's a bit of slightly opaque color, that's a bit of Naples yellow. Okay. And I'm just going to continue on here and getting these lovely colors. This sort of larger than this down and make it more kind of a halo wash as well, especially as we move into the into the distance. I don't want to make that two brides and sort of colors over this. So putting a bit of little bit of yellow to just gain that sort of section at the back. Just move a little bit of it down. Beat up, adding a little bit of this color through here. I'm not fussing around much at all. Just a bit of color through here. Fill in some of those. What sort of spots? We can go, some orange. Bring that down the page like this. Where I have some burnt sienna. Just trumped that all in like that. And Oman even swap over to this other large flat brush. Brush1 mean just can hold little more water for this section. Okay, great. So I'm going to leave that how it looks for the time being. And we're gonna go over to the left-hand side and essentially do the same thing. So little bit of yellow there. I'm not actually putting a bit of a little bit of blue and the sum of these shades down the bottom like that. But get a little bit of yellow backing. Maybe just running down the building here. Okay. Something like these. Joins on to move a little bit of yellow coming up to the side like this. Essentially, I just want a whole bunch of warmer colors. Some of these may turn kind of greenish because mixing yellows and blues together. I'll just putting a little more warmth, little bit more of this red here. And near the bottom of these buildings as well. I'm just going to color in a little bit, just adding a tiny red at that section there. Stuff in the distant background. I'm just going to drop in with a little bit of tiny bit of this is really in blue. I really like that. It's sort of blending in connecting both sides up like that. And I just say the sky, we're going to go in with a bit of blue. So this is just a civilian blue I've picked up. And I cover this entire section. And we can leave little whitespaces and some areas, sections, lot of that here and here. But other beats you can sort of lead merging to the sky. It's really not a huge deal. And bring that further down to the bottom like that. Okay. Now, we want to just start putting in some colors for the ground as well. And some of these cars, I'm going to get ground first with some of these lemon yellow. And I'm just going to bring this all the way down to cut around these figures and trying to get in, make sure that it's yellow. So they've got some orange in here as well. We can pick up a little bit of gray from the palette and just drop some of that in as well. So it's not too lots because Zara, the ground is still going to be a little bit darker than the buildings. So we have to remember, at least faded off to gray down the front like this. There we go. Finish that section off like that, and even dropping some daka. Daka beats need vacations and things here as well. Just the melting. Too much sand here on this slide, just warm McCullough. I'm not even fussing about what that is, is just a bit of yellow and a bit of red. Just mix that in here. And maybe a tiny gray as well through here. And it's not going to be to a lot of room this side because we've got mainly the lot coming in from that section of the painting. So I'm just going to drop in a bit of darker color here. At the bottom. It's kind of just warmer colors, essentially what we've got, obviously some of these nicer kind of yellows and things like that for the cars. This is where things get interesting. You just want to add in a little bit of time your blue to the wind screens, you can even leave them white, but I do like to add in a little bit of blue here. So it just, it disrupts the older, the sort of warm colors that are surrounding it. So we've got a sort of difference suddenly in queue. And then just a little bit like that. It doesn't have to be everywhere. And for the rest of the car, really just going to add a different college site and if at least one, I might go home again. So drop that in like that. Oops, One thing I've forgotten, He's the son of a car, which has also some blue these windows here. So just dropping a bit here, maybe here as well, tiny bit there. And we just want those colors to melt together nicely. And he's a bit of orange. That side may be a bit of red in some of these areas. And because it doesn't really matter which just looking into getting a little bit of dark missing this area. Okay, Here we have it. Right? Now for the figures, we can have a bit of fun, just changed around some of these colors and while ago, Let's have a look, maybe some purple for this figure here. Little bit of purple and sign for that one. It doesn't matter all that much. I just want to getting some interesting mixes that, that figures even green on that side there. We can go a bit of yellow for that one. The lot not these ones have been some in the background as well. I can Bailey Bailey sort of see. And then you've got these ones here on the left. I'm going to pick up a beautiful white goulash and mix that down with the blue, similarly in blue to get a kind of a turquoise color. Okay, So it just a bit of indication may have for the shirt. I can go in and grab a bit of wall McCullough here, just drop that in to that figure there. Like that. All the figures in the background, we can just play around and dropping some extra colors. We're not really trying to get in any data which is adding in colorism stage. Okay, just lot washes. And nothing I like to do is pick up a bit of red to pink and just walk it down a little bit. Drop that into the heads of these as well. And in a limited color. And it's a MOOC idea. Yeah, The Fantastic. So what I'm gonna do it and leave this to dry. 21. City Scene: Add the Shadows: Okay, so for the Fano bit, what we're gonna do is hopping all the shadows as usual. And I'm going to be using firstly, little bit of neutral tint. And we'll pick up some of these other blues that I have here. I've got a bit of ultramarine blue, which I find very useful. Some of these areas, I'm dropping in a little red here. K like that. And let's go ahead. This is about half paint, half water in this sort of mix. And I'm going to imagine that we've got a lot of sort of, I guess shadow is running a cursor to the front of the building. So if we got here, perhaps, maybe there's a bit of a shadow running across the side of the building here. So if we look at section like that. So we have these big here cut around that part of the building is a shutter here, trying to get there so quickly in loosely as well. Here as well. Pick up a bit more neutral tint if you've run out of paint and just mix up, and you just mixing up a dark color. Just drop that in here. That's another section like that. Okay. Yeah. Speed. I'll just drag down like that to indicate that side of the building better. Then. You've also got buildings here in the background. It really depends how much detail you want to pop in there. And this section we might even have, for example, a bit of a shadow of that building going like that. And I'm cutting through and just sort of outlining that part of the building in front and over here. You can have a little bit here. And I'm just running through that section. You can even just dock and down that whole building like that altogether. A little bit of that one in the background and only a huge deal. Okay. I don't want to dock and down all these little ones in the distance. Just a little bit more. So they sort of blend in together and form a kind of em come joins onto that right-hand side k and said, Well look, I'm not actually go in and redo the section of this voting on it like, Whoa, how that shutter sort of cuts through it. So I can just add my own like that. Maybe go finished. And we're going to go ahead and add some more shadows on these side of the building there. So I'm gonna grab leave you to read. Join that up together. Some neutral tint. So it's kind of a doc, a purple color like that. There we go. And just a little bit of work here in the edges for that building. We've got a section here it joins up here, becomes DACA. So we can just grab some more neutral tint Trump that in the side of the building, create a bit more darkness here. But really a lot of that lies do left on this side of the building. But that doesn't mean that it also doesn't have some little shadows and things running through it, which is what I'm trying to indicate as well. It's just joining up some of these shapes to get out. Because if we're not just leaving this whole section, why it's going to look at the two stock and forced. So we'll also just a bit of this sort of stuff on the windows to just indicate reflections of the buildings to the left-hand side. I think that's important. Pop that in real quickly. Great. And let's have a look. What else do we need to do? This building also has little lines running down the side of it with some indications of Windows like that. So I'll just dropping a little bit of detail like that. Not much at all. Okay. One thing I noticed as well, these a lot of these windows down the bottom of pretty dark. So this one and I got this one here. We're just using some neutral tint. Okay, so just put that in the darkness here that that kind of mixing with the with some of that wet brush work above and below as well. Sort of like that. Okay. And use these as well to cut around some of these figures. Here in the foreground. Hey, Frank, to make the ones near the grounded it DACA as errors near the ground. A font that actually helps to anchor the building a little more. Okay, so we're moving over to the left-hand side now. And I'm going to go ahead and add on a little bit of color for some of these regions, but essentially a lot of this is going to be in the dock. Okay. I'm just going to leave out little highlights and things like that because we want to indicate lot coming in from the left, which means it's not really going to be much. One of these buildings here on the left just going to be in shatter. Mixing up a fair bit of gray, neutral tint, drop that in there, leave some of that yellow behind as well. You know, you've got these signs and things on the buildings, which I think helps if you sort of leave that wash in the air. So you can kind of just cut around them like that and just work through to the bottom like this. And just stop picking up a little bit more of that darker paint as we get down to the bottom guy. And they would just dropping some more sort of dark color at the bottom. Cutting around the heads of these figures. Like these. That creates a bit of contrast between these figures and things. Here, the foreground, pay nothing I wanna do. I wanna start getting a, maybe a shadow, some kind of shadow shape running across the ground. Well then I'm going to use a flat brush. One of these flat brushes I've got yeah. And I've popped in a bit of blue into this paint. And let's have a look where we want it to go. So I think we'll just have it cross directly over like this on the ground, sort of like that. And I remember cholera around these figures are a little bit as well. I think you can get away with it if you kinda touches the legs a bit. In fact, I probably just go over the top of the legs, make it easier. And just getting a shot sort of shadow just running all the way down the page like this. And finishing off at the bottom, sort of red here. If yes, then sort of smooth, ER, to make that wash really smooth. Okay. Fantastic. Right? Also, you know, in the background you motifs a little bit of shadows sort of coming across things like that. Across the ground. So I'm just joining and little bit of that up too so that it doesn't look that shadow, the bottom doesn't look like it's in oscillation as opposed. Like that. Okay, great, fantastic. Now having a look, what else we need to do. I think, who start working a little bit on the cause and the fetus and getting a little bit of detail for the wheels and stuff like that as well. So mid of color here, this is just some neutral tint. And I'm going to go ahead and pop in the wheels and a bit of this sort of shadow underneath the car at the same time. Okay. And there's all kinds of things, shadows and stuff on the car. But the main thing is sort of the bit that runs directly underneath the car and underneath the the the bumper as well. That's quite important. And that kind of just runs across navy here like that and I don't want to do it but something like that. Yeah. God also figures which follow the same pattern and the shadows. So little bit of darkness. And there's another figure here. You know, I've, I stuffed up the drawing of the legs of that figure before. And the great thing is you can go and with the watercolors and as I'm doing now, and correct them and change them up a little bit. So that's the great thing about book. Some of these kind of melts into the foreground as well. Completely fine with that. Because a figure here at MIT that to join onto the shadow here as well. That maybe there's a shadow for these figure that kinda running that way as well. It's just making a sort of connections and joining things up. It really helps. Is it cohere the background, little bit of that. Little bit of that running across like that. Cochlea. Little bit of a shadow beyond that figure is a cochlea. These old, a really dark parts of the painting that we're trying to getting right now. And there's also the legs of these figures here. So keeping them on this air and the bottom is also kind of wit. So let that kind of blending, melting with the bottom. But the thicker losing quality paint here, which is helping to just get it to mix in a bit better. And also maybe getting teeny little shadow for these figures. Running across like that to a fun day. All the shadows at the figures at once, It's easier. And you can just sort of get the direction of them more or less correct if you do it this way. Okay. Fantastic. Darkness behind that veil on that one there as well. Maybe here, that could be a duck is sort of color or something. And then say just joining that on, again, creating an extra detail running through the background helps to make these cost pop out Byetta. The lots of those costs as well. Right? Little bit of whitewash mixed in with this cerulean blue. And I want to just getting kind of shirt or something on this figure here in the front. Just dock and this one down a little bit as well. Let's get inhibitive orange or something. Two sections, one and that one opposite. Okay. Then they kind of walking towards the front of the same, you know, there's all these figures in the back and we don't have to get them moving my column only. But if you feel like doing that, Go ahead. I'm just having a bit of a play around because these ones here are in the dark. So I'm thinking if we create extra darkness on them, It's just got a contrast mole with these figures in the, in the right-hand side. With that said though, I'm also getting a little bit of shadow on these other figures here like that. So there's not all completely lights on. Then. You're going to do this also with the cars, little lot shadows that a wash on using here is probably about probably less than a quarter of water. A little bit of leverage that going across the windscreen. Kind of like that shadow effect. That on the class. Bit more some of these other cars and things in the distance as well, like that. It gives them a bit more interests, especially this one in the foreground. Lets me talk. Something like this. Could be a building that's casting a shadow on the windscreen of that car. That's great. And he's buildings in the background. Again, you can just stop putting in extra detail to indicate that light source coming from the left. Just coloring in unless the left-hand, the right-hand side of those those buildings. I also like to get an a bit of darkness on the windows of some of these buildings. So it's just, we're just drawing, emphasizing bits and pieces on on this I yeah, that could be DACA up here. This sort of section on top there. This bit here at the bottom, that could be a favorite DACA. Little bit of darkness here. These windows here as well. Doors, that kind of thing just dock in the mob at a secondary layer. And I'm just using the brush to reinforce some of these lines on the buildings, that kind of activist perspective lines as well, which I find really helpful. Here, adding some imaginary windows and things on these buildings. I don't know all of them just in some these ones in the back that cognitive am just going to be canceled it I'm not doing it as well. So it'll be to that some vertical lines running like that on those buildings. There could be a pop of blocks or something like that. On the ground. I want to get some legal perspective. Lines will sort of running through like this painting, intersecting with some of those figures and the legs. And another one coming through here. Get this one done accurately, this tone, that line. Let me get this one here and running towards the front. Like that. Maybe go and just a few mole and sort of blending. That's right. Tiny bit of color on some of these shades as well. Doc and the bottom of the shades and beat like that, maybe color pot of them into use. And we've called it a bit of contrast between little lights and the shadows. It's kind of a just making that up really having some little bit of darkness through there because it just stood out too much. There's too much of a contrast. Okay, fantastic. And might even want to add in a few buds here in the background. Little v's in the sky. God. And I, me go back to it later and sort of adding a few more details and strengthen up some other areas. Dock in some areas I didn't some quash, but for the most part, we've finished. 22. Street Scene: Draw the Figures: Okay, we've got an interesting seeing here, very, very crowded scene of chosen this one specifically for that. And really also liked some of these buildings here in the background with the sort of checkered windows and sort of red shade over here. But at the sun coming in from the background, which gives us an opportunity. He also get some shadows here in the foreground for some of these figures. So I'm going to go ahead and get started. I've got the 0.5 liner here. And the first thing I'm gonna do is just draw a line straight across for the horizon line. It comes about a third of the way down the page. So just just a quick little line like this, just kind of broken. Give me any indication of where to put some of the things at the back. And really I'm just gonna get started straight away by adding in some figures. So here on the horizon line I've actually got a bunch of figures is all walking in different directions. And the trick here is I'm just going to start putting in their heads to begin with. And there's some sort of ones here in the background walking around. Um, yeah, one here closer to the foreground. I'm just picking out a few different people and shapes, things like that. Mainly just heads to pop in here in the foreground. To generally place in the people where they standing and that kind of thing. Because it makes it a lot easier if we get some of this stuff sorted first and actually have a bit of overlap as well, which makes it a fair bit interesting. Look at that. Just some heads here and there, nothing too fancy or anything like that. There's even a couple punchy heads and people sort of walking around in this side. So that's all I'm doing. I'm just finding ways to pop in a few sort of figures and people here in the background. So I'm gonna go ahead, Let's getting these one here right in the front first, I like this figure is wearing some kind of hat. Junctures pop on. It's got these sort of side by side with part of the head. Pop a little nose on him like that. Oops. Eyes. Doesn't have to be all too detailed. And looks like he's maybe got a scarf. Who knows but is jacket during can largest sort of jacket and his head sort of coming out here to the front. So just the beauty of tiny little bit of detail like that to show the hand coming out and check it just sort of coming out like this. Okay. So once the sides K, These pot of his hand as well as on like that, looks like he's got a backpack or something on that onto a hoodie. Really just have a bit of a lie around. And imagine what's in here. That's his other hand in this section too. So just let me indication like that belt. It's really just this guy, he's wearing some sort of scarf. And for looking at his legs, we've got one coming straight forwards like this. I'm just going to pop in a little indication here like that. And then it's kind of got his foot going straight up. That's the step. And this other foot right here running all the way towards the back. Like this. I'm just getting this leg first. And then other leg almost just hidden behind like that. Okay. So there's one row basic figure here. You do want to pop in another couple behind here as well, just to two people walking, skating, some hair like this. That and that stipulated that facial structure, some eyebrows. This person might just have some glasses on that. If a guy is a little bit of detail. Okay. And Nick, I'm coming through like this in the back of this person as well as how they wearing some carts, Thompson coats off to work and showed it, come out a bit more. And they just wanted to pop in a little bit of detail here. This ends around the science orders way this person's was hidden behind that figure. We don't need to worry too much about it. And this figure, we've got the sort of overlapping here like that. And case where we can just get it to overlap in places. And now the hand indication of a hand there. And this could be sort of thinning of the jacket. Ran the center here. Tom to poke in some legs for these ones. So let's go ahead, let's pop these legging first, kind of coming at them. And beat of the foot. Kinda touching the ground like that. Just walking towards the front. And we've got another leg here, the BEQ, just finishing off around about here. Like that. I'm just walking towards the front of the page and we can go ahead helping these this one here, leg in the front. And we have a lake here that back. Couple of shoes, a little unhappy, just real real basic stuff. K, these a couple, few Lu, fees. He sort of walking around, going to get an another one here. This person's got a scarf or something here, glasses and some hay like that. And we'll just bring this down. These largest kinda jacket and he's wiring and some legs. Yeah. If I could add just facing upwards like that. And this foot is facing downwards to the ground like this. Okay. Say another figure, lodge kind of scarf or something like that coming across there and just gain some of the themes and a bit of the center spot here. Let's have a look, maybe carrying a bag or what? Have you you just the bag. Something that I'm coming all the way down and that's just the finishing off on here, the bottom here. And really this is just part of the shoes. Have you here basic finishing it off down the bottom. I've got a lady here that's kind of on the fine, such as pumping to be the head covering over the top of the head like that. And then we can help in little details for the eyes. Really puts too much into the section and knows that indication for the math and the chin like this. K and she's kinda holding a phone two-way hits. So I'll just drawing some really basic details like these. And the rest of it really will make sense as a holding a bunch of bags of shopping like this, just sort of held at And legs, we've got one kind of lay coming forwards here. One maybe going quicker and have one going backwards, walking out in the same. Then sometimes it does pay to use a larger Newt, a handful the details here in the foreground. So just allows me to get into a bit more detail and bring it forwards. Essentially. Just saw as any Arabic mole K. Continuing on, we've got another figure here, not just lied to pick out faces in the crowd and just some of the things that the people who are wearing as well just have a bit of a play around, change it around. And so essentially just add includes and things that you feel would look interesting. This could be another person behind legs just like that. And some more kind of overlapping figures. These rights to get an extra detail. Just kinda staff maybe for these figure. A figure here, maybe longer. Hey, join that on, connect the sole up here. And another leg coming forwards like these other ones sort of hidden behind. He's another figure, one. And let's just make this one pretty simple. Coming through the back like that, all overlapping with each other. This one is kind of on an angle off, just put them on an angle to make them look like a walking towards the left-hand side. And that's the thing that the tilt of the head, you can imply which direction that person's walking. So that person looks like they will come to the left. This one looks like a walking to the right. Like that. And just put in a bit more detail for the clothes and things. Maybe the arm as well, that helps to indicate which direction they're going. Now the figure here, figure here as well. And another one here. I'm just going to overlap things with each other. These to create more sense of extra detail and look down. If he's one leg here. Food's coming up like that. Be The Hey, I've got this figure here. Maybe they kind of walking in that direction and that leg's going behind like that. As you move back, you don't need to put as much detail in there. He's another one. Then. Okay. So just having a look where else? Other things, other sort of figures and details. I don't want to imply we're gonna go adding a few of it's in the left-hand side as well. So just have a bit of a scarf for the spirit and kind of detail. It's just a lot of darkness and Daisy can't really see what's happening. Hello Louise, because it just all joined up into kind of clumps because they all just kind of overlap with one another in the sections I was wearing a jacket, grants. They hit it big sunglasses. Hayek's other leg day behind. Stop playing around with these other figures. He had to really be scarf. I'm just going to exaggerate that again. Scott coming down like that and you go east to suggest to the leg coming down through these here. Nonetheless, joining on as well towards the back like that. K and this figure here, right, kinda cutting them and coming down here, my right-hand side as well as the sort of foot facing upwards like that. And we sort of fruit facing down, this foot facing upwards, the swine facing down. Like that. Let's have a look. What do we do with these ones? This one's sort of coming forwards. And I'll put getting a few who shopping bags and things running through here as well. Hey, this person won't just be sort of walking forwards like that. Other one hand just indication of little leg. I'm going to worry too much about these ones. Sort of standing. Maybe he's working towards that left-hand side. Then. It's Pope owns some Sunni's and Bhutto bits of detail and facial details. It doesn't have to be much just in those couple of eyes and mouth, suggestive sort of stuff. Hey, maybe be the hay bit more hand for that one, behaves for the S1. Bit more here for this one as well. That's fantastic. And you've also go in the background, just figures came around and standing around, that kind of thing too. Okay. Great. It looks like is quite a few smaller figures here back in the distance. Actually. I'm just putting quickly, but really what we wanna do now is start looking at the buildings that I want to focus too much on all the figures. And we want to just pop in that area, that background, that's about where the buildings finish off, essentially. And we've also got a car here. We could tweak and just adding additional shapes like these really sort of help make everything that could be more interesting. So that could be a basic car off in the distance like that. And you can tell because of the wind screen, just like lease, maybe if new and mirrors on the cow like that as well. Yeah. These little bits and pieces here, shades of the buildings, the little cafes and things coming up here in Sydney backgrounds. And so a lot of the stuff I'm going to be making up, not exaggerating a little too much. So what we wanna do is just start getting in as an area of the sidewalk hideous. Just want to pulping and lineage of that coming up into the foreground like here, sort of shifts over to that side of the page. Just not all that important. Okay, great. There is also a sort of sidewall KIA. So I'm going to get that in as well. Something like race and sort of finishes off renovate here because behind and we've known we've got these since she just got this rod that runs all the way down the back. What this does is that it helps to just give a sense of perspective. And we'll get to what way drawing here. So a little kind of lines running through like these really help. Not too much, but here in that helps me gauge how I'm drawing. Now, there is a nice little. I am shy. He loved these red shade and it's kind of overlapping with other things is a sign here above like that. So I'm just going to draw that aim. The size you could woo, woo, scribble in hand, and I think this is a bit of a tree or something good, a shrub here in the corner. And there we go. I just have these sort of come up. Please. Join onto the side of a building. That's another big shrub or a tree here with this sign running through the it is well, a lot of vertical lines too. But essentially we've got is a section of the building that just finishes about here and goes up like this, disappears off. Architectural details is running through that they would ink. For most of the part. We're just looking at some lines running through like that and then some vertical lines as well. I'm just going to make these beaten mole, exaggerated, adding in some windows like this. So these can be like the window frames running through the back, like that. Right? Let's have a look. What else we want. So maybe some vertical lines coming straight down to indicate the edge of this building. I don't want it to I wanted to completely drop off. Okay. Let's lot going on in here. I really don't want to spend a little time sort of trying to popular lean. But they are definitely people sitting here and in a kind of restaurant Cafe setting. So some of this detail, I'm just going to pop in here like that and almost like sitting at a table or who knows? Who knows what. Here. Popping some of these little bit of detail for the table was kind of over exaggerated, but that's not a problem. Just really loosely sketching here just another square that could be a window in the background. For example, these could be just the doorway for the actual cafe or what have you say? Something a bit Dhaka in here. Using these vertical lines to two coloring and areas, leave some out. So the idea is not to get, get every little detail in just bits and pieces. I'm happy with how that looks. There is a building here is, well, it's interesting looking building going to come up and get a bit of that side of the building in like that. I'm going to simplify this one down as well. So that can be the side of the building. And the top of it, it kinda goes up like it's interesting like that. And then maybe like a VCE, we can try few windows here on each of the flaws. Not much at all. Bit more here. That has a whole lot of stuff going on in the background. I'm actually going to ignore a lot of that and use that just putting a bit of sunlight going inside low with this building down a fair bit to just leave that sun coming in. Now this building starts around the center of the page. It's large buildings to the lat. Probably little bit rot cent. So here we can just draw a line running up a page hitting the top like this. Okay, and I liked this flag that's sticking out of this red flag. I think it's a solid stall, but it doesn't matter. You can have a play around with that creates a bit of interest. And in the background I'm just going to add some chimneys and things to this building here. And like I say of change this up to just expose a bit more of the sky coming through. So I'm going to have to just play random makeup. Some details here for the for the building. Could be another pot. And often that's sort of side of the building that campaign. Who knows what overlapping structures. 23. Street Scene: Add Buildings: And then start pumping in this largest shape here it's basically the solder, the building to the left. Meaning that all the way up. Like that. Lines running across here. Please. Because it will break work. There is a door or something here, which I'm going to get in that little cons of detail. There's another opening around about here as well. So just roughly pop that in, like VCE. And we can start by getting the section like that. Oops. And then that would have got, if it's to the left, then some little lines. Age of the building like that. Let's have a look. What else we want to do. I think I'll just dock in this top section and booth. Please. Extend that up. And we can start also just putting in some of these little lines running down the sides of this building like that. Okay. Hope giving that building a little bit whole body and finishing it off near the ground as well. I'm glad. It doesn't have to be perfect. Section II, that sort of comes into beads. That, and then we've got all this kind of darkness hatching. Then this is a kind of I think it's a balcony or something. I'm not sure what it is. Going to pop that in like that. There are sort of Windows or indications of Windows. Yes. I'm going to keep a probably a dull sleep but complicated with Kindle, something on that. There we go. Let's extend it up. Now we've just got this really large building. And all these little fee is to pop in and say the figures of fun, just the pulp and going in different directions person's walking. And that direction change the directions of the heads as well. That really helps get them in better. Fat. Okay. Don't want it to look too busy. I think it's already at that point. So I'm going to divide this building random at the halfway point. So it just around, but here, it's true in law and straight across the building. Okay. There is a flag also kinda sticking out from this building and didn't see it. So I'm just going to smooth it, add detail for the flag. And we'll have changed out light as well. It's important to put it in first so that I don't go over the top of it often. In fact, I probably should have put it in earlier on that they would ink k. So this now makes it easy with NADH in this building into two parts. So on the top POD we've got these two lodge. We notice the bottom part, we've got this arch opening at the bottom in these two windows here. So we can now arrive at a stage really well-placed to put in the SOD of the building. Kinda coming in like that. Just a bit this side of that building. And so verticals, like least coming in. And then we've got obviously these lodge, It's the building in the front. I'm going to just put some lines, horizontal lines running along the side of that building like this. We can start by getting a window here. Is actually a balcony or something. He too, I'm going to pop that in. Like that is window goes all the way up. So we'll just draw that in quickly. And they have interesting architectural details here, which I'm not going to emphasize that new indication of it. And we come down the sort of goes halfway through this bottom section and then we've got another pot that comes all the way down here. Forms like a door or something like that. Case. Details yet just the outlines first. And here we've got a match that runs all the way across and said, Look, runs all the way across here, finishes at random bad here, halfway through that building and just draw that line coming straight across like that and finish that out shelf K. We have part of it and it's sort of interesting structure runs up like that. And then when I've got a section that comes through those middle like this, the rest of it is corner fans out towards the edges, kinda like this. But again, not something I want to sort of play around with little too much. They do sort of combine and join on to the other parts of the buildings. These little fan pots. That's just something we need to do like that. Running either to that left-hand side, right-hand side. I mean, they're him, he's continuing the song. And the bottom pot we've got today. So this rectangular section just runs all the way down the page like this. It's a show, essentially k. And this forms a kind of pill or actually down this side of the building here. That's side. And on this pillow we have got a square shape poster or something that they're okay, that's enough. Playing around with that section. I'm just going to make this flag a little bit thicker terms of the line so that it comes forward. Mole. New trick. These are the section here kind of just comes up through the flag. It's just want is the openings for these doors and windows but just a little bit smaller and just extend that all the way up like that. And there are these little balustrades as well, just to note, balcony you something on that coming up there. And also a pillow just runs all the way down like this. And there's another section here, join zones of these pot of that structure of the building and then this side of the structure, that building as well. So I can follow it. And just complete this this sort of pattern that we had on the bottom pot. Okay. We're nearly there. Pillar, we're leaving. There's some lines running on an angle to indicate this side of the building cutting off in these sort of direction. Okay, Now I'm going to do one of these windows. I'll show you how to do do one of these. And basically we need to just repeat it for the rest of the Saints will go with the small 1 first. So what I'll do, I'll just start by putting in a few of these lines. This is just to getting the frames, essentially of these windows is three. And then we'll go 1, 2, 3. That. And what we can do here is begin to coloring some of these little squares and leave the white area for the frames. Look at what I'm doing. And this is my technique in doing all of these windows. Now, the ones here that at the bottom we're doing the opposite. So when we're doing these sort of lines, I'm kinda starts around here. We'll do one to me. It's always that evenly spaced you fine for fostering to five and then we'll go same thing across to me, 0. So the difference with this one is that we're just going to coloring the lines instead because that's the sort of the darkest spot here in this window frames, whereas the other window frames of what? We're going to leave them in color the rest and color the rest deans do a better job of the slider on. Just wanted to do it quickly. Essentially just coloring and all these windows. Next thing I'm gonna do is do the same thing up here. Toddy out these figures a little bit and then we'll get started with painting. 24. Street Scene: Paint the Light: Okay, We're gonna make a start on this one and we'll start off again just by getting in a lot of fees warm colors. So I'm going to be picking up a bit of yellow. And the yellow is just going to go all the way through the back here. Just a bit of lemon yellow and essentially, and I want to smooth color and it's just not thick, sort of creamy mix of lemon yellow. So I have dock and that a fair beat. Okay, and I'm cutting around this little flag as well. I thought I might get in a different color for it. Lighter. Okay. And so having that sort of come in at the back, I'm gonna do a little bit of cutting around some of these bits and pieces. Here. Let's bring this all the way down the page. Just tiny little bit of cutting around these little shades. I think that's going to be more interesting if we do that with the sky. I'm going to actually get that in a little bit earlier than usual. Is Tom Randall pick up some red, tiny bit of red and just drop that in. So it's kind of attend to a pinkish color needed to where it hits the buildings. So just a tiny bit of that. And like that pay. And what I'm gonna do is I'm just going to pick up some cerulean blue, drop that straight into the sky, can let that kind of blend and mixing with the red below these. And we'll just bring that further up the page. Really kinda like make some survey in blue. Not much. Not much else seen. They're just cutting around like that. Buildings. There we go. This is going to preserve that vibrancy a lot better doing it this way. So that is those warms is still in there. We want to get shadows coming forward. So I do like this effect of having these warmer beats of the sky showing up at the back as well. So essentially those ones done. Now everything else, it's really just popping in bits of yellow and things you need for this building here, it's not really yellow in the actual reference photo, but I just want to pop it in queues. I feel like I've been asked to exaggerate some of these color and bring in some more warms closer to the front as well. You can also mix in a tiny bit of other colors, so little bit of yellow ocher as well, just to dial that down a bit like that. Okay. And as we come down the page here is wrong, just going to drop in. Going to be more color in here. The base, mix it into that, into that building there. But a lot of this stuff here is just going to be essentially darkness, but a little bit of warmth is going to and serve as a nice sort of BEC, background color for everything going on. And the signs as well. I think I'll be getting a bit of Naples yellow for the sign. And we've gone to see these nice shade here, which I'm going to pop in with red, sputum, pyro red here. And while everything's due ways as well, so that it just sort of blends big bets, hop into everything. Forgot to just put on some of that Naples yellow here for that part of the sign. I'll get that in. And we'll start popping in a bit more of that yellow here as well. Some of this stuff is also in green because we've got essentially a bit of these, these trees and shrubs coming in. So I'm going to pick up a bit of sap green and even a little bit of this other green here, which is, what is it? It's emerald green. So just dropping in a little bit of that here. And it helps as well with the reds. And read here in the shade cloth, having a bit of green next to it. I love using complementary colors next to one another. It just makes things look a little more interesting. Okay, so that part's pretty much done. I'm going to move on to this section of the painting and I'll big pretty quick with it as well. Just going to grab yellow, probably more Naples yellow mixed in with a teeny bit of lemon yellow Trump that striding here. But I do want it to mostly be Naples yellow. And I'm thinking, I just really want to get it in quickly. I don't want to be fiddling around with this aerial too much. So you can leave in some of the frames and things like that of the windows. Or you can just color directly over than this. Completely fine, but once somebody is saucer to just blend in the sky, that rod end side this. So you can see a little bit of that going on and kind of move downwards. And popping a bit about color in here as well. You can even put in a bit of English red, bit of the sienna in some sections like I'm doing here. But I'm going to be cutting around work. So have a look. What else I wanted to do. So is to run here, I think I'll get a bit more of a yellowish tinge to these windows at the bottom, more lemon yellow. So that's just a P is vibrato. And the other section I'm going to repeat that same. Dropping that Naples yellow there. Okay. Like that. You don't just go in with some of these windows as well. Leave some of that white in building towards the left hand saw. And I'm going to make scene a little bit here of the sienna with some yellow ocher. And I'm just going to jump that's trading here. Leaving a bit of that whites as well in the window. Okay. My that cutting around those and those fetus. Okay. I think that should do the I should do the trick. You can do it eat up in places, just adding a few little, a few little strokes here and there, change the color randomly, but really not a 100 percent necessary. As we move down the page, really what I want to do is just use a lot of these lemon yellow mixed in with a bit of yellow ocher to get in. Just this lot here in the foreground and remembering to cut around the figures as well. So I'm not actually sought to a smaller brush to do this. It would be easier, especially in some of these areas near the back. K because I'll put do want to get in some different colors for the close lot of these figures, it's easy at this point to go, gone bad and just start coloring everything in, but have to have a bit of self-control here. Otherwise, it poem looks the same color once it's finished. So 20 bits of cutting around work like that, especially through the legs of these feeders. We can add some additional color to the parents, things like that later on when they saw I'm saying carry that washed down at sort of darker, burnt sienna kind of color there because it's so much like a footpath or something. And there we go. So we can now just continue on this side and popping more of this yellow, yellow ocher with a bit of lemon yellow and mix them here to keep it really lot, lot more. As we move over to this other side. This is when I'm just going to start mixing in a bit more of this burnt sienna. And he just looks a bit darker on the left. We've got a lot coming in from the right-hand side. So that makes sense. I can also just pick up a bit of neutral tint. That's way too much, but just drop a building. Here's well to dock and that left-hand side down Ted case and just throw an error is it looks too dark, just pick up a bit more yellow and dropping. This point, it's all just warm colors. 25. Street Scene: Add the Shadows: Okay, So I'm going to now start adding a little bit of color into these figures and just a little bit of interest really. So the first thing I'm thinking, obviously, cerulean blue for some of these figures here in the foreground. So here are just way we've got all these warmth and in the background it really does help. Okay, So just trumped that one in first. But really what I wanna do as well as just adding a little bit of color for their faces. We can use some pink community to read. We use it a little bit of brown as well, but sienna in areas, but really remembering that we keep it lot send not to just make sure it's fairly subdued. Okay. The face is merely arms, the hands as well. A lot of these people who have their hands in jackets and stuff like that. So it's quite hard to sort of see what's, what's going on. The main thing is that faces though we just need to get in a little bit of tiny bit of coloring there. Okay? That one's in the background outside much of a big deal. It's just the ones predominantly in the foreground color. Let me go to orange then it's going to be a bit of brown. Some ways. Could have read here. Then. Look hands, right? And I'm going to just pop the integrative color for the pants of this figure here is low. This is just a purplish color like that. Shutter remember is coming from the darkness, is coming from behind. Fit a color in here like that. And get a color, just lovely shirts and things and just jumping in tiny bits of color, keeping it a lot. Then. I mean, we've got a bag She's holding onto some sort of bag or something or over on this side. Maybe some blue pants and purple in there as well. Okay. Just getting the top to just getting it to join on. Lastly, we can pop in even a bit of yellow here, which is from the going to turn out looking green, greenish. For the bag. Lift that off. Just have a bit of a play around, change up the colors to whatever you feel interests you. But as long as they DACA, then the ground, That's what you looking for me. You can have some things like pads and things a little bit lata. But essentially because he and I were working into the back late, essentially, it's going to have to have the shadows running towards the front. Move this color. Let's have a little bit more blue for this one here perhaps. What else do we have? Maybe some Naples yellow here. And just change it around. We can, there's a couple of figures here and the distance up sitting down at a table, it a bit of brown. And then the inner window frame or think here. Drop that in just a little, few, little, see little strokes in there. Okay. Do some of these guys here on the left-hand side, maybe a bit of blue for the shirt inside. A couple here. Maybe pink for these penicillin here. I'm just picking out a little lie washes of color. Okay. Remember all the details there already with the pin which is adding an additional bits of coloring, create them interest. All right, Let's go to SU, subject to this outputs. Okay. And a coloring for the legs. These then compose a couple of legs. He's cooler colors contrast nicely against these warm buildings. That's one sort of using a lot of blues and things in the figures helps to bring all the colors. Purple here. Maybe just cool it down like that of the pie here. Maybe just muted green color like that. Okay, this flag here, and that's why it's getting a bit of English grid. So the lawn wash of English read for that flag that I'm just gonna wash. So flag here and as the British flag. But I'm really going to, I'm not going to try to put it in accurate load at all. Just a few little indications like that. Okay. Fantastic. So give them real quick dry. All right, so what I wanna do here now is start getting in some of the shadows. So some of the figures that shadows coming forwards. Also for the buildings, we're going to exaggerate areas as well for an, a shadow areas. So let's just start off. Neutral tint, simple, easy to use, and a little bit of blue mixed in here. Let's go back to it a bit lighter. And I'll start off just here, popping the side of the building like this. Because I want to get in this impression of light coming in from the back. So it's crucial that we have these building Dhaka to contrast with everything else. Okay. And again, I'm cutting around some of the signs and things as well. Does help significantly. That here sort of moves. Some of it just moves down like that. And then finishes off. Mix up a bit more of it. If you've run out. This is starting to dry a little bit of funny on this edge. So I'm just going to go back into it and dock and up a bit more like that. And building here rot in the back. This doesn't need to be just the dock and down very slightly less tiny bit of darkness that as we move down as well, just cut around bits and pieces. Just implies detail. Essentially. I like that a little bit, some more of these little sections here. That helps. And now we can start looking at this building here to the right-hand side. So really what I wanted to do was just getting little shadows underneath some areas like that. And even here, doc and down from bits and pieces like lease, because it's obviously we've got darkness underneath these sort of bids if it's in the shade cloth here. Even even this tree as seen here as well, we're just going to dock and up a bit more like that, just getting that green in there. Let's make up a bit more of that blue and neutral tint. So I do believe in neutral tint here in the corner. And trumping some more of the stuff here. And I want to leave a bit of that yellow in as well. So just be careful diatom don't know how to do it. But I do want to get some dark missing some areas down the bottom. He, especially with these figures are just a bit of that, should do the trick. Now this building here to the left-hand, directly to the left-hand side. I'm actually going to dock and down a beat. So just that same sort of dock paint on picking up like that. And it can't just be an a of that. And I'm hoping to getting a little bit of an indication of lies as well and that rod hand side of the list by just using the side of the brush. Hoping some of those docs here really helps. Okay. Bring it all the way down to the ground like that. Sort of finishing off with that figure is this building here. I've figured now I do need to dock and in some areas, so using the same brush, I'm just gonna go ahead and very, very lightly adding little bits of this purple in here. Okay. Just very loudly, I wondered, leave some of that background yellow sort of showing through. You always just dry brushing it a bit just to imply the texture on that buildings. So just really, if quick, sporadic brush strokes like this, that will do the trick, that's really all you need to do. Some of this work coming down the side of that building like that. So final bit, what we're gonna do is add in the remaining shadows for the figures and mixing up a bit of this blue and neutral tint here. Really going to be quite quick. So essentially these, this way go right in the front here, the shutters are going to come directly down. So we've got the legs mixed up being more of this color actually it's 2D lot because it's got to be a kind of sort of a half. So this is going to be about half of the so this is about 50 percent paying 50 percent water. So we're holding the brush near the end like that and just dragging that down. There we go. That's a shutter. And then we've got this figure here, dragging that down here, kind of going a little bit more on the side of an angle. So there's sort of, the shadow is kind of just splay out, almost hard to explain. But essentially you've got him little bits of shuttered and just join up near the front like that. There we go. Some of these bits and pieces, these chairs and things as well. They do have shadows and air, the footpath, the two so that's sort of joins on. It does help to dark enough the legs of some of these and figures to like that, so on and a bit of a little bit more color into the lakes. And atom's, you can just pick up some neutral tint, drop that in and it works fairly well that they can that off, join that chateaux one to the body. Then. Let's have a look. These ones are much less stated, but just a little indication like that should be fine, sort of running off like that of these other ones. These other shadows of figures there in the background. I'm counts really see this stuff for the fees and the distance. And really at this stage, all we're going to be doing is looking for little areas of darkness to add additional additional detail and things like that. So I wanna go into this one, for example, and just dock and the person shared a bit more so that it stands out, pops out. This one here might do the same thing just around the color, a bit down the bottom here as well. So this is just something That's kind of important to do. It's just you're finishing, finishing touches to add a bit of strength to the figures and so that they come forward it's a bit more. So it's the last and final step really. And this can take well, it really depends on how how long you want to do this call, but I can sit here and do this are very, very long time. These figures on the left, I'm just adding in a little bit of shadow to the left side of them. Okay, So that it appears the light source is kind of coming in from the right. And just how it's tried here. Okay. Just like that. And like I say, keep on going and keep on altering it, changing things up, adding more detail underneath these shade. You can pop in a bit more detail. And even HE, if a saw and you can outline that tiny bit more like that, There's a whole lot of things you can do. Just my main tip is just to look at how dock objects and that air is off and experiment around, just play around doc and off some of the window is more, for example, that will create more contrast. These little poll here in the background you can dock and that down as well. These little areas in the building here for the Windows and drop those in as well too. And even hear sort of implying the sides and floors of this building and some of the windows like that. Okay, you can go back in here and just emphasize some bits and pieces and shadows. But essentially, this one's finished. 26. Urban Scene: Drawing: Okay, So we've got an interesting seeing here. There's a lot of people walking around on the street. The buildings are pretty plain. We've got a few trees and some light poles around. But the main reason I've picked this one is just for the large amount of figures and how we're going to place them, put them in. So what we're going to start off first doing is essentially going to get in some of the figures here in the foreground, I'm going to get in a little indication of some of those buildings as well, just a place and general positions before we get started with the actual figures. So firstly, what I'll do is I'm going to separate this page about into thirds. So I want to sort of be around here just where the end is in the camera angle is quite interesting. It's kind of a little bit downwards to up kind of camera angle. So I'm just putting in a very light line here just to indicate the horizon line all the way at the back, there's a car or something there As well behind. But essentially that's it. And what we're gonna do now is we're going to draw in this figure. So we can actually go in and put in also a few of these little lines coming out from the center of the page. So just like this bit of some little perspective lines, they're just running towards the back. And I might have one running straight down the center like this. And you know, the great thing about these as later we can pop in a few little bricks, bits and pieces in here too, just getting a bit more texture in details here in the foreground. So tied to pop in this large figure. And I'm just having a look to where his feet are. And I'd say they're about their day finishing out here and it's headstart around here. So pretty large kind of figure. So I'm going to start off with the head and pop the heading like this has actually is going to be of hair here and change it around a bit as well. Don't feel like you've got to get the exact figure in as it looks. Just a little indications use an ear and the bottom of the chin, like this. And a little bit about facial hair there. And mark in the nose like that is kind of looking at downwards like this. And I'm just going to get into a little bit of kind of his eyebrows, nose, sort of property like that, indication of his mouth. That's about it. So just color adding a little bit like that, popping the shirt. I like this bit of the shoulders here. And I just want to mark out as well around about where the shirt finishes. So we'll go say around about here. They're just draw that in like that. So then I can sort of measure out a bit of distance here for the legs. Okay, so it just gives me a bit of estimation. Helps out with that. Now the arms we're going to get in as well suggest having an army. One of the sleeves sort of pops down like this. But aside, and it same thing goes with this arm kinda pops out of this left-hand side like that. And he's got a bag or something like that on here as well, which we can just sort of indicate like a VAD, he's got his pair of sunglasses or something here. He's holding onto like that. Let's have a look. He's got sort of like it, it looks like he's holding a camera. So I'm going to pop in and literally indication of his arm. So forearm popping over like this. And he's holding onto something such as breaking this down into little components so their fingers, we can just pop in some little indications here. Some fingers is holding onto something. It's some gets camera or some sort of definitely camera. And then he's got his other hand here kind of coming towards the back of that camera or part of the forearm as well. Coming down here and just joining on to that arm like that. So pretty pretty basic. And I'm trying to get this all in as simply as possible too. So we're gonna get the rest of them is shown in Search, is going to extend that out like that here. But the shirt and the bottom part here where the hem of the shirt is like that. And let's have a look. We're going to go and get this peer to the shore. It's just a little bit lower on that i to indicate that this leg is kind of facing behind a little bit, so it's kind of in the back. So I've got that leg kinda coming out like this. And bit of the shoe like these kind of pointed the coming forwards like that. And the other leg will just have coming out like this and fetuses. So i part of that leg and coming down here. And we've got a section at the bottom just for the bottom part of his shoe, like this. Okay. Really basic. And notice if I've made an error or if I've kinda miscalculated a bit, just let it sit in there. Don't go back into it and try to continually scribble and fix things up. So there is a bit of darkness here on that lake because it's in the back. So I'm just gonna do some light hatching in this area like that. You'd have hatching, here's well K and then you've got this shoe, which I'll get that in a different sort of color later on. But that's the kind of nuts and bolts of that sort of figure. There's another figure behind as well. So just kinda coming up here to the left-hand side, I've put some glasses on these Poston. Very basic sort of glosses and knows. Yeah. Bailey see, maybe you could have hey, like that. And it's kind of shielded behind is fella so that we can only go to maybe indication of his arm coming out to the side like this. That and I'm going to go ahead and just getting another beat of activities leg coming in from the side like this. Still Lake. Glad to be a shoe or something. So we're standing directly behind this figure. Okay? And what we can do is again, just start drawing in a few other ones and having, having them smaller as well. So if we look at this, there's another figure behind here. So we can sort of just grabbing and just pop in a little bit of the head here for these figure like that, putting some behave for example. And as you go down the back, you'll find that you don't have to add as much detail. So it actually is a lot easier to pop in these figures down the back sections. We've got an arm here and you just have some just a really quick indication of an arm. It looks like he's sort of should hear like that. And then I've got a bit of the area where it finishes off and bit of the leg coming out like this and tapering down to this sort of shape. It's got some thumbs on or something. And this leg is coming forwards a bit more. This doesn't need to be too complicated. Something like that. I'm hoping that some eyes, eyebrows like that. And now we can go ahead and start again just adding in some more figures and people here coming in from the background. This is another figure here. These coming towards the front. And the sum here kind of stretching out, going towards the back of the head. She might be on the phone or something like that and bring it down like this. Pompeians and the legs. Make these legs if you have more simpler like that. Okay. And it should do the trick. And really for these pods, all I want to do is just getting some real basic details. We can always add in a little bit more for the fingers light up, but just a little bit for their arms and be a bag or something here. This figure is holding onto lakes like this. Okay. Something like that. So there's three quarters sort of shorts on and put another person here. And I try to make these people look as different as possible when you have when you have a reference artists with all so much going on, it really makes it a lot easier to sort of pick out and come up with ideas of who to put in here. So now this person here is kind of holding onto something. So I'm going to just indicate that. Like that. And it's really easy to just imagine things as well. Don't feel like you need to go and be a 100 percent faithful to the reference photo. Do like that. Bags sort of coming in like that as well. And let's have a look. We got a bit of a person's clothing kinda running behind and maybe some legs coming forwards more like this. That this leg more so in the back here. That's okay. It's great practice really just learning how to popping these figures. And really just going through and adding a few more. So I'll start with the heads like that. Some showed is perhaps this person kind of looks like a student or something just walking through the back like this and with the legal bags strapped, going across, pump some hair and I'm like that. And I'd be if this kind of a code or something and the sort of lays out schools the sides and then go to the links here as well. So just popping those in like that here. So that's another figure sort of in the back there. Then we've got maybe someone here and sort of looking over to the right-hand side like that. And I'm just putting it kind of is made of data for the hands. Hands up for some reason. No stroke it should like that. And legs. One leg kinda coming towards the front and a little bit more. These two maybe walking together and also do want to pop in maybe some larger figures. One that's sort of in the middle, like this. Medium-sized. I'm just a bit larger than that figure here. This lady that's kind of staring up, doing something or another just tearing up to the edge like that. Their chin a bit too sharp and that will be fine. And that's popping the neck here. And a bit of this should color like this. Here. It is. Here. That looks I'm just going to strap or something on as well here. And it'll just pop in this coming out. So what's the side here? Same with these two. Running towards the back like that. K and gets a camera and the camera and a neck. And continuing on, we're going to need to divide this body around into halfway from the neck damaged strand here. And then drawing the legs sit as sort of where the a should finishes off. And so we'll get one leg kind of coming forward more like this. And the other leg kind of behind. Like that. Happy guy. We might pop on and a indication of some shoes as well to something like this. Other leg can barely see because it's sort of off in the backgrounds. And let's have a look what else we would like to putting. Think I'm I getting another figure here about Assad as well. Sort of a larger figure is standing. And don't take all that much, just put it in a few little Fei Shou data house. It's looking at is looking at his phone. Hope that hand in like that and showed up. Shoulders on him like this. But if the color there and for this part of the shit looking at is fine. And we've got, of course, the southern part of his shoulder carrying on to something here on the side. It looks like it kind of bag or who knows what this and we'll just finish off this should rant about halfway point. Same sort of location is the other one. Yeah. Maybe go and draw a little line down and get a few little buttons in my grease and stuff, pulping legs on. Looks like he's kind of in a hurry and put these legging first like that. And this lake in kinda Kami and a bit like this, similar to the other figure. They walking towards this direction and just pumping a shoe as well. And we indication of a shoe. Like this case, there's kind of walking, walking towards the viewer. Okay. And testing. So that's a few little figures here. In the same, we've got a nice blended with some smaller ones in the back, a few bigger ones here in the front. Another thing we can do is getting the shape of a car here in the background too. So we can just might, might not even be a car. You could just popping. Think that we used into tend to give it away. But I'm just going to make up a little area here of a car wheel coming through the legs of this, this figure here. I think that maybe some windows like that on this side. And very hard to sort of figure out what seeing here, but but it just helps to have some minute kind of details off in the background. I'm going to bring this figure just forwards a bit more by Doc and even as well, it's a little trick that I do. So I forgot want it to background come through too much. Okay. So we've got a car and based off in this, saute that. And we want to have in the other view here or something like that. Okay. Another good thing is we've got some of these telephone telephone poles, these light bulbs. So cutting around the other figures that I've got in here, I'm going to just draw one in. So this one here we go. Let's go to kinda of a dome shaped structure like this. Okay, that's one way to kind of get drew all VD and you just go to indicate the outlines of it. And then here behind these figure, I think what I'll do is get a largest sign, that logic of pedestrian sign coming in behind. Overlapping shapes just works so well. When you're doing a lot of wash, it makes things look a lot more interesting and varied. Say you could add, I'm just drawing. I'm just showing that in so you can see I've mocked the corners of it as well with folded who dots just to help help me draw that in and makes it a lot more sense to do that. Stuff in the front as well. You just got to be be more careful with that. You there additional accuracy here. Looks like some type of sign. So I'm just going to copy that sign. Iin of this person kind of walking like that and test-taking. There's a whole load of other things here. There's little pose as well which you can pop in a few of them. I wouldn't know how to do it though. And I'm going to start just popping in some little lines running towards the background like a piece. So I can get in and just indications of some buildings and things running over in the background. So I'm using the side of the pin to really get some very light line work in here as well so that it's not too overwhelming. So thats, is he can be a building. You're kind of building towards the left, like that. And we can pull pain may be an indication of a window here. Another window here as well. No, they're not actually in the same, but I want to make it look more interesting, make it look like they something else going on in here, maybe pulping the sum of the frames and window frames, especially because we've got stuff that's a lot closer to the front. So always day telling has to be a lot more precise when things are closer to the fronts of the scene. So always remember that. And let's have a look. What else can we getting? I think we can crisp pop in a little number line sort of running down like this. Here. This could be, it could be a door or something for building. This could be maybe a shade. Just making this up as we go. Little shade running behind these figures like that. And then we move on if a door or something yeah. Underneath like that. Say something different. Could be cafe or is it just drawing a bit of that data there? Okay. And, um, ah, just kidding. Literally line, it says line work here. Just to make it look like there's a door there. Okay. Fantastic. Okay. So we're just going to play around with these same and I'm going to go up here like that. And another section like this going up. Okay. It's kind of hard to see what's what exactly is going on, but I hope that make that go further up and get a tiny bit of the side of this building in like this. Okay. So it can be a building, new buildings that I've just created, lines running through it as well. This what else do we have? It's really just making bits and pieces off and picking out areas in here that also stick out to you and just using what you've got that can be a chimney or knows what that is. I'm just playing around with whatever the details that you essentially having here create something new and interesting. And a lot of this stuff in the background really doesn't matter. It's so far in the distance that you, all you gotta do is just indicate a few lines and bits and pieces here and there. In the end, at the end of the day it all mixes together. Another thing I really want to indicate, it's just this large tree that sort of comes in all the way around and also through some of these, these lots as well. So just trying to gain a bit of that like there. And here we've got a section here where it joins on to a man-made sort of structure, which is just essentially a building like that. There we go. Why even putting a bit of a tree or something he as well. Even in out on that left-hand side. Okay. Just felt like I needed something else in this in the section. And hopefully we can use that to draw out those figures in the back of beat better to K. Here we go. I just drew all these sort of guiding line going up goods here. Then what else have we got here? We've got a few more bits and pieces are running out into the foreground. K. This is some kind of show what this is. Some type of balanced tree. Can Neo something here. And that's sort of goes off to that side. Then we've also got a tree running behind here, which I'm going to emphasize again, get mole to be a kind of logic shape and ropes that we have. So he's building MOD COD, go up would be like a VCE and cut across. So we've got to be like this. Sod of a building here. Coming down a bit more of that ballast straight continued on from that side. Most of these I'm just using the 0.5 pen or maybe some of the stop V8, a thinner pen, but we really need is the 0.5. And what you can do even with the stuff here in the foreground, you can use a thicker pen like a 0.7 to add an extra detail, things like that, but it's not a 100 percent necessary. I think what I'll do here is just add on a few little windows. Maybe not the one, couple more. But not to overdo it. And k, So what I'll do, I'll probably set into feudal lords in the ground and finishing touches, but we're essentially done. 27. Urban Scene: Paint the Light: Okay, We're gonna make a stop on this one here. And in the reference photo, it's very hard to see where the shadows are coming from. But what I wanna do is actually get some shadows coming in from right to left. So we have these polls and things like that, casting a shadow across the page. I think that would look nice around and having the shadows go the opposite way over here into the wall. Just looks a bit more interesting as it comes across the page. So what I'm gonna do first is I want to get in as usual, a light wash of warmer colors. So to begin with, I'm going to pick up a little bit of Naples yellow and start putting a bit of that into the ground area. Here. I'm really, what I wanna do is just use a combination of warmer colors, especially on the ground, because we've got a bit of an indication of light coming in from the right-hand side. So I want to use some lots of washes of yellow, really going quite a lot. And even over the buildings, that doesn't really matter too much. Just go over the entire section. Where you want to do though is just leave a bit of color, a bit of what I mean on the pants and some of the, the clothing and stuff of these figures just so that we can get into female colors later on. Okay, So just going to pop the soul being quiet quickly. I'll also grab a spray bottle. Little things I like to do is just actually spray the little paint palettes a little bit just to help. And so that I can lift off some of these paints without too much hassle. Okay, just spraying down the warm colors, individual orangey color here. But essentially we're just using warmer colors. All of the foreground. And quite a lot. This goes all the way to the edge of the page and beaten more yellow. This is some yellow. It's really just a combination of yellow Ochre, Naples yellow and a bit of lemon yellow all through this section like that. Okay. Looking good. So I'm just going to go up a little bit further. And four, I get distracted. I'm going to pick up a little bit of sap green, tiny bit of the sap green and drop it in to some of these areas up here, just with trees and things like that. So that I can get a little bit of a scene before the rest of the painting is saturated. Much don't want to get rid of that green color. So you have that straight in their head. This is basically a really quick wash. Is even a tree here behind like that, like a shrub or something like that. Say cutting around the figure is I'm just using a large brush for this entire area. I want to make sure that I'm using minimum amount of brushstrokes possible so I can get the scene pretty quickly and sporadically. Okay. Now, for the rest of the buildings, again, I'm just going to go and pick up some warmer colors and put some yellow fever, yellow here for this building. Drunk that striding like that. Okay. And I'm just going to work my way around the sky, some areas of the windows and doors as well. Okay. So just a light wash of that yellow working my way around. Okay. Doing this pretty quickly because I want to go and get the sky in and get a little bit of weight and width for this guys. Well, so that's why I'm just trying to do this quickly so that it's still wet when I go in small yellow here on this building and again, letting that sort of blending with the trees and things in the background. That's what it does help to have that air a little bit wet. Fantastic. So now I'm going to go ahead and pick up a flat brush and goes straight into maybe a bit of cobalt blue here. Let me just have a look. What have we got little bit of. We've actually just go with some civilian blue light wash of civilian blue. Drop that into the sky. I want to keep it fairly lot. So really just probably three-quarters water, one-quarter color in this section. And Trump that striding like this. Be more water. Carry that all across and have these kind of touch on to cut around. There is little logic, EV, beats sort of mixing two. It's slightly just on the edges. That's fine. But you do want it to look in a fairly blue, so make sure that you preserve that area in the sky. A little bit more here and just around here as well while the paint's still wet so that we can get some of that. The blending just looks a lot nicer like that. Okay. Became hasn't kind of mixed properly, which I'll just fit around for a little bit. But that's essentially it. For the rest of the buildings. Parts of the buildings you can do things like dropping a little bit of additional colors. Over here. I'm just picking up a little bit of burnt sienna and dropping it in in some areas, went onto wet and a bit of red as well. We could do with that. There just to add a little bit of variation within that yellow. So it's not all the same kind of color. Even here on that side of the building, we can just dock and that doubt little bit of that red. But essentially, we don't want to do all that much because for the rest of it we can just getting a second layer. Right? I'm Mel thing I want to do is just to pop in a little bit of color for the figures and grab a number eight round brush to just pop in some real basic colors through here. There are picking up a little bit of blue. And we can always change this around later. But I do like using blue in some of these areas, especially where we've got yellow in the background. So just a little bit of superiorly in blue here for this figure. And what I'll do also is that I'll just getting a bit of red and some other sort of times for the hands and things like that of these figures just vary the Miranda little bit. Beautiful pink for the faces. And again, you know, very round these these times of the face is if you want, I'm just going to make it simple and get them all in pretty much the same hue, say into that and the arms as well, just a tiny bit of coloring there for the arms and legs. They're really quick and we're being sporadic. So that's why I'm not really putting too much effort into just varying around some of these tones and things. Just try and just get it all in one quick wash. And really for the rest of it, what we're doing is just adding in a few different colors. So we might go into, for example, if we have green for these guys, these guys pants here. So the light wash, we want to keep things very lot as well. We're not trying to get in any specific colors. Colors, but I mean, details as opposing here just yet. Okay, So just keep it fresh and I might use a bit of orange for this figure here. And just pick up a little bit of that, drop it in, connect that on like that. It doesn't take much. Moving further down. And we can go and beautiful maybe read for this figure here. Then. We can use abusive green for this one here. Okay, so just kind of have a play around and change things up and use whichever colors you feel. Look good and very things around a little bit. And really just picking up a lot of different, different hues and having a play around that one's a bit of burnt umber, kind of a reddish color, and we can pop in a bit of pink even for this one here. Moving around the back. Just kidding The OBS which some of these reviews of forgotten to ganglion that then k and testing a bit of detail for the pants and things. Trouser lakes. And then like I said, we're not really trying to detail or getting the final color hue would just putting in basic basic Washington background. This is going to keep it interesting for lighter. And a lot of wash it a purple for these pants, shorts of these filler. And the mom just go tiny bit of green. Obese person should be on there like that. The one in the front we want just go maybe read some RED. You've read. That hurt a lot. Lot sort of wash and a bit of brown just coming through that, hey, like that. Okay. The color from this person's hair as well. And maybe just a squat a wash from the pants. There's a car or something out here in the background. So I'm just going to get in this light wash of color behind, just running behind this figure like that. Okay, fantastic. So I'm going to leave this all and to draw it faunal, just something quick before I forget, a little bit of blue in some of these windows is going to help. So just a tiny little, a little bit like that may turn green that we will make do with it. And testing. Give this a real quick dry and we'll get back to it. 28. Urban Scene: Paint the Shadows: Okay, so the next step here, we're going to stop putting in a bunch of shadows and things on the buildings. So I've got myself a number 10 round brush here. I'm gonna see if I can just make do with these round brush. And I'm going to mix up a shadow color, just a bit of neutral tint. What we can do also is we can mix up our primary so we can have a bit of red, a little bit of yellow here, a bit of lemon yellow. And we can grab a little bit of this ultramarine blue here as well. Just mix that all together. And we could come up with the kind of grayish color here that we can then use to sort of paint in some shadows. So it's almost like a, a Walmart gray. I suppose. Over the left-hand side, we've got a bit more coolness on the right-hand side. I've also got a bit of neutral tint here, and a little bit here, a little bit of purple there as well. So I'm really using a few different dog collars and a lot of them adjust as essentially a cool colors. So LA coming in from the right-hand side. So I'm gonna just popping in a little bit of this comma here just to indicate this side of the building like that. I'm hoping to just get an ad the way quickly. You don't want to if it around in this area too much so tiny bit of that air like that, I'm going to leave a root beautiful lot for that window is sort of showing through the, you don't have to color everything in. Just remember that leaf bits and pieces, it always look more interesting this way. We've got a beat here as well. I'm just going to imagine that lots not kind of hadn't gone through this area. So I'm just going to dock and up and over and they saw it. I think we've got like a wall or something like that which I'm just going to sort of dock and off down the bottom, cut around these figures a little bit. I'm like this here and it'll leave a bit of light for these pillars will kit that mean a moment, but just a little bit of darkness, essentially behind there. And carry that on over that side a little bit as well. Over on this side, tiny bit of that color here on that side of the building. Okay, remember that lots heating that side and right-hand side of the buildings. So going through, let's just paint the scene in a few goes like that. And there we go. Just finish that off down the bottom. Like this. Okay. And let's have a look. What else do we have? We might want to just dock and off a little bit of this building here as well on the left-hand side anyway, like that. And I'm going to add darkness there. And maybe something like that. I should get the whole thing in better shape. Okay. And I do want to stop popping in a bit of detail, a bit of darkness for these trees and shrubs in the background. So I'm just mixing up a few different greens as well and just dropping in some colors. And I'm really also wearing not to overdo it. I wanted to leave in just a bit of that previous green in there as well so that it just looks more interesting as usual, rather than it being the same time. And the great thing is we've got these figures here as well, which we can kind of play around with. I've got a bit of neutral tint and just dropping that around. And, you know, the figures in. If we end up going to dock, always remember that we can go back into it, lights up the tiny bit of want gosh, I'm just putting in a little bit of darkness behind this area of the fees and remembering, obviously, we've got lots the lot coming in on that right-hand side as well. So we want to leave little bits, indications like that. Okay. Fantastic. And we'll do this one here as well, just a bit of green in there. So I'm doc would be it's inside. Do the same thing here on these sort of tree shapes. Here. This one, I'm just, just done a little lotta going around the sun. I'm just going to create more doc honestly. That is kind of comes down even into here. It looks like it's a sort of moves across. Fantastic. Now what I'm gonna do is start getting some of the shadows and dock and beats on the fetus. So again, our synesthete off, we can even use a smaller brush here. So this is a number 6 round brush. And I can just start putting some shadows coming in towards the left-hand side of the figures. Like that. Then I'm kind of indicating a bit of shadow or darkness on the left-hand side of figures and that sort of thing. It's dark enough. Just grab it more neutral tint. Oops. A little bit of shadow on the face is fine underneath the chin here. So that's one done. We can go in and just start putting this warning now. Just some shutters coming out of the left-hand side. Again. Remember to leave in that right-hand side so that it looks like is a bit of light running on the right side of these figures. So important. Okay. The little bit of darkness here on that figure, just following that same kind of pattern like that of little shutters on the left-hand side of these fees. Okay. Being very clean very quickly that these two to two feet around too much. And as they draw, it's going to look a lot more. I'm just gonna make a little more sense. Okay. Sort of on the left edge of pretty much everything that you can see here. It's here maybe that guys sort of covering up a little bit on the legs then just to be on the left side and the lakes. Assured even like that. Here we go. Forgotten some of these other ones here. It's not a huge deal. What I'll do also is start working a little bit on some of this stuff in the foreground. So, you know, it's not a big deal, but you can grab a little paintbrush and actually coloring a few these little breaks and things here in the ground and have them appear a little Dhaka in areas. And this just keeps the ground looking a bit more interesting. So that is not receive all these data on the top, but having a little bit running through the bottom, it just helps to even out the entire scenes. Little round brush does the trick. Here. I'm gonna even coloring them in perfectly just quick glaze over the top like that. The areas I'm just picking up a bit of warm pink, we can change that color a little bit. Popping a bit of English read in some areas as well, and keep the colors kind of light, but we can also change the tone of them slightly so that some are maybe a teeny bit Dhaka. Okay. Yeah. I didn't put one in and kind of grayish color like that. Site important and just change things around ones at the back. I also kind of important because they lead the viewer, lead the eye into the same. And that's the reason why I put them here, leading the eye to the same. And just adding, balancing out the details, we've got all this detail on the top. We need something down the bottom. Okay? Doing these really quickly. As you can see, it doesn't type all that long at all. And the trick is to have some larger ones and some small ones too. But having them all into Connect is very helpful. And testing just kind of a look around this side. Now we've got maybe a bit of shadow running underneath this building here and just to a tiny bit of darkness like that there. I think that should do the trick. And just underneath some of the flaws of the buildings like this, just a bit of darkness as well to outline extra detail. It has some flaws of things here as well. I'm just going to do that quickly. Little details do make a difference. Just using a bit of a neutral tint or just a dark paint essentially. And you can also do this here for the sine. I'm just going to color the song and a little bit darker. And paint downwards this, so it hits the ground. And 10 SDK. Few windows and things in the buildings like that. I'm not going to know we don't have to do the mole. Just a few little bits and pieces like that should do the trick. Okay, just to imply some extra details in there. Right? Quite like these Liza lampposts, actually, I don't want to overdo it as well. So just these ones in the back will just coloring very slightly like that. But what I wanna do is just adding a little shadow for pretty much the rest of the figures and things like that. It's just going to pick up due to that grayish color, purple, grayish color that I mixed up. And we can start putting a bit of shadow running through some gonna kinda funny, we need to connect it up with the object first. So I'll make it kinda coming off from us slightly towards the front like that. So that's a couple shadows just caused by these little pose. And I want to get these beautifully shadow joining onto these figure, shadow that figure as well. And then a bit of that going on. And you know, we've also got this shadow of these pole running all across, maybe down the page that launch a poll in the back there. So we just want to make it all kind of join up with everything else. Okay? Top part of that song, I'm going to just indicate like that. Then bit of this figure, shadow running to that left-hand side like this. Be more neutral tainting key of two, like that. Extra darkness. In here. I've got a bit of a shadow for that poll whenever you. And the interesting thing is we've got hideous in this section to which we can pick up neutral tint and reintroduce those legs and kind of get them to form a shadow running to the left as well. Can just little bits of shadow, old joining up like that. We've got these larger ones figures here which I can just popping fast up like that. This largest shapes leads to these two figures to the left. There is a couple here as well. The shattered just running through underneath like that on that really helps. Yeah. There we go. Just a bit more. More of that running shadow is running through the same. Okay. Fantastic. I think what I will do afterwards, I'll go through add a few little lot washes in some areas to sort of touch it up. But for the most spots, this one is pretty much finished. 29. Class Project: Congratulations on finishing the class. Your class project is to draw and paint your own unique landscape. This can be a cmd featured in one of the class demonstration videos, or based on one of your own photographs or scenes that you've observed outside. You can also refer to the scan drawing and painting templates attached below, which will allow you to trace the drawings if you choose to do so. I recommend during each scene, freehand. Drawing is an important step in improving your painting skills. It provides you with an opportunity to compose and plan your painting. Once you finish the drawing, use the watercolor steps and processes included in the class demonstrations to complete your painting. For materials, use any permanent black ink pens, watercolor, paper, and brushes you have available. I recommend using lot fast and permanent ink pens with a minimum of 0.5 millimetre nib. Also recommend using a 100 percent cotton, watercolor paper or sketchbook and cold pressed to meet him. In terms of watercolor brushes, I recommend having a mop brush or large round brush, as well as a variety of smaller round and flat brushes. To get started, review the class demonstrations first. There are eight different urban landscapes that you can draw and paint from. You can also download the tracing templates to transfer over your drawing. If you're looking to sketch and paint another scene, research some free reference photo websites. Pick one of your own reference photos, or simply find an outdoor location where you can sit and paint. Then using the steps and processes included in this class, create your own unique urban sketch. Finally, share your completed line and wash painting and progress shots with the class by uploading it to the your project section. If you have any questions or need more tips, please let me know. I'm happy to help.